When we arrived here, we took the portico, crossed the gallery devoted to Austrian artists again and went up to the other salons, and entered the Spanish gallery.
The Spanish exhibition was not very brilliant: 33 artists had sent 84 paintings. Only a few portraits by Madrazzo and the two Lopezes are mentioned; a portrait of the King of Spain in the costume of the Golden Fleece (585), by M. L. Lopez, of Valencia; Portrait of the Countess of Robersatt, by M. Madrazzo, of Madrid; Portrait of the Princess of Asturias (583), in Andalusian costume, by B. Lopez; Portrait of M. Ventura de la Vega (606), Portrait of the Countess of Vilchès (600), Portrait of King Don Francisco (595), Portrait of the Duchess of Medina-Celi (598), Portrait of the Duchess of Seville, belonging to Queen. Isabella (597), by M. F. Madrazzo. We will add to this series a Portrait of the late Mr. Posada, patriarch of India (603), by Mr. F. Madrazzo, and a Portrait of this artist by himself (607).
M. Louis Madrazzo had exhibited a Burial of Saint Cecilia in the catacombs of Rome (608), which belongs to the Museum of Madrid.
Mr. F. Madrazzo exhibited Holy Women at the Tomb (593), which belonged to Queen Isabella. M. Ferrant, from Barcelona, exhibited a painting from the collection of the Works of Mercy, belonging to King Don Francisco; it was under the epigraph: "Bury the dead" (568); the effect was quite striking.
The same artist had painted a Child carried by angels (569): it was a very graceful work.
Finally, we noticed an Episode of the Madrid revolution, in July 1854 (592), by M. Eugène Lucas.
France. - We shall now come to the heart of the French
the French school. France occupied a little more than half of the rooms for the painting exhibition. She had more paintings than all the other nations combined: 690 artists had sent 1,832 paintings. The most illustrious masters had exhibited their principal masterpieces. Only one, Mr. Paul Delaroche, whose fame was European, refrained from participating in this splendid competition.
In order to follow the itinerary that we had mapped out for ourselves and to avoid retracing our steps, we began our walk in the Spanish gallery, which was opposite us, between the Prussian Salon and the Grand Salon.
Here we found about ten interesting paintings, which we had neglected when visiting the Spanish exhibition, so as not to interrupt us.
The first canvas which chance placed before us was a Landscape (2810) by M. Courbet; it is perhaps one of his best works. We then found a charming scene by M. Breton, entitled: le Lendemain de la Saint-Sébastien (2629); a Vue du Danube (4084), and a Vue des côtes de Bretagne à marée basse, by M. de Tournemine.
M. Th. Chassériau, who passed for the continuator of M. Delacroix, had exhibited two canvases which recalled, indeed, though from a little distance, the manner of the master: the Room where the women of Pompeii came to rest on leaving the bath (2684), belonging to the State, and Arab Cavaliers carrying off their dead after an affair with the spahis (2692); a small painting by M. P.- F.-E. Giraud, De Paris à Cadix (3186), was interesting because it contained the portraits of Messrs Alexandre Dumas père and fils, and of M. Desbarolles, in a caravan in the mountains of Andalusia.
M. Philippe Rousseau, the famous still life painter, had exhibited two panels (3922 and 8923) intended to decorate the dining room of M. de Rothschild.
Le Départ de la chasse sous Louis XIII (3378), by M. E. Isabey, was a charming painting in which all the brilliant qualities of this artist were evident.
Le Matin (3992), by M. Schutzenberger, three or four canvases (1938, 1937, 1939 and 1947) from the Saxon exhibition which had been slipped in there as they could not be placed elsewhere, and l'Installation de la magistrature dans la Sainte-Chapelle, en novembre 1849 (3421), by M. Jollivet, were the works of most interest in this gallery.
© Guide dans le Palais de l'Industrie et des Beaux-Arts 1855