Universal Exhibition of Agricultural, Industrial and Fine Arts Products - Paris 1855

Agriculture, Industry and Fine Arts

May 15, 1855 - November 15, 1855


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French Sculpture Salon

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Our review of the Painting Exhibition was now over; we were at the door of the Sculpture Salon, which we had yet to visit.
On entering, we met two beautiful paintings on glazed earthenware, intended for the external tympanum of the imperial church of Saint-Leu-Taverny, representing, one, Jesus Christ, Saint Leu and Saint Ègidius; the other, a Virgin, consolatrix afflictorum, by M. S. Cornu.
The modern Greek consignment occupied both sides of the entrance pot. These are interesting works: from the point of view of skill.
Prussia, Belgium and Italy did not have a large enough exhibition to obtain a special room; they were placed in the French salon.
We particularly note in this salon: Night (486), by M. Fiers, of Brussels; a Swedish Dog (1867), by M. Wolf, of Berlin; the Head of the Equestrian Statue of Frederick the Great (1863), by M. Rauch, of Berlin; Minerva supporting a hero in battle (1821), by M. Blaeser, of Berlin; a statue (495) intended for the public square of Aalst, representing Thierry Maertens, by M. Geefs, of Antwerp, one of the most famous sculptors in Belgium; the Night, a plaster group, by M. Fiers, of Belgium; the Lion in Love (492), by the same; a Portrait of the famous traveller Jacquemont (4578), by M. Taluet, intended for the Jardin des Plantes; the Modesty (4440), by Al. Jaley; the Spartacus of the Tuileries (4383), bronze, by M. Foyatier; Bacchia, fille de Bacchus (4241), by Al. Barre; the First Fault on Earth (4406), by M. Garraud, destined for the Luxembourg garden; Cain and his race cursed by God (4303), by M. Etex; Polyphemus taking Acis and Galatea (4521), by AI. Ottin, fountain for the Luxembourg garden; Eve and her two children (4314), by AI. Hyacinthe Debay; Lesueur (4431), by M. Husson, for the former cloister of the Luxembourg; the Truth (4271), by M. Cavelier; Chateaubriand (4358), by M. Duret; the Toilet (4322), by M. Debay pére; l'Amour se coupant les ailes (4252), by M. Bonnassieux; Cornelie (4272), by M. Cavelier; Baigneur (4299), by M. Dantan, Eve tempted by the snake (682), by M. Benzoni, of Bergamo (Italy); the Genius of Italy (2314), by M. Romanelli, of Florence; the Orgy (79), by M. the Marquis Della Torre, of Verona; Child playing with a tortoise (4429), by M. Hébert; the Siesta (4382), by M. Foyatier; a Lion (4434), by M. Jacquemart; Young Neapolitan Fisherman Playing with a Turtle (4564), by M. Rude; Ingeniousness (4338),
by M. Desprez; L'Amour vaincu (4570), a charming creation by a talented artist, M. Schœnewerk; Le Dessin (504), by M. Vandenkerkhove, of Antwerp; Mé-tabus, roi des Volsques (494), by M. Geefs.
Mr. Frémiet exhibited a wounded hound (4391), Ravageot and Ravageode, basset hounds (4392), which made one regret not seeing more of him at the Exhibition.
Mr Marochetti sent a Portrait of Victor-Emmanuel, King of Sardinia (5075), and Mr Cain a Vulture of Egypt (4267), which had already appeared at the last Salon of the Palais-Royal.
We ended this quick review with two masterpieces: a Jaguar devouring a hare (4245), by M. Barye, one of the greatest artists of our country and our time; and Christ on the Cross (4479), a natural size bronze, by M. Maindron.
M. Chenavard's cartoons, forming a series of compositions formerly destined for the decoration of the Pantheon, were placed around the sculpture room; they reproduced episodes from the life of humanity, from the beginning of Rome to the National Convention.
At the back of the room, on the side of the entrance to the buffet, was the carton of a large stained glass window for the cathedral of Aachen, representing the Coronation of the Virgin, designed by M. Teschner, of Berlin (1817).
At the other end of the room were the cartoons for the fresco paintings executed by M. de Kaulbach, of Munich, in the new Berlin Museum, with the following main subjects: the Tower of Babel (1747), the Legend (1748), History (1749), Moses (1750) and Solon.
Finally, in the dark passage leading from the sculpture room to the painting gallery, opposite the door of the buffet, a colossal statue of great effect was placed, representing the Sorrow (4284), by M. Christophe, an artist of great promise.

© Guide dans le Palais de l'Industrie et des Beaux-Arts 1855