ABSTRACT
In L'Artiste Clement de Ris devoted two articles of his Salon review that year to an attack on the jury, which the journal accompanied with a petition to the King urging reform. Though Pradier's Nyssia was given in 1848 the prominence that the authors have seen in Gautier's review of the sculpture, it was not the work with which he began. When Gautier turned to the painting itself on show in 1848, he began with France's two greatest living painters: Ingres, as usual absent from the Salon, and Delacroix, as usual present. Gautier had supported Ziegler since 1833, when in his first Salon review he had praised his Giotto dans l'atelier de Cimabue as 'un des morceaux les plus remarquables du Salon'. Though Pradier's Nyssia was given in 1848 the prominence that we have seen in Gautier's review of the sculpture, it was not the work with which he began.
