27 A virtual manifesto was published for 35 Antonin Proust, "Edouard Manet Durand-Ruel's new gallery in Revue inter- (Souvenirs)," Revue blanche (\ March 1897), national de I'art et de la curiosite, a maga- pp. 202-3. zine directed by Durand-Ruel himself, 36 Marius Ghaumelin, "Le Salon de 1869: V," although this was not noted in its pages; see Llndependance beige (21 June 1869); Jacques Raffey, "Galerie de M. Durand- Edmond Duranty, "Le Salon de 1870: III," Ruel," Revue Internationale de I'art et de la Paris-Journal'(5 May 1870). curiosite 2 (15 December 1869), pp. 478-85. 28 See Jane Mayo Roos, Early Impressionism 37 Castagnary, Salons (1857-1879), vol. I, and the French State (1866-1874) pp. 364-65; Paul Mantz, "Le Salon de 1868: (Cambridge and New York, 1996). 2e et dernier article," Gazette des beaux-arts (July 1869), p. 13. 29 Chaumelin, "Salon de 1868: V." 38 Paul Mantz, "Salon de 1868: V," 30 Jules Castagnary, Salons (1857-1879) (Paris, LI I lustration (6 June 1868), p. 362. 1892), vol. i, pp. 364-65. 39 Theophile Thore, Salons de W. Burger, 1861 31 Theodore Duret, "Salon de 1870," in a 1868 (Paris, 1870), vol. 2, pp. 531-32, first Critique a"avant-garde (Paris, 1885), published in Llndependance beige (29 June pp. 19-20, first published in LElecteur libre 1868). (May and June 1870). 40 For further discussion of the illegibility and 32 L. Laurent-Pichat, "Salon de 1870 (lie arti- moral uncertainties of these pictures, see cle)," Le Reveil (4 June 1870). John House, "Manet's Naivete," in The 33 These debates were brought into focus by Hidden Face of Manet, supplement to the much-discussed Opinion de M. le Burlington Magazine 128, no. 997 (April Procureur Dupin sur le luxe effrene des 1986), pp. 1-19, and John House, "Social femmes, a speech delivered in the Senate in Critic or Enfant Terrible: The Avant-garde 1865, reprinted in Ernest Feydeau, Du luxe, Artist in Paris in the i86os," in Actes du des femmes, des moeurs, de la litterature et de XXVIle congres international d'histoire de la vertu (Paris, 1866), pp. 195-204. Dupin's rart: LArt et les revolutions, section 2: homily elicited responses from many points Changements et continuite dans la creation of view, among them Feydeau's, whose artistique des revolutions politiques, ed. book is from the perspective of a fashion- Klaus Herding (Strasbourg, 1992), pp. able boulevardier, and Olympe Audouard's, 47-60. whose Le Luxe des femmes: Reponse d'une 41 Charles Baudelaire, "Le Peintre de la vie femme a Monsieur le Procureur General moderne," Le Figaro (26, 29 November, Dupin (Paris, 1865) is from the perspective 3 December 1863), text written circa of a femimstfemme du monde. 1859-60 and reprinted many times. 34 Castagnary, Salons (1857-1879), vol. I, 42 For a valuable discussion of genre painting pp. 364-65. Although the models for The in the context of censorship, see Leila W. Balcony have been identified as the painters Kinney, "Genre: A Social Contract?" Art Berthe Morisot and Antoine Guillemet and Journal 46, no. 4 (winter 1987), pp. 267ff. the violinist Fanny Glaus, the fact that they See also John House, "Manet's Maximilian: are not named in the painting's title means Censorship and the Salon," in Elizabeth C. that this played no part in the way in which Childs, ed., Suspended Licenses: Essays in the work was viewed at the Salon, except the History of Censorship and the Visual Arts among the small circle of Manet's friends. (Seattle, 1997). 43 For a more detailed critique of the view that Interior should be seen as an illustra- 82