_The Coronation of Charlemagne by Leo III. in the old basilica of S. Peter_, by Henri Lévy, looks as if it had lost its way, or had been taken to the Panthéon until a suitable dwelling could be found elsewhere. Like Cabanel's _S. Louis_, it is neither Classic, nor Mediæval, nor Modern--simply weak and smooth, respectable and historic, after the manner of the Delaroche school. It is a pity, for, in other hands, these subjects would have been a treasure. Think of the charming frescoes by Olivier-Merson in the gallery of the Cour de Cassation of the Palais de Justice, how exquisite is the simplicity of the boy king, and the grave beauty of his mother. The _Coronation of Charlemagne_ is composed as an academician would be sure to conceive the subject. A flight of steps, with the emperor sitting at the top; churchmen and laymen adoring, and an Angel swooping down with a crown. At the bottom of the steps, a warrior standing with sword and shield, and a sitting monk instructing some children from an open book. Completely opposed to these works are the panels of Puvis de Chavannes, one of the first decorative artists of our time. His painting is vague, and somewhat foggy; his figures are clumsy, thick of ankle, neck, and wrist, but otherwise attenuated to the last degree; and were it not that the far-off people are smaller than those near the spectator, no one would know that they are on different planes, for of aërial perspective there is none. Yet there is a certain purity of sentiment about this, as in all M. de Chavannes' work, which is almost Archaic. The very dulness of the surface and the opacity of the medium employed render these pictures a suitable wall covering for Soufflot's grandiose classicality. The treatment is dignified, poetic, refined, but at the same time intensely modern and realistic--witness a hen and chickens picking up some grain in the foreground, and the charming vistas of landscape background. The colour is tame, and all the members of the Geneviève family are remarkable for plainness, not to say ugliness of face and clumsiness of figure; but the feeling which pervades the whole work is that of a sort of Pagan Renaissance, suitable to Soufflot's "_gâteau de Savoie_." [Illustration: PUVIS DE CHAVANNES (FRAGMENT).]