Emile John Horace Vernet, soldier and artist, was the grandson of Claude Joseph Vernet (236). He was decorated in 1814 by Napoleon for his gallant conduct before the enemy at the Barrière de Clichy, on which occasion he served in a regiment of hussars. In the Louvre there is a picture by him representing the defence of Paris on that occasion. On the fall of the Empire he left France for a time, but he gradually won the favour of the court. In 1833 he joined the French army at Algiers, and there gathered material for the huge battle-pieces which he painted for Louis Philippe. The Crimean War furnished him with another congenial set of subjects. His work had a great vogue in its day, but owed more to its patriotic and stirring subject-matter than to abiding artistic qualities.
Less ideal than the beautiful sketch which David made of Napoleon as First Consul, or the later conventional pictures painted for a generation which had not seen the original. There is no dreamy intensity in the eyes, and no engaging smile. The famous lock in the centre of the forehead is there, and the face is still handsome, imposing, and resolute; but there is already something of the heaviness which presaged his fall.
1286. A BOY DRINKING.
Murillo (Spanish: 1618-1682). See 13.
"The boy is resting his left arm on a table and holding a square bottle, like one of those used for schiedam. The head is finely modelled, with a firm, broad touch; the bright eyes are deep set under the brow, and they betray eager delight in the draught he is taking. The flesh tones are unusually pure and bright for Murillo. The picture seems to be that which, named 'A Spanish Youth Drinking,' was sold in 1836 with Lord Charles Townshend's collection for £414. With the Earl of Clare's pictures was sold, in 1864, 'A Peasant holding a Bottle and drinking from a Glass,' which had belonged to Prince Talleyrand and Lord C. Townshend,' for £1365" (Athenæum).
1287. INTERIOR OF AN ART GALLERY.
Dutch School (17th Century).
Of interest alike for its technical skill and for its historical information. No less than forty-two pictures hang upon the walls of the "Art Gallery," and the collection is very interesting as showing the taste of an amateur of the period. In addition to these, there are globes, gems, maps, engravings, nautical instruments, pieces of sculpture, and other "objects of vertu"—all painted with miniature-like delicacy. Especially charming is an elaborately inlaid cabinet with china and other "curios" upon it. Notice also the fine Persian carpet. The art treasures are being eagerly scanned by several groups of connoisseurs, whilst—with a touch, perhaps, of satiric intent—a monkey is perched on the window-sill, criticising the critics. It is interesting to note that with only three exceptions all the paintings depicted in the Art Gallery are in black frames. This was the common practice with the Low Country painters. Several of the latest additions to the Dutch pictures in the Gallery are in their original black frames. The famous Teniers at Vienna of "The Archduke's Gallery" is an equally apt illustration of the taste of Dutch and Flemish painters (Athenæum, 2nd January 1892).