700
[Class XXX.
expression and careful execution, lmt the drapery is drawnover the ridge of the leg so as to intercept its outline, ina maimer not consistent with the laws of Plastic Art .Honourable Mention. (108, p. 1120.)
VI. ELECTORATE OF HESSE CASSEL .
C. M. Wejshaupt Sons, jewellers, of Hanau , A chess-board in gold and silver. The sides of the board arerichly ornamented with festoons of Rowers, small ani-mals, birds, &c., in admirable taste, and executed inenamel with the utmost delicacy and minuteness. Thepieces are finished with the same extraordinary richnessand refinement of ornament. The kings are portraits ofthe two great antagonist monarchs of the early part ofthe sixteenth century, the Emperor Charles V. and Fran-cis I. of France; the queens represent Margaret of Parma ,the daughter of the Emperor, and Margaret of Valois , thesister of Francis. The work properly belongs to ClassXXIII., and has been rewarded there with a CouncilMedal; but from its great merit as a work of art, I havefelt it my duty to notice it here. (412, p. 1073.)
VII. GRAND DUCIIY OF HESSE DARMSTADT.
C. \V. Heyl, ivory-carver in Darmstadt . A largegoblet, on which is carved in relief the battle of Armhiius,after a design by Lindenschmidt. This work is entitledto great credit, from the extraordinary finish of the ex-ecution. The introduction, however, of several planes inthe relief, and the violent foresliortenings, give to thewhole composition a picturesque character at variancewith the principles of Plastic Art , whilst in some of theforesliortenings, particularly that of a horse, there is apositive want of drawing. Honourable Mention. (75,p. 1129.)
VIII. OLDENBURG.
Architectural Models.
J. H. Cassebotim, of Oldenburg (1, p. 1135). A modelof the castle of Oldenberg, correct in its general propor-tions, and carefully finished, though in the details of thearchitecture the character of the several members is notaccurately rendered. Honourable Mention.
The French have been distinguished for many genera-tions by the great encouragement they have bestowed, asa nation, on the Fine Arts. The French Government,under every change in its outward form, has not failed toregard Art as one of the most important instruments ofcivilization; and recognising its great and beneficial in-fluence on the manufactures of the country*, has, by themost liberal grants, placed it in a peculiar manner underthe protection of the State. Millions of the national re-venue have, in consequence, been devoted to the erectionof great public edifices, and to the purchase of the bestworks of native artists. Establishments like that of theGobelin Tapestry, and the Sevres China Manufactory, orthe Ecole des Arts et des Metiers, have been not onlyfounded but maintained by the State at an immense cost.In consequence of this encouragement on the part of theGovernment, the French school of Art has been most fer-tile in its productions; many branches of art have beenbrought to a rare degree of perfection, and the diffusionof an improved taste lias exercised a most beneficial in-fluence on a variety of trades and handicrafts. By thesemeans Paris has become an universal market, not onlyfor the Fine Arts themselves, but for most of the branchesof industry to which they are in any way allied.
A. Sculpture avd Works of Plastic Art.
1. Sculpture on a large Scale.
During the first years of the French Revolution , com-mencing with 1789 onwards, a reaction against the styleof art, previously esteemed, was brought about by thepainter David. This movement was followed up by thesculptors Chaudet and Bosio, who devoted themselves to
a diligent but cold imitation of the master-pieces of an-cient Roman sculpture.
At a later period the style of many sculptors wasaffected by the passing but dangerous influence of Canova.After this a very strong Realistic tendency prevailed, andat a later period still the influence of the best Greek Arthas been felt in the French as in other modern schools.This tendency on the one hand to revert to the pureGreek models, and the Realistic tendency on the otherhand, are the two chief movements which characterisethe modern French school. Both styles, and the Realisticespecially, were represented in the Exhibition by a num-ber of remarkable works; but it is to be regretted thatmany distinguished sculptors, such as Rude, Duret, Jaley,Simard, Dumon, Ramay, the Comte Nieuwekerke, theBaron de Triqueti, and David of Angers, did not contri-bute any work.
J. Pradier, Member of the Institute; Phryne (1407,p. 1243). In this youthful female figure the beauty offeature, the subtle refinement of form, and the sprightlygrace of the attitude, alike correspond with the name ofthe celebrated IJetaira which M. Pradier lias given to hiswork. The careful chiselling of the surface, and thegeneral breadth of the treatment, show that the sculptorhas not studied the master-pieces of Greek Art in vain.On the other hand, for so young and beautiful a form,there is rather too large a development of the body; thedrapery in front falls too perpendicularly, so as to cut thefigure in two, and its monotonous parallel lines wantmovement; whilst behind, the mass of folds assumes theunsightly form of a triangle. The idea of ornamentingthe hem of the garment with a red “ Mteander” borderis not happy, for, in contrast with the colourless uni-formity of the rest of the marble, such an ornament ap-pears crude and misplaced.
This artist also exhibits a group (Ibid.\ cast in bronze,of a crouching Venus conversing with a Cupid, who leansagainst her. There is great originality in the conceptionof this group, and the artist has been for the most partvery happy in the selection and treatment of the forms.The execution, however, is not equally careful through-out. Council Modal for the Phryne .
Auguste Debay, of Paris . “ Le Premier Bercean.”This name is given by the sculptor to a figure of Eve,seated, with her hands clasped over one knee, and sup-porting in her lap her sleeping infants, Cain and Abel .In the form and attitude of Eve there is great beauty,truth, and refinement of feeling, and the countenance ad-mirably expresses the tenderness of a mother. Thetreatment of the figure, however, is rather too picturesquein character; the general motive is somewhat strainedand violent; the forms of the children are not happilycomposed; and there is great want of style in the hair ofEve, which is gathered together behind in a somewhatclumsy mass. Prize Medal. (45, France , p. 1173; andsee Illustration.)
E. L. Lequesxe, of Paris (Main Avenue East). ASatyr , cast in bronze, represented after the manner of theancients, dancing on a wine-skin, in a state of joyousdrunkenness. In this figure the character of the head,and of the strong, hard muscles, quite correspond withthe general Satyr type created by the imagination of theancient artist. The motion is easy and natural, and thecarefulness of the execution is maintained throughout.Prize Medal.
A. Etex (1215, Main Avenue, East, p. 1236). Of thethree groups exhibited by this artist the most agreeable isthat in marble of Hero and Leander, standing mournfullybeside each other.
Cain and his Family. The characteristics of a base,abandoned nature are admirably expressed in the counte-nance and coarse clumsy limbs of Cain , which are verycarefully studied from the life: in plaster.
The allegorical group (in plaster) of the City of Paris imploring heaven to take away the plague of Cholera , isa less agreeable work, on account of the manner in whichthe subject is treated. The City is represented as aseated female figure, with an old man and a youth expir-ing of the pestilence, one on each side. In these figuresthe moment of death is expressed with wonderful truth.