1. The brochure is a small octavo (21.5 x 13 cm.) with fifty-seven numbered pages preceded by a three-page preface. On the first blank page, recto-verso, headed by Clement de Ris's signature and date, is his account penned in a clear hand; in the printed text there are handmade corrections of single words. The original French is given in the Appendix. MarieClaude Chaudonneret, La Figure de la Republique, le Concours de 1848 (Reunion des musees nationaux: Paris, 1987), p. 19, cites briefly from the brochure, but is unaware of its authorship. It is mentioned by Madeleine Rousseau, La vie et l'oeuvre de Philippe-Auguste Jeanron (These de l'Ecole du Louvre, 1936; Reunion des musees nationaux: Paris, 2000) and in an important footnote in William Hauptman, 'Juries, Protests, and Counter-Exhibitions before 1850', Art Bulletin, vol. 67, no. 1, March 1985, pp. 95-109, but not referred to at all in three recent publications: T. J. Clark, The Absolute Bourgeois, Artists and Politics in France 1848-1851 (1973; University of California Press: Berkeley, 1999); Neil McWilliam, 'Art, Labour and Mass Democracy: Debates on the Status of the Artist in France around 1848', Art History, vol. 11, March 1988, pp. 64-87; and Chantal Georgel, 1848, la Republique et l'art vivant (Reunion des musees nationaux: Paris, 1998). The only discussions I have found of it (both very brief) are in George [sic] Lafenestre, 'Le Salon et ses vicissitudes', Revue des Deux Mondes, vol. 51, May 1881, pp.104-35, and Leon Rosenthal, 'Les conditions sociales de la peinture sous la monarchie de Juillet', Gazette des beaux-arts (second article), vol. 52, no. 4, March 1910, pp. 216-41 (incorporated in his Du romantisme au realisme [H. Laurens: Paris, 1914]).