Dayton daily empire. [volume] (Dayton [Ohio]) 1850-1865, 1864-03-30

bank, sharing his cloak with young comrade
who s evidently sinking into that cold slum-
Der from which, on this earth, there Is no
awakening; holding the while ia his right
hand, the cooked pistol with which he intends
for little time at least to keep the bowling
wolves from their prey Broken cassOns and
dead horses are scattered over the snowywaste
and the impression created by il all is the
mixed one of admiration for the uncobquera-
BILE old veteran, and horror, that human
beiRgs should ever be placed 10 condition
Of such unutterable despsir. | wondered how
it happened to be hanging here, Its story is
not one to crafty the pride Of the nation or
hatter the vanity Of their Emperor
We then entered the grand Palace, and
began a journey, which was interesting
enough at first, but terribly dull and weari-
some before il was concluded through fsoO
miles of picture galleries Our feet seemed
to have no bold upon the smooth floors, which
are worse than ice to walk upon because
sliding is not allowable. Punch represents
Cockney in his travels saying to his friend in
gallery like one OF these, "Fwank you take
one side and III take the other, and we'll get
through soonaw" We we're reminded Of this
at Versailles, and before We were done, we
we're half inclined to think that the fellow was
not such an inexcusable fool after all II
tho numbers Of the catalogue tell the truth,
we glanced over to-day more than fi0enh
four hundred painting Who would not be
surfeited with such feast2
In Room No 5, is one of-my fsvorites. II
is by AIRY Sche6er, and represents the death
CASTOR of Foix at the Battle Of Rayenna ia
1912. The knight in foil armor lies stretched
upon the ground, and a group of his com
panions in arms are gathered around him, re-
;r,n HE ln,t II
watching hiss life-blood ebb away. The
figures are Of full size, and the eoloring and
grouping as well as the representation Of the
battle still ID progress In the distance. are
all excellent, but it is in the expressions of
the group, that the painter has shown that
profound knowledge Of the human heart and
that subtle skill which distinguishes the trUs
artist from the mere copyist There is no in
difference in those faces Genuine sadness
real sorrow is apparent upon every one OF
them, but there is no frantic, gestioulatioHs
aud no tears They are all quiet aud com
posed us il they knew that grief was unavail-
ing that 'brave men must die in battle;" that
at any moment, the missile might be sped
which wonld lay them by his side: that their
own hold upon life was too frail to mourn
much then over any one. With this, there is
a compression of the lips, aud a fire ini tue
eye which shows their minds quite as much oc-
cupied with thoughts Of revenge as Of sorr oW
Atogether indicates exactly what / think
party Of brave men would feel under such
circumstance and this is doubtless what the
painter meant 10 show. '
All the glorious battle Of France, FROM its
earliest history to the present, are represeH-
ted here Among them is scene in the
Taking Of Jerusalem" which was gazing
over rather carelessly, because battle scenes
had already lost their novelty, when, as sud.
denly AS il had received blow, my heart
eaped into my throat, and my eyes hlled with
unbdden tears. Down in the left hand cor
ner is dead knight-his helmet off, his eyes
glazed and fixed Across his body lies his
half erazed and entirely heartbroken wife,
and their little boy Of two years, is embracing
the cold lace Of his Father and lovingly kiss.
ing the pallid ehnek OH what misery is de.
picted here Some of the other ideas Of the
picture are developed with equal skill A
dying SaFacen, transfxed by an arrow, has in
his hand the head of q Christian soldier, and
he scows with savage ferocity upon passing
night in death evidently lamentinR only,
that he sAn shed ne more b'ood. 90
The artists name is Emile .SignOI--the Z
date of the picture lS47.
The scenes from the life of Napoleon are
almost innunerable, but his failures and weak.
nesses are Of course kept out Of view We
did not fHd him represented in his return from
Egypt, from Moscow or from Waterloo The
incidents OF his life with Josephne-ztheir
First Meeting, Marriage, Coronation. and the
like, are here but there is nothing about his
divorce from her, or his connection with that
poor creature, his second wife. The present
Emperor, the grandson OF Josephine, of
course has no motive for preserving and hon.
oring the memory Of Marie Louise
The campaigns in the Crimea and Italy are
Eorthily illustrated BY French artists OF the
present day. The taking Of the MRlakoif by
an artist with queen name, Ad Yvrop, "a.
ID. 1867 is 4 stirring scene The French are
pouring into the breach, led by young Zou,
aye officer, With sword and revolver in hand.
His head is bound up face all bloodv, ewes
bloodshot, and chothss muddy There ia no
tnselry about him-ihAt will do for the Hpi,
ping times Of peace" "-noE he is steadily aud
gallantly doing his work The Russians have
fought well, but in spite Of the Efforts of q
grey-haired veteran, upon the breast Of whose
green uniform coat there glitters many q dec
oration, they quail before the onset of the
Frenee, and are about 10 aE A splendid
piece Of what is called "foreshorteninR" be-
live, in the artists vocabulary is IN this pie
ture. II 10 musket leVeled out of the can. %
vass, directly at the beholder. You look into
the muzzie, dark and threatening, and through
the sights 70 the other end ofthe barrel, where
is determined face, shat eye, shining
copper cap and finger upon the trigger
The Illusion is perfect, aud you instinctively
hurry out Of range lest the thing might really