New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1867-12-19
YEW PICTURES At G0UPIES.

There are now to be seen at Goupils Cal
lery on the corner of Ninth-st. and Broadway,
several pictures by French artists of diSinc-
ton, which were recently purchased in Paris by one
of our townsmen, who has kindly placed them on
exhibition for few days. The most important
among them is G6rome's Louis XIV and Moliere,"
first exhibited in the Salon of 1863 and recently en-
graved 1t is subject very different from those by
which G6rome has made himself known TO the pub
lie and it is little pulling to guess why he should
have chosen theme 50 uninteresing IN itself, and
80 apart from the ordinary direction of his thoughts
We cannot think it argues strong sense OF personal
dignity, OF of the respect due by natural right TO
men Of letters and to artists worthy Of the name
they bear when see two of the foremost painters
of France-for, Ingres painted the same subject in
the beginning of his corresponding time, and
thought, and labor, over an incident like this. The
story is that Louis XIV observing that his cOurters
took ofense, and showed it, too, at the fav0rs he
extended TO MOheTe, man whom they looked
down upon, as an actor and playwright, deter
mined to Tebuke them. Accordingly, one morning
when the doors Of his bed-chanber thrown open
TO admit those few of the very highest nobility who
had the privilege of paying their respects TO him at
what was called the little breakfast, can imagine
the astOnishment and disappointment OF these gentle
at seeing the Great Monarch seated at table with
MOliere, whom he helped 10 half his own especial
chicken with as much cOrdality and familiarity as
was bic for so formal and arrogant parsonage
to show to any merely human being. We do not
know on what foundation this story rests. 1t may be
as unsnbstantal as that Of Macmillan holding the
ladder for DiiTer. Charles v picking up 1Itians
brush or Leonardos dying in the arms OF Francis l.
But either of these stories untrue they all prob
ably are, is more honorable to the persons concerned
than this of Louis XIV and MOliere for in the case
of Diirer Macmillan wished TO rebuke his cOurters
for similar disrespec TO his fayorte painter but he
did it not by comforting an Insignificant social honor
upon him. but by himself descending to AM
equality with him, and assOcating himself
with his labors as with those of a per-
sOnal friend. This was done like a gentleman.
In the two other stories, Charles V. and Francis
showed, the spontaneous respect for the artist
and m0mentaTy fOTgetfulness of himself and the
other beautiful a spirit of affection and reverence
for great and venerable man, that we must always
regret that the person who invented the story had
not looked a little more carefully into his dates.
Louis XIV, however, had probably no higher motive
than to snub his cOurters la thing he was very fond
of doinRl and he chose Moliere because as plebian
and actor, he made the most effective foil TO their
sublime pretensions AS for the couriers themselves
there Is nothing surprising III their conduct looking
at the times, OF looking merely at human nature IN
general which leads cOurtcrs and nOblemen TO the
same sort of thing to-day. Some time. however,
there comes along q Charles Dickens or a Fanny
Kembe, who shows nOblemen and queens that all the
people Of genius are not as subseTyent Moere, to
his discredt, appears to have been.
As for Mr. G6rOmes picture, although il is painted
with his usual exquisite care and painstakng, it is
by no means so interesting those passages from
oriental and classical life by which he has heretofore
made us all his debtors. The color though brighter
from harmonious the effect Of il is altogether scat
tered and spOty. 1t is rarely that we are obliged to
say of this artist that he is theatrical in his compost
tions,sbut he certainly is so here although MUCH of
this may be owing TO the fact that he is painting
scene out Of court life perhaps the most formal.
artificial and essentially theatrical that ever existed
Near to this picture by GGrome is a small study by
Meissonier; not one Of his most carefully finished
works but sufficient to show all his essential excel
lence. 1t is the old guard-rOOm antechamber
which we know well, with the same soldier sitting
on tho same beDch but the artist can deal hundred
times with the same materials and make every pic
ture new one because his study is always to get as
near nature as possible and never 10 copy himself
As he continues 10 paint it is observable that his
style grows larger and fTeer although il is not likely
that he will ever successfully attempt subjects Of
higher range than those with which he has thus far
associated his name lie and Willems seem content
TO be the modern representatives, of the schools of
Ostade and Terbourg though Messonier has not the
vulgarity of the one and Wles has far more tender
ness and sentiment than the other.
The specimen of the marvellous skill OF Blaise Des
G0tles, which hangs the other side of the G6romc
will he found interesting although il is by means
difficult TO see through what at first appears to be
the miraculous minuteness OF his almost deceptive
execution 10 does indeed show great Skill hut II is
not genius by any means IL Is an affair OF thorough