FINE ARTS IN 1899. 



285 



his mother, Julia Domna, who herself is mad 

 with terror at the sight of the daggers of the 

 assassins. The picture is strong and rich in 

 color. 



L'Execution des Pazzi, by Barbin, illustrates 

 a mediaeval horror, the punishment of the Pazzis 

 for their participation in the conspiracy against 

 the Medicis in Florence in 1478. 



Leftwich Dodge contributed a large picture, 

 The Conquest of Mexico by Hernando Cortez, 

 which shows all the horrors of the war of the 

 conquest concentrated in the great temple, the 

 staircase of which is strewn with dead and 

 wounded. The composition is strong and very 

 effective. 



A masterly shipwreck scene was exhibited by 

 Emile Maillard, with terrific waves sweeping over 

 a vessel whose bulwarks are partly gone. The 

 captain, clinging to the mast, which is about 

 to fall, is giving the order to cast off the boats, 

 already crowded with people, while frightened 

 passengers run on the deck and a priest and 

 some sisters raise their hands to Heaven. 



M. Rube exhibited .a powerful picture of a 

 Spanish soldier, who, having lost his sight in 

 the Cuban war, is groping along the wall as he 

 enters the house of his sympathizing mother. 

 The Funeral of Caesar, by Piatti, an Italian paint- 

 er, contains many figures in diverse attitudes and 

 costumes, and shows much conscientious work. 

 The Triumph of Toulouse, by Jean Paul Laurens, 

 is a vast composition, which attracted universal 

 attention. Le Sermon sur le Bord du Lac, by 

 M. Du Gardier, is an impressive picture, repre- 

 senting Christ preaching to the fishermen, who 

 are listening with the attention of conviction. 



One of the curiosities of the exhibition was 

 Louis Beroud's Salon Carre" du Louvre, showing 

 the fairies that inspire great artists coming to 

 wreathe with flowers their most celebrated can- 

 vases Correggio's Antiope, Rembrandt's Old 

 Philosopher, and Guido's Rape of Dejanira. An- 

 other singular picture, by M. Piatosky, exhibits 

 Death, who has just come out of a house in 

 which he has left a corpse, crossing a garden full 

 of verdure and flowers, while dogs howl at him. 



Paris: Salon of the Societe Nationale. The 

 tenth annual exhibition of the Societe" Nationale 

 des Beaux Arts comprised 2,854 numbers, of which 

 1,492 were paintings, 622 designs, drawings, etc., 

 167 engravings, 147 sculptures, 360 art objects, 

 and 66 architecture. 



Among the exhibits, Boutet de Monvel's Joan 

 of Arc recognizing the King received much at- 

 tention. The picture is executed like an old 

 missal, without shadows, and is remarkable in 

 detail, the ladies of the court of Charles VII 

 being dressed in real brocade. The heads are 

 excellently drawn, and the whole composition 

 very skillful. 



Homage a Puvis de Chavannes, by Guillaume 

 Dubufe, is a large picture in the style of the 

 great, decorative painter, representing him seated 

 in an attitude of meditation, while two nereids 

 approach holding a gold palm over his head. 

 The background is a reproduction of one of Puvis 

 de Chavannes's compositions. 



Une Lutte de Femmes, by Jean Veber, is a sin- 

 gular picture, the scene of which is located, per- 

 haps ironically, in Devonshire, England. It 

 represents two stout matrons, completely nude, 

 engaged in a wrestling match on a platform, 

 surrounded by a crowd of women spectators. 



A new Angelus picture, L'Heure de 1'Angelus, 

 by Aime Perret, bears no resemblance to Millet's 

 famous picture, but is the work of a true artist. 

 It represents a young goose girl standing against 



a twilight sky, forming an exquisite and poetical 

 statue. 



A triptych, entitled Eden, by Levy-Dhurmer, 

 represents in the first panel Eve listening to the 

 serpent's bad advice; in the second, she shares 

 with Adam the lessons thus imparted to her; and 

 in the third, regrets all in the midst of a land- 

 scape planted with cypress. In another triptych, 

 by Rondel, the middle panel is devoted to Fra 

 Angelico's Prayer to the Virgin, while the other 

 two, suggestive of the anachronism of Dagnan- 

 Bouveret in his Christ with his Disciples at Em- 

 maus, are occupied by the faithful in the costumes 

 of to-day. 



Conspicuous in the exhibition of sculpture was 

 Augustus St. Gaudens's equestrian statue of Gen. 

 Sherman. The general is firmly seated on a 

 capering horse in a modest and dignified attitude, 

 but with a face that betokens a victor. Rodin's 

 Eve apres sa Faute, in bronze, is a powerful 

 group, rivaling in grandeur the works of the Ital- 

 ian masters of the sixteenth century. The Strug- 

 gle for Life, by Cordier, representing two lions 

 fighting, is a work exhibiting great anatomical 

 skill and artistic treatment. ' 



London: Royal Academy. The thirtieth an- 

 nual winter exhibition, devoted to the works of 

 Rembrandt, is said to have been superior to the 

 Rembrandt Exhibition of 1898 at Amsterdam. 

 Among the exhibits was the large picture of 1633, 

 from Buckingham Palace, The Shipbuilder and his 

 Wife, one of the best examples of the painter's 

 early work. Other canvases were: The Young 

 Gentleman with a Hawk, The Lady with a Fan, 

 The Lady with a Parrot, Belshazzar's Feast, A 

 Man in Armor, A Man with a Sword, Lord Ilches- 

 ter's Rembrandt in a Yellow Gabardine, and Lord 

 Iveagh's famous Rembrandt, which stands alone 

 in portraiture. 



The one hundred and thirty-first summer ex- 

 hibition, which comprised more than 2,000 exhib- 

 its, was fully up to the general standard, having, 

 besides its oil pictures, a goodly representation in 

 sculpture, water colors, and miniatures. Many 

 of the more prominent painters, among them Sir 

 E. J. Poynter, Prof. Herkomer, and Messrs. Or- 

 chardson, Yeames, Watts, and Fildes, sent only 

 portraits. Alma-Tadema contributed a large pic- 

 ture, entitled Thermae Antonianae, a scene in the 

 baths of Caracalla, in which are introduced many 

 gay groups illustrative of the frivolous society 

 under the decaying empire. 



The Coasts of the Sirens, by J. Olsson, a suc- 

 cessful rendition of classic romance, shows the 

 sirens in a cavern, out of the semi-darkness of 

 which are seen opposite cliffs and ships with 

 orange-tawny sails passing in strong sunlight. 



Val Prinsep's Cinderella represents a rustic 

 maiden, possessing a good share of natural 

 charms, as becomes a princess in disguise, seated 

 in the chimney corner, holding wood in her apron, 

 as if tending the fire that blazes under the hang- 

 ing pot. She is clad in a dark-blue dress, mak- 

 ing a pleasing contrast with the glowing orange 

 of the pumpkins at her side. 



On the Road to Mandalay, by F. Goodall, in- 

 troduces a Tommy Atkins in khaki, the somber 

 color of which assorts with the pink, white, and 

 purple garments of a Burmese maiden who pro- 

 pitiates him with an offering of champak flowers. 



God save the Queen, by John Charlton, shows 

 the portico of St. Paul's, as seen from the south 

 corner, with the royal carriage in the center and 

 her Majesty's bodyguard of Indian cavalry, in 

 their uniforms of blue and red and their head 

 gear of cloth of gold, in the foreground. 



Another "brilliant representation of the same 



