France. - This exhibition was doubly interesting, because of the popularity which M. Horace Vernet rightly enjoyed, and because of the choice of his early works which appeared alongside his more recent ones. The two manners had absolutely nothing in common, but they were both remarkable. The paintings of his youth had the air of having been conceived and executed by a wise and prudent old man; the later works had all the brilliance, all the freshness of a green youth.
The last works had all the brilliance and freshness of a green youth. A few other paintings had been placed next to the paintings of Horace Vernet, as was the case with M. Delacroix.
We began our visit by the right-hand wall.
We first encountered a Portrait which had had an immense reputation, that of Brother Philippe, General of the Brothers of the Christian Doctrine (4102); two Hunts (4101 and 4159J; four Battles in his old style: Montmirail (4147), Hanau (4140), Valmy (4145) and Jemmapes (4144); above this is the Battle of Isly (4152) which had been taken from Versailles; then Mazeppa (4157); an Episode of the French Campaign (4148); the Interior of the Studio of M. Horace Vernet, which had been made so popular by engraving; M. de Lamoricière at the attack on Constantine (4150); the return from the Lion Hunt (4100); Mazeppa delivered to the wolves (4158); Cholera on board the Melpomène (4154); Judith and Holofernes (4155), one of his best-known works, belonging to the Emperor's household; the Barrier of Clichy in 1814 (4149). It was denied that, among the national guards who defended Paris, Marguery-Dupaty, a man of letters, Charlet, a painter, and Horace Vernet, the author of the painting; it was painted in 1820, and belonged to the emperor's household.
The large painting of La Smala (4151), Rebekah at the Fountain (4156), the Portrait of Marshal Vaillant (4163) and the Hunting Rendezvous (4164), completed this beautiful exhibition.
© Guide dans le Palais de l'Industrie et des Beaux-Arts 1855