, 1874-05-17
FRENCH GALLERIES.
Ihe Louvre and the Luxembourg.

As galleries OF painting, tho Louvre and th
Luxembourg bear = peculiar relation to eac
other. The latter Is often called the Waiting
Room Of the Louvre. Every year. in the mont
OF May, an Artists Exhibition Ia held ut th
falAia de Ilndustrie, or somo equally centra
place in Paris. The lower court and garden Q
the palace are filled with tie most e1quisit
flowers, comprising sort Of minor Horticul
tural Exhibition and the galleries above con
tain whatever OF note has been produced durin,
the year by French aItsts. This il called
THE SALON" OF THAT YEAR.
During the month Of the Exhibition the art
critics OF tho Paris press are in their glory
There are the works OF the leading painters t,
describe; there is an opportunity to remind thu
great popular fayorltea that they arc falling be
hind their earlier efforts; to extinsuiah the pre-
snmptuous young aspirants for public reoog
milton; to 1atter national vanity, or t.
hewai the decadeucs Of French art, accordin,
to the tone and temperament Of the censor. 1
small admission-fee is charged; but among
the throng at the door may be obsorvad certain
Of youthful appearance who present, with mix.
ture Of prido and shyness, card bearing tht
words:
ARTISTS TICKET"
Some OF those young persons are in rather shah
BY attire, but you need vasto no compassion
upon them. At this moment they woule not az
change places with tho sovereign himseK; they
have, Tor the frat time, q picture admitted to
the Salon. When there appears in the Exhibi-
ton OF any year picture which, by reason Of
peculiar excellence in subject or treatment, is
universally regarded as the pioneer Of new
school, or the culmination Of an old one, it is
bought by the Government and placed in the
Luxembourg. There it remains until the death
OF the artist; or, to speak more accurately, for
ten yea1s after that avent. 4 council OF judges,
not unlike that ancient Egyptian tribunal which
Eat III solemn Judgment upon the dead, ia then
called to sit upon its N erits, and decide whether
the work displays the Indispensable seal OF i'm
mortality. II SO. it is
TRANSFERRED TO THE LOUVRE
To this crownins glory every French artist
looks forward, as the English poet to Weat-
minister Abbey. The present relation Of the two
galleries Is, therefore, an ingenious device for
the stimulus uud reward Of genius. The work Of
no living artist ia found in the Louvre. It is the
Gallery Of the lmmortals.
These galleries are open to the public every
day, except Monday, from 10 till 4, without fec
OF permission Of any kind In thia respec. the
French Government shows a commeudable and
wise lberality, in striking contrast to the man.
agement Of the Vatican under Papal rule. The
opening Of both museums on Sunday is 8 great
boon to the artisans OF tue city, who have thus
not only oil opportunity to acquaiut themselves
with their contents, but pleasant and refining
place Of resort for Sunday afternoons. This
Of weekdays are given up to
professional artists and copyists, ~hose easels
may be seen set up before the principal pictures
until u o'clock.
THE "BQuARE ROOM"
OF the Louvre contains ita beht specimens Of the
artists whom We call 'tTne Old Masters Toan
American visiting Europe for the first time, this
room ID q great revelation. It is generally his
tirHt introduction to men aud works hitherto
known to him only through biographies, poems,
aud the criticisms OF conaoissouls. My chill
dreu," said DR.. Bellows, in his tirst letters from
Europe, are surprised to hnd that they admire
the old masters" Not few ingenious travellers
could make the same confession. They have
become dlsgustcd with the Hervila raptures Of
tue Potiphars over their wretohed copies OF
ia Kayfel aud Giddo." They are tinctured with
the presumption OF our aga, and they aecretly
wonder whether they shall not find these boasted
marveis incapable Of awakening their homes.
admiration and, secondly, whether il they do,
hey shall have the courage to declare it. In
his state Of mind they come upon the old italian
PAINTERS in the Square Room OF the Louvre.
THE WoRKY OF RAPHAEL
ira npt to arrest them first Hero is his cele-
orated Belle ]ardiniere," ,"-a fair, youthful Ma
:enca and placldity, seated in the open fields, her
I'm encircling the child Jesus the little St.
|ohD, bearing the crogg, kueslB adoringly before
lin. III tie foreground, flowers aud one or
NO tall trees in the distance. city with spires.
nd the dim line Of mountainB. Near it is the
MADONNA Of the Vel, the Child asleep amidst
picturesque old Tuins the Madonna, bending
,efore Him, one arm thrown toRderly about tha
,oy-Evangeist, lifts little veil from the face OF
,or Son. There is also + miniature st. George
+r1 a1for in ri, n1,
= really superb, and is more remarkable than
he Saint. But tue most striking Of Rsphaels |
FORKS hero il the great
''sr. MICHAEL. AND THE DRAGON"
The Saiut Stands with bis right foot firmly !
tainted on tho PROSTATE monster whom he has |
ust oyerthrown balancing himself with his !
eft. and partly upborne BY his outspread wings,
e is about to drive through tho dragons body |
he spear appraised in his slender bu: sineWy !
ands. In the fiery energy Of his descent, his |
rapely floats out bshlnd him !; the golden
ronze Of his hair blows OF his face,
nd seems to burn with inward fire; |
Gales Of his armor throw out gittering sparks |
light; nnd the magnificent wings, like the !
lurnage Of some celestial bird, glow with rain |
ow-hued radiance. In the distance are rockB
strength and ghtness, Of force and grace,
nd the wonderful harmony Of color, IRE likely !
} awaken in the beholder the first germ OF en-
ausiasm for Raphael In the Madonnas Of this
BON one distinguishes many Of his minor excel
,ncias the sweetness Of tie faces and tho tips-
ess Of expression; the lovely outlines Of
10 limbs and draperies, and the extreme dolica-
' and finish in tie mechanical part. No paint
anda between the spectator and the artists
las; not only in these, but even in Raphael's
rander works, the mixing Of the colors and
,oir application approach tho Bmoothness and
auspa1eucy OF miniatures. But the sight-seer,
be tells himself the truth, is very likely to
,nfess that all this does not come up to the
Inter OF his expectations so tar, be has found
charming, beautiful
But HARDLY GREAT PA1SrER.
nd yet, Wills saying this, he will turn again to
10 st. MichAel, aud 6,ld it 30 full OF deep and
owerfal suggestions ka ha will be tempted
recall his decision: tic .i,:c. ot tle tinely-cut
atures. to which la Aas o.luclo.t na soft and
r1ish. will deepen into . h.;auga steruneE5 Us
looks; the slight ngu1e vii! seem firmlS, Knit.
with muscles Of hnely-tcmpcrcd steel; it will
tract him again and again and this half fas-
nation, this qualified admiration, ia the best |
. Louvre can do for him 30 far as Raphael is
nccrned. THAT master will not tahs HIM by
orm till he stands in the Vatican.
Not 30 with some Of ths other Italian paint ters
re. Paul Verouese's Supper or Wedding at
ua, with its immense canvas. brilliant color
2, and characteristic faces is ~ 6ne IN intro
ction to that master as he could desire, So,
10, is Leonardo da Vinci's famous
HNOSA LISA. .