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quality that can be seen in a painting. Thoma describes Crimean War battle paintings in great detail, including two paintings that were regarded as critical successes, Gustave Doré’s Battle of Alma (1855) and Pils’ Landing in Crimea (1857). Thoma writes: “How to imbue a battle with historical truthfulness continued to be an urgent question when critics analyzed military paintings of the Crimean War” (147). In the same chapter, Thoma offers a fascinating reconstruction of the Crimean War Gallery, a room that no longer exists in the Château de Versailles, but that nevertheless ushered in “a new era in the genre of military painting” (147). The gallery, which used the space of the unfinished Moroccan Gallery, was conceived on the model of the two adjacent rooms at Versailles, the Constantine Gallery and the Smalah Gallery, both designed and executed by Horace Vernet under the patronage of Louis-Philippe during the July Monarchy. The Crimean War Gallery was Napoleon III’s opportunity to honor his own government’s military exploits and he did so, as Thoma describes, by engaging the services of eighteen artists. The large canvases that once lined the walls of the gallery depicted the various phases of the war, starting with the troop landings on the Crimean Peninsula. Yvon’s three monumental Hornstein: The Final Spectacle: Military Painting under the Second Empire, 1855–1867 Nineteenth-Century Art Worldwide 19, no. 1 (Spring 2020)

The Final Spectacle: Military Painting under the Second Empire, 1855–1867 by Julia Thoma