The New York herald., 1868-06-28
FINE ARTS EXHIBITION IN PARIS.

What is to be Seen in the Salon d'HOnneur,
Champs Elysees-Review Of the Paintings
German and Other W0rks-Artistic Ideas
OF Adam and Eve-Thc ssBegsar Giving
AIms"-American Contributions.
PARIS, June g. 1868.
The first painting which strikes the visitor on
entering the Salon d'Honneur at the Cha mps Eysees
is Prussian artists extensive canvass (Meister)
representing the Emperor Napoleon, the King Of
Prussia and Emperor Of Russia on horseback at
review. The illustrious riders of particularly
unfortunate color the horses are grouped without
TASTE and what is supposed to be the Bois de Bou-
logne course looks like field Of toys stuck up
around big leaden rings The subject Of the picture
and its dimensions must alone have prevailed with
the jury when they gave it conspicuous place OF
honor.
The next large patch is also the work Of a Prus-
sian contributor (MemzeD. 1t is the coronation Of
william l., King Of Prussia at K6nigsberg in 1851.
This picture would last well as an engraving but as
1t hangs before the public is painful glare of ruby
red. The hangings are crimson, the dresses are
red, and, when not of noisy glow, are Of birthstone
and sulphur tints. The King In coronation robes, Is
surrounded by oicials in ofcial robes. He is nun-
dated with divine right; and it not the duty Of
q critic to go his rounds until mental exhaustion
doth ensue, without any regard TO physical trials,
the most beneficial plan for his vitas would be- after
viewing the above, to turn out clover; but exactly
behind him-that Is, opposite this glaring picture
spreads Porion's 'Queen Of Spain on Horseback,
attended by the great military men Of her
army" who are also mounted. There is no
knowing what the painters notion Is Of impressions
conveyed battle feld but II he fancies that the
great military defenders of her Most Catholic Males
ty's possessions inspire behoders with anything but
commiseraton for their evident inHrmities he has a
most robust Imagination. should say Marshal Mar.
vaez felt his sitting in every respect. As to the
Queen, her Majesty Is the mpersonation Of q vulgar
fat lady riding down. She is nanked by her sallow,
puny looking husband, more bilious than martial at
first sight There is much space left untitled in the
royal consort, and certainly room at all left for
more enlightened Catholicity In the Queen.
The fourth oflclal picture in the Salon is the En-
press at the Hospital Of Amiens where she visited
the choleric, 1t may be remembered, In 1866. 1
have said that the picture is official, and
all paintings ordered to commemorate virtues
officially st The outlines of this are hard, the
color monotonous and forced With the exception
OF the principal figure, that OF Eugenie there is
nothing graceful or touching. The patients laid
out in rows, as s truly correct but had bed out
OF the many been viewed, one moving scene between
less courters IN wondering attitudes The same ide
with more unity would have been conveyed.
The most Objectionable painting Of all in this
by Bin. Nothing can be more humbling to humanity
than this dotic aspect OF its first mother Adam,
ing on the ground. II the painter is gifted with
second sight and has really seen Eden in a
vision vision there is nT0 no accounting at all for John
kind OF Hercules nourishing in blue mantle,
lined with yellow overhead. None OF what
man In his most adoring aspirations can conceive TO
be the loved attributes Of the Almighty discerni-
BILE. gigantic foot kicking out OF the clouds, short
ened and nat puts the finishing stroke to what is
ludIcIOus beginning ~ hat
an admirable subject was to depict with paradise
LOST in hand II would appear that painter had
but to copy from the imaged language before him.
There are other complaints to make In other rooms
but what remains TO he said of pictures in the Salon
| splendid canvas Is ceiling, by Mazeroe, "The
Birth OF Minerva" Vulcan is standing mighty and
the head Of Jupiter ana the goddess rises from il
IKE IKE sn. Jet spring spring lance in hand hand, in etne-
| Venus and Love are on the front plan looking
| up In wonder. In the distance seen other god
| desses waving and floating In Olympan vapor The
great difficulty In ceiling painting IN here attained:
the figures are luminous light and almost transpa.
] rent, while nothing heavy or tortuous weighs like
| hanging aeroithes on upraised eyesight now
| come TO GerOme's "Jerusacn,r picture that has
been very diversey criticised picture that is more
| ideal than auPht else and more strange than real
! Your readers are begged to fancy wide range OF
arid sonework from right to left OF the picture. This
| IL skirted behind by dim procession Of Roman sol
| diery moving along under leaden darkness. They
| have just crucined our Lord and the two thieves
| whose crosses are only shadowed the rocky
ground. The centre cross shadow that OF Jesus is
distinguished from the other two by the lovely forms
| OF dropping body. This is all. These shadows on
the foreground should not have been called Jerusa-
| lem. The "t1ree shadowsr would have been more
| effective and have disappointed no one Crowds
stand around and look FOR Jerusalem, and OF course
cannot make II out. The poetcal idea is not under.
| stood.
| Thick, dense crowds stand also in mute and warm
admiration before Vlger's ''Gavot Stepsn In this
painting Nine. de Recameris is seen learning the gavot
OF her master Nestris she s standing up with Lady
| Georgana Duchess Of Bedford. Both beauties are
In full empire dress; is fair, the other dark ine
movements OF the courtly dance are admirably given
and nothing can surpass the perfection OF drapery
painting. The satins and Rauzes OF the dancers and
ladies looking on over tea all but ufelike and
amateurs OF elaboraely painted cabinet subjects are
fully satisfied Nine. de Stac to the lef s perfectly
portrayed. Az II Is said In memoirs OF the Timesh
that the lesson given to the sounds OF the harp
and horn there players OF both these nstrume ns
to the right The Sevres china cups, empire shapes
look IKE pieces OF choice selection from the intl.
seuns. Gustave Dore's 'Neophyte' and the death
OF Ney" will pass over, and turn TO Rousseau's ad-
mrable 'Summer Flowers They are indeed
| earth's beloved children In their prime placed
In two stone jars. Critics wish the back.
ground had been less sOmbre and that such