Hanseatic Cities and Saxony. - On the left as you entered the vestibule, there was first the small exhibition of Hanseatic Cities and Saxony; there were five or six paintings to be seen: Painters at Recreation in a Studio, by M. Geusler, Hamburg (no. 2146); a Fish Market, by Miss Wolfhagen, Dresden (1947); Faust's Dream, by M. Wolfhagen, Dresden (1947); and the There were five or six paintings to be seen: Painters at Recreation in a Studio, by Mr. Geusler, Hamburg (No. 2146); a Fish Market, by Miss Wolfhagen, Dresden (1947); Faust's Dream, by Mr. Schuback, a pupil of Cornelius (2155); a View of Lake Wurmsee, by Mr. Hermann, Hamburg (2150); and two Snow Effects, by Mr. Kauffmann, Hamburg (2151-2152).
Tuscany was also on this side; it was still quite poor. What has become of the fine days of Florentine art? A sinful Eve, by M. Bezzuoli (2136); a full-length portrait of a cardinal, by M. Mazzochi Bellucci (2139); a copy after Fra Angelico (2140), formed more or less the whole of its exhibition.
Sweden was still in the vestibule, opposite us, on the right as we entered. This exhibition contained some remarkable paintings, especially for the customs they revealed. Sweden and Norway had been little described by their writers; it was the painters who made them known to us.
Mr. Kiorboë had painted a Trotter's Race on a Swedish Lake (1982); Mr. Bergh, from Stockholm, Swedish Peasants Going to Christmas Mass in a Sleigh (1966); Mr. Nordenberg, from Bleking, a Swedish Invalid Recounting the Episodes of his Military Life (1982); Mr. Larson, from Stockholm, a Fishing at the Graves (1979); Mr. Hockert, from Jôn Kôping, a Preaching in a Chapel in Swedish Lapland (1970). This painting, executed with remarkable talent, had attracted the attention of artists and amateurs.
In Norway, we noticed a few paintings of the same kind:
Funerals in the Norwegian countryside, by Mr. Tidemand, one of Norway's artistic renown (2023): the figures wore the national costume of the eighteenth century; a View taken in the high mountains of the province of Bergen, by Mr. Gude, of Christiania, professor in Dusseldorf (2015); a View taken in the valley of Marie, near Christiania, by Mr. Dahl, of Bergen (2011).
The Danish exhibition immediately followed the Norwegian one. There were two very beautiful marines, by M. Melbye, of Copenhagen, decorated in France the previous year: they represented a Danish ship of the line, downwind, and a naval combat between the Danes and the Swedes, in 1677 (529, 530). Electoral Hesse and Grand Ducal Hesse had two pictures by a single painter. M Bassel of Darmstadt: The Mediator (1512) and The Seizure (1513).
Peru was represented by two artists, Mr Laso and Mr Merino, from Lima. Mr. Laso, a pupil of Mr. Gleyre, had exhibited one of the remarkable paintings of the salon, representing an Inhabitant of the Cordilleras (1654); Mr. Merino had exhibited a Halt of Peruvian Indians (1651) which was also very interesting.
In this hallway, without a number, was exhibited a charming painting by M. Gérôme, a French painter, a pupil of M. Delaroche, entitled: a Souvenir du Danube en 1853. This painting, which had been admitted by order after the opening of the Exhibition, represented Russians in camp taking their recreation: they were singing in a circle, while one of their comrades was performing a fantastic dance in the middle of the circle; a non-commissioned officer was walking between the groups, with a knout in his hand, ready to stimulate those who did not seem cheerful enough. This picture had the double merit of topicality and great accuracy. M. Gérôme had painted what he had seen.
© Guide to the Palais de l'Industrie et des Beaux-Arts 1855