A Bibliographical, Antiquarian and Picturesque Tour in France and Germany Volume II Part 18

[163] [The Reader must not break up with the party, until he has cast his eye upon the autograph of an Individual, of as high merit and distinction in the department which he occupies, as any to which he has yet been introduced. It only remains to say--it is the autograph of Mons.

[Autograph]

_LETTER X._

THE COLLECTIONS OF DENON, QUINTIN CRAUFURD, AND THE MARQUIS DE SOMMARIVA.

All the world has heard of the famous DENON, the Egyptian traveller; and editor of the great work of the _Antiquities of Egypt_, published in 1802, in two sumptuous folio volumes. As you possess a copy of the French work,[164] with choice impressions of the plates, I need say nothing further upon the subject--except that I believe it to be one of the very finest works of the kind, which has ever appeared ... on the score of art.

But the author has other claims to attention and popularity. He was an intimate friend--and certainly the confidential adviser--of Buonaparte, in all public schemes connected with the acquisition of pictures and statues: and undoubtedly he executed the task confided to him with _ability_. He was verging oh his sixtieth year, when he started with his master upon the Egyptian expedition--a proof at least of energy, as well as of good disposition, in the cause. But Denon has been a great European traveller: he has had access to private, as well as to public, cabinets; and has brought home some rich fruits of his enterprise and taste.

His house, on the _Quai Malaquais_, is the rendezvous of all the English of any taste--who have respectable letters of introduction; and I must do him the justice to say, that, never did a man endure the _inconveniences_ which must frequently result from keeping such open house, with greater adroitness and good humour than does the Baron Denon. I have sometimes found his princ.i.p.al rooms entirely filled by my countrymen and countrywomen; and I once, from the purest accident, headed a party of _twenty-two_ ... in which were three British officers, and more than that number of members of either University. I will fairly own that, on receiving us, he drew me quietly aside, and observed:--"Mon ami, quand vous viendrez une autre fois, ne commandez pas, je vous prie, une armee si nombreuse. Je m'imaginois encore en Egypte." What was still more perplexing, we found there a party of English as numerous as ourselves. It was thus, however, that he rebuked my indiscretion.

We had twice exchanged visits and cards before we met. The card of Denon was worth possessing, from the simple, unaffected modesty which it evinced.

You merely read the word DENON upon it!... The owner of the collection which I am about to describe, is certainly "un peu pa.s.se" as to years; but he has a cheerful countenance, with the tint of health upon it; small, gray, sparkling eyes, and teeth both regular and white.[165] He is generally dressed in black, and always as a gentleman. His figure, not above the middle height, is well formed; and his step is at once light and firm. There is doubtless a good deal which is very prepossessing in his manners. As he understands nothing of the English language, he can of course neither read nor speak it.

It is now time to give you some idea of this curious collection. You ascend a lofty and commodious stone staircase (not very common in Paris) and stop at the _first_ floor:--another comfort, also very rare in Paris. This collection is contained in about half a dozen rooms: lofty, airy, and well furnished. The greater number of these rooms faces the Seine. The first contains a miscellaneous a.s.semblage of bronze busts, and pictures of Teniers, Watteau, and of the more modern School of Paris. Of these, the Watteau is singular, rather than happy, from its size.[166] The two Teniers are light, thin, pictures; sketches of pigs and a.s.ses; but they are very covetable morsels of the artist.[167] In a corner, stands the skeleton of a female mummy in a gla.s.s case, of which the integuments are preserved in a basket. This is thought to be equally precious and uncommon. M. Denon shews the foot of the figure (which is mere bone and muscle) with amazing triumph and satisfaction. He thinks it is as fine as that of the Venus de Medicis, but there is no accounting for tastes. Among the busts is one of West, of Neckar, and of Denon himself: which latter I choose here to call "_Denon the First_." The second room contains a very surprising, collection of Phoenician, Egyptian, and other oriental curiosities: and in a corner, to the left, is a set of small drawers, filled with very interesting medals of eminent characters, of all descriptions, chiefly of the sixteenth century.

Above them is a portrait of the owner of the collection--which I choose to call "_Denon the Second_." This room exhibits a very interesting melange.

Over the fire place are some busts; of which the most remarkable are those of _Petrarch_ and _Voltaire_; the former in bronze, the latter in terra-cotta; each of the size of life. Voltaire's bust strikes me as being the best representation of the original extant. It is full of character; a wonderful mixture of malignity, wit, and genius.[168]

The third room is the largest, and the most splendidly hung with pictures.

Of these, the circular little Guercino--a holy family--is, to my poor judgment, worth the whole.[169] The Rysdael and Both are very second rate.

As you approach the fire-place, your attention is somewhat powerfully directed to a small bronze whole length figure of Buonaparte--leaning upon a table, with his right hand holding a compa.s.s, and his left resting upon his left thigh.[170] Some charts, with a pair of compa.s.ses, are upon the table; and I believe this represents him in his cabin, on his voyage to Egypt. Is there any representation of him, in the same situation, upon his _return_? However, it is an admirable piece of workmanship. In this room is also (if I remember rightly) the original colossal head of the ex-emperor, when a young man, in white marble, by CANOVA. But I must not omit informing you that here is also another portrait, in oil, of the owner of the collection--which, if you please, we will call "_Denon the Third_." You next enter a narrow, boudoir-shaped apartment, which contains, to my taste, the most curious and precious morsels of art which the Baron Denon possesses. They are specimens of the earlier schools of painting, commencing with what are called _Giottos_ and _Cimabues_--down to a very striking modern picture of a group of children, by a late French artist, just before the time of our Reynolds. This latter you would really conceive to have been the production of Sir Joshua himself. Of the specimens of the earlier schools, I was most struck with the head of PISANI, the inventor of medals--of the fifteenth century--painted by _Antonello da Messina_, a pupil of John Van Eyk. It is full of nature and of character. I could not get away from it. "Is it possible to obtain a copy of this picture?"--said I to its owner. "I understand you, (replied Denon) you wish to carry that copy to your own country. And to have it engraved there?" ... "Most unquestionably"--resumed I. "It is at your service (he rejoined); Laurent will copy it admirably." I hardly knew how to thank Mons. Denon sufficiently.[171]

[Ill.u.s.tration: PISANI.]

