Studio: international art (28.1903)

Frederic Houbron

course of his travels ; this view of L'Ecluse de grown on piles—a fairy city of wood, with pointed
la Monnaie, and the Pont-Neuf, whose lively crests and spires, and campaniles and colonnades,
modernity he has lightly suggested ; the Pont-au- A Vue de la Rue des Nations, in the possession of
Change, whence he has sketched the whole course M. Henri Monod, testifies to the artistic delight
of the stream, with the Hotel-Dieu, the Palais de felt by the painter at the realisation of his dream.
Justice, and the houses of la Tournelle; the Pon- But, alas! the dream was all too brief. It dis-
ton de I'Hotel de Ville, and many others that might appeared gradually, as the palaces were completed,
be mentioned. and the picturesque scaffoldings were removed.

Houbron loves the stained glass of the churches, Next M. Houbron devoted his energies to
their shady porches, their antique galleries, with realising the impression of the ardent life of the
encarbellements bristling with fearsome gargoyles. Parisian boulevards, and other populous places
He loves, too, when repairs are going on, the where the public congregate. Among these efforts
inconceivable maze of scaffoldings and stagings are La Place de la Bastille, a Jour de Mi-Careme,
which give these monuments the appearance of lofty Le Boulevard Saint-Martin, le Soir, Le Boulevard
towers erected for defence,
and as for the use of the
catapult among the ancients.
His Sacre - Ca:ur and his
Pointe Saint-Eustache are ' s\

characteristic examples of
these scenes, in which he §j i

excels. In the first of these E - \
one seems suddenly to dis-

"Old Paris" and the Rue
des Nations began to spring
up on both banks of the
Seine. A city sprang into

being suddenly, as though "allegory of spring" from the dry-point by auguste rodin