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THE PARIS EXHIBITION.

Ill

CHAPTER IX.

THE FINE ARTS.

The Fine Arts are divided between the Central Garden,
which contains the greater part of the statuary, and the last
Gallery but one where the pictures are exhibited.

Entering the garden we find first of all a statue of Carrara
marble by Dubray representing the Empress Josephine, who
seems placed there to preside over the Arts of which she was
so fond.

The infancy of Bacchus, by Perraud, is a pretty group
which obtained for its author the medal of honour in 1863.
The little god climbing on the shoulder of a fawn is pulling
his ears, and threatening him with his thyrsus.

The death of Abel, and Ghactas at the tomb of Atala, by Grti-
yere, are two touching scenes very well executed.

The Florentine Singer of Paul Dubois, an eminently charac-
teristic work of the modern school, was one of the greatest
attractions, in the Salon of 1865.

The Neapolitan Fisherman, by Carpeaux, is a charming com-
position, which has nothing of the affected style of the Italian
school; but the chief piece of this great artist is the group of
Ugolin surrounded by his children, which for boldness of con-
ception and vigour of design is worthy of the chisel of Michael
Angelo. We must, however, confess after having done
 
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