Watercolours, pastels, drawings, engravings, lithographs, etc. - As we left the sculpture rooms, which ran alongside the English gallery, we followed it as if we wanted to leave the palace. On our left, after passing the small buffet, we took the grand staircase that led to the upper gallery. This place had been used for the exhibition of some works that could not have been displayed below.
On this staircase, which was the one on the right as we entered, we noticed a bronze bust of Queen Victoria (1174), by Mr. Thornicroff, of London; a View of the Latrium (2530), by Mr. Benouville; the Christians (2530), by Mr. M. M., by Mr. M. M., by Mr. M. M., by Mr. M. M., by Mr. M. M. Benouville; the Christians delivered to the beasts in the circus of the Coliseum, under Domitian (3609), by M. Leullier; a Summer Evening on the banks of the Seine (4186), by M. Villevieille, and the Acropolis of Athens (2829), by M. de Curzon.
On entering the upper gallery, we have on the right the English and French engravings, etc., which were of only mediocre interest; they had almost all been exhibited, for several years, at the print dealers of the boulevards, which dispensed us from paying particular attention to them.
On the right were the English watercolours; at the bottom of each frame was attached a small label stating the name of the author and giving an explanation of the subject treated. Two large watercolours, however, were unmarked, numbers 1023 and 1024, belonging to the Queen of England and depicting an Evening at Balmoral Castle, when Prince Albert returns from hunting; and a Morning in the Scottish Mountains, the Royal Family climbing Lochnagar.
Some architectural compositions (1461) born of the artists' imagination, a View of the Synagogue of Great Saint-Helen's, London (1431), were especially worthy of note. Also noteworthy is a Barber's Shop in Seville (1981) by Mr. Lundgren of Stockholm, Sweden. Four views of the Moorish villa the Wilhelma, built at the expense of the King of Württemberg, in Cannstadt, near Stutt-gard (2171): the Vestibule, the Covered Courtyard, the Great Hall, the Great Feasting Hall, by Mr. Zanth, from Stuttgard (Württemberg).
We came to the miniatures, which were all very beautiful. First we had the portraits of M. de Pom-mayrac (3821), the miniatures of Mme Herbelin (3293) and of M. Rousseau (3916).
The enamels were also very remarkable: M. Waldeck (5063), Mlle S. Berthou (2543), M,le H. Mutel (3719), M. Devers, from Turin (2964), had exhibited charming works.
M. Maxime David (2850) had sent twenty-nine miniatures, among which were a portrait of Prince Napoleon and three portraits of Abd-el-Kader.
The paintings on porcelain were few in number. A copy of Prud'hon (4193), by M.Vion, was remarkable.
M. Maréchal, from Metz, exhibited four very remarkable pastels (3042 to 3045).
Mr Giraud has a Portrait of Princess Mathilde (3188) and a Portrait of M. Mélingue (3189).
M. Eugène Lami exhibited five watercolours (3463 to 3467).
We noticed three drawings by M. Bida (2563 to 2505), six watercolours by M. Salmon (3962 to 3907), two pastels by M. Jules Grenier (3214).
Seven drawings by M. Yvon, representing the seven deadly sins: 4220, Anger; 4221, Lust; 4222, Avarice; 4223, Gluttony; 4224, Pride; 4225, Envy; 4226, Sloth. The allegories were almost all borrowed from Dante's Inferno. This collection belongs to the Musée du Havre.
M. Janmot, from Lyon, had sent a series of allegorical paintings on the subject of the Soul, a poem in eighteen paintings (3402). Some of these paintings were original.
M. Th. Valerio had exhibited twenty-four studies, forming part of an ethnographic collection, and executed in Moldavia, Wallachia, Turkey, etc., by order of the French government.
4107, Hungarian shepherd from the banks of the Theùss; 4108, Egyptian Dervish, army of the Danube; 4109, Bachi-Bozouck, Silistria; 4110, Gypsy woman of Servie; 4111, Turk from the coasts of the Black Sea; 4112, Turk of Morea; 4113, Arab chief from the vicinity of Damascus; 4114, Kurdish chief; 4115, Hungarian gypsy; 4116, Hungarian gypsy; 4117, Gypsy woman from Hungary; 4118, Gypsy woman from Servie; 4119, Hungarian peasant from Szolnok; 4120, Hungarian peasant from Szolnok; 4121, Hungarian peasant from Jaziger country; 4122, Hungarian peasant from Matra mountains; 4123, Egyptian outpost in Dobruscha; 4124, Serbian woman from Belgrade; 4125, Albanian Bachi-Bozouck, Danube army; 4126, Vlach peasant; 4127, Hungarian shepherd from the Carpathians; 4128, Married woman from Arokszallas; 4129, Croatian woman from the Bosnian borders; 4130, Gypsy blacksmith from the Matra mountains.
Towards the back of the gallery we found some oil paintings that had not found a place in the lower rooms and galleries.
A Capture of Smolensk (3483), by M. Langlois; a Portrait of the late Abbé de Lamennais (3249), by the late Guérin; a Portrait of M. Manin, former Dictator of Venice (2522), by M. Belly; a Muleteer of the Var (3022), by M. Loubon; the Interview (3575); Manola, in Spain (3570), by M. Armand Leleux; Support and Forgiveness (2782), by M. Compte-Calix; Portrait de M. Peccarer,avocat (3849); Portrait de M. Chenavard, peintre, by M. Ricard; une Descente de croix (3514), by M. La-zerges; des Chevaux de labour d'Alsace (3451), by M. Lalaisse; finally a magnificent lithograph (4851) by M. Soulange-Teissier, representing St. François d'Assise, after M. Benouville.
We ended our walk in the upper gallery with a general view of Paris, taken from the terrace of the Observatory, by M. Marlet.
In the staircase that we took to descend from the gallery and leave the Exhibition, we point out some paintings that would have been worthy of a more favourable place: a Chain of convicts in 1788 (2739), by M. Cibot; the Acropolis, by M. Baudelaire, by M. Baudelaire; and a painting by M. Baudelaire, by M. Baudelaire. Cibot; the Acropolis of Athens (2413), and the Parable of the Good Samaritan (2415), by M. Claude Aligny; Marée basse (3542), by M. Lepoitevin; an Interior of Blacksmiths (3577), by Armand Le-leux; Donkey Carrying Relics, by M. Leray; and the Marchande d'amours (3380), by M. Isambert.
© Guide dans le Palais de l'Industrie et des Beaux-Arts 1855