rRene Maurice Fath, Henry Ernile^ Vollet, Fre- 

 :h'ric Lauth, Adrien Henri Tanoux. Einile II irsc li- 

 fe Id, Gaston Bussiere, Francois de Montholon, 

 L'arlos Lefebvre, Paul Langlois, Jules Octave 

 friquet, Raoul de Pibrac, Tony Faivre, Ernest 

 Greorges Berges, E. P. Fox, Jean Veber, Georges 

 Jules Moteley, Albert Le Dru, Henri Charrier, 

 Mile. Antoinette Oderieu, Reginald Barber, Felix 

 Berne-Bellecour, Mine. Marie Aimee Lucas- Robi- 

 quet. 



Section of sculpture: No medal of honor 

 awarded. First-class medals : Jean Alexandre 

 Pezieux, Emmanuel Hannaux, Ernest Dubois, 

 Ilippolyte Peyrol, Louis Alexandre Bottee, Henri 

 Augusts Jules Patey, Hector Lemaire. Second- 

 class medals: Auguste Seysses, Francois Sicard, 

 Edouard Lormier. Louis Clausade. Louis Con- 

 vers, Rene Rozet. Eugene Mouchon. Third-class 

 medals : Albert Ernest Miserey, Mme. Francine 

 Ducrot, Louis Auguste Riviere-Theodore, Au- 

 guste Ledru, Raymond Guimberteau, Auguste 

 Maillard, Leo Laporte-Blairsy, Jacques Loysel, 

 Claude Jean Baptiste Weitmen, Francois Henri 

 Coutheillas. 



Section of architecture : Medal of honor, 

 Georges Paul Chedanne. First-class medals : 

 Max Doumic, Henri Deverin. Second-class med- 

 als : Felix Ilippolyte Augustin Miehelin, Albert 

 Tournaire, Edgard Pierre Leon Vinson, Emile 

 Jay.. Third-class medals : Emile Dupont, Louis 

 Masson-Detourbey, Emmanuel Pontremoli, Louis 

 Claude Joseph Meissonnier, Louis Pille, Alex- 

 andre Edmond Maistrasse. 



Section of engraving and lithography : Medal 

 of honor, Gustave Levy. First-class medals : 

 Einile Sulpis, Pierre Guillon. Second-class med- 

 als : Jules Huyot, William Barbotin, Louis Piro- 

 dou, Auguste Louis Hermant, Victor Louis Fo- 

 cillon, Charles Giroux. Third-class medals : 

 Lucien Gautier, Desire Montet, Leon Adolphe 

 Willette, Gabriel Dubois-Menant, Gaston Albert 

 Manchon, Ernest Deloche. 



Among the great canvases is the ceiling paint- 

 ing of Leon Bonnat, for the Salon a Arcades in 

 the Paris Hotel de Ville, entitled " Triomphe de 

 1'Art." Pegasus, white with light, is springing 

 upward into ether from an escarped rock, bearing 

 on his back a genius who holds aloft a torch 

 symbolic of art. At his feet the genii of evil 

 and of night are rolling into the abysses, and be- 

 yond reddish and yellow vapors are stretching 

 upward into the blue sky, in which are two genii, 

 one bearing a lyre, the other a laurel wreath. 



Another immense canvas, which attracted 

 great attention, was Louis Edouard Fournier's 

 " Les Gloires Lyonnaises," intended for the gen- 

 eral council room of the Hotel de la Prefecture 

 at Lyons. It is a collection of portrait figures 

 of eminent natives of the city from the Roman 

 period to the present. The modern men Meis- 

 sonnier, Ampere, and many others known to fame 

 are grouped in the foreground, and the medi- 

 a>v;il and ancient ones complete the circle, with 

 MMI-CUS Aurelius for a central figure. 



Still another ceiling decoration, by Edouard 

 Debat-Porisan, for the Hotel de Vifle at Tou- 

 louse, entitled " La Couronne de Toulouse," is a 

 col lection of figures, nude or brightly draped, 

 symbolizing the various arts. It is an excellent 

 example of what a ceiling painting should be, in 

 which the figures float rather than stand. 



FINE ARTS IN 1894. 



277 



Leon Comerre exhibited a decorative picture 

 entitled " Le Rhone et la Saone," intended for 

 the Prefecture du Rhone. The Rhone, a bearded 

 Neptunelike figure, is seated on rocks, while the 

 Saone is represented as a female figure floating 

 down on the stream to the junction of the two 

 rivers. 



" La Musique du Passe," by Frederick Arthur 

 Bridgman, a large decorative work called " Pan- 

 neau decc-ratif pour un Hotel," exhibits a group 

 of Greek-looking figures listening to Egyptian 

 harp players. It is a work fine in desig'n and 

 sentiment, and well adapted for decorative pur- 

 poses. 



" Venite ad me omnes," by Alphonse Moncha- 

 blon, is a very large decorative work represent- 

 ing Christ enthroned in the center, with the 

 elders and the evangelistic symbols grouped 

 around, and the seven churches, symbolized by 

 seven very beautiful figures, each holding a 

 model of a church, in the foreground, one rising 

 up toward the throne in ecstasy, the others in 

 kneeling groups of three on each side. 



Jules Rouffet's " Les Cuirassiers de la Garde 

 a Rezonville, 16 Aout, 1870," is a large and am- 

 bitious and a highly creditable picture of the 

 military class, though scarcely on an equality 

 with Detaille's best work. It represents the 

 cuirassiers in the act of charging. 



" Le Sergeant Tanviray," by Paul Grolleron, is 

 a large canvas representing an incident at Loigny 

 in the Franco-Prussian War of 1870. A French 

 infantry soldier lingers among his dead and dy- 

 ing comrades to snatch the colors from the death 

 grip of the standard bearer in the face of almost 

 certain death from the rifles of the Prussians, 

 who are rapidly advancing and firing. It is one 

 of the best pictures of the year in its class. 



Jean Lecomte-du-Nouy's " Le Souper de Beau- 

 caire " depicts an incident in the life of Napoleon, 

 on the 14th of March, 1794, six years before the 

 passage of the Alps, when the future emperor, 

 then a young artillery officer, after discussing 

 the exciting political topics of the day with some 

 citizens, rises from the table where he had been 

 sitting, and, as if foreshadowing his own career, 

 declares oracularly : " At the right time some 

 one will arise who will unite in his own person 

 all the nation's hopes, and then . . ." 



Charles Louis Kratke's " Campagne de France, 

 1814," depicts a cottage interior into which Na- 

 poleon has stopped to warm his feet at the fire, 

 while several officers stand respectfully at the 

 door. Through the window are seen soldiers on 

 the march, bending forward as if walking labori- 

 ously, through the snow. Among the many Na- 

 poleon pictures in the Salon this one was marked 

 by j:he charm of absolute reality. 



Edouard Detaille exhibited a large canvas en- 

 titled " Les Victimes du Devoir," a scene during 

 a fire at night in a Paris street, with the bodies 

 of some firemen killed in the execution of their 

 duty borne through a crowd. The work is strik- 

 ingly dramatic and attracted much popular at- 

 tention, but is hardly worthy of so large a treat- 

 ment. 



Paul Jean Gervais's "Le Jugement de Paris" 

 is a somewhat realistic treatment of the legend 

 in which the three goddesses are very like mod- 

 ern ladies, but it is a remarkable work, especially 

 in coloring. 