[Ill.u.s.tration: DENON.]

There was another head ...but "non omnia possumus omnes." I mean, one of a female in profile, by MASACCIO. It was full of expression.[172] "What, (said its owner,) must you have an engraving of _that_ head also? It is bespoke; by myself. In short, every thing which you behold in these rooms (including even your favourite Pisani) will be _lithographised_ for the publication of my own collection." Of course, after this declaration, I was careful of what I did or said. "But there was yet _one_ thing in this collection--of which, as I saw such a variety, he could not refuse me a copy." "What might that be?" "A portrait of HIMSELF: from marble, from oil, or from enamel." "Take your choice: he replied: "faites ce que vous voulez,"--and it was agreed that M. Laguiche should make a drawing of the bust, in white marble, (I think the sculptor's name is Bosio) which is indeed very like him.[173] There is also a large and beautiful enamel of Denon, full dressed with all his orders, by Augustin; perhaps the most perfect specimen of that artist which France possesses. It is the work of several years past, when Denon had more flesh upon his cheek, and more fire in his eye. We may therefore say that this room contains "_Denon the Fourth, and Denon the Fifth_!"

In the same room you observe a very complete specimen of a papyrus inscription; brought from Egypt. Indeed the curiosities brought from that country (as might naturally be supposed) are numerous and valuable. But my attention was directed to more _understandable_ objects of art. Opposite to the bust of Denon, is one of his late master, the ex-Emperor, in bronze: and above this latter, is a small picture, by _Lucas Cranach_, of a man with a bag of money tempting a young woman: full of character, and singularly striking. This room--or the one adjoining, I have forgotten which--contains M. Denon's collection of the prints of MARC ANTONIO or of REMBRANDT--or of both; a collection, which is said to be _unequalled_.[174]

Whether the former be more precious than the latter, or whether both be superior to what our British Museum contains of the same masters, is a point which has not yet been fairly determined. But I asked, one morning, for a glimpse of the Rembrandts. We were alone; just after we had breakfasted together. M. Denon commenced by shewing me two different states of the _Coach Landscape_, and the two _great Coppinols_ with _white grounds_--each varying somewhat!!! "Enough," cried I--holding up both hands,--"you beat all in England and all in France!"

From hence you pa.s.s into a fourth room, which is M. Denon's bed-chamber.

About the fire-place are numerous little choice bits of the graphic art.

Two small _Watteaus_, in particular, are perfectly delicious;[175] as well as a very small _Sebastian Bourdon_; of a holy family. In a corner, too much darkened, is a fine small portrait of _Parmegiano_ in profile: full of expression--and, to the best of my recollection, never engraved. These are, I think, the chief bijoux in the bed-room; except that I might notice some ancient little bronzes, and an enamel or two by Pet.i.tot. You now retrace your steps, and go into a fifth room, which has many fair good pictures, of a comparatively modern date; and where, if I mistake not, you observe at least _one_ portrait in oil of the master of the premises. This therefore gives us "_Denon the Seventh_!" It is here that the master chiefly sits: and he calls it his workshop. His drawers and port-folios are, I think, filled with prints and old-drawings: innumerable, and in the estimation of the owner, invaluable. You yet continue your route into a further room,-- somewhat bereft of furniture, or en dishabille. Here, among other prints, I was struck with seeing that of _the late Mr. Pitt_; from Edridge's small whole length. The story attached to it is rather singular. It was found on board the first naval prize (a frigate) which the French made during the late war; and the Captain begged Monsieur Denon's acceptance of it. Here were also, if I remember rightly, prints of Mr. Fox and Lord Nelson; but, as objects of _art_, I could not help looking with admiration--approaching to incredulity--upon three or four large prints, after Rembrandt and Paul Potter, which M. Denon a.s.sured me were the production of _his_ burin! I could scarcely believe it. Whatever be the merits of Denon, as a critical judge of art, ancient or modern, there is no person, not wholly blinded by prejudice, or soured by national antipathies, that can deny him great zeal, great talent, and great feeling ... in the several pursuits of art, of which his apartments furnish such splendid evidence.

But, you may be disposed to add, "has this celebrated man no collection of Books?--no LIBRARY? At least he must have a _missal_ or two?" 'Tis even so, my friend. Library, he has none: for as "one swallow does not make a summer," so three or four pretty little illuminated volumes do not const.i.tute a library. However, what he has of this kind, has been freely exhibited to me; and I here send you a transscript of some notes taken upon the spot.

I was first shewn a small missal, prettily executed in a gothic type, of the Italian form, after the models of those of Jenson and Hailbrun. The calendar has the paintings injured. On the reverse of the last leaf of the Calendar, we read, in roman capitals, the following impressive annotation: DEUM TIME, PAUPERES SUSTINE, MEMENTO FINIS. On the reverse of the ensuing leaf, is a large head of Christ, highly coloured: but with the lower part of the face disproportionately short: not unlike a figure of a similar kind, in the Duke of Devonshire's Missal, described on a former occasion.[176] The crucifixon, on the next leaf but one, is full of spirit and effect. Then commence the _Drolleries_: or a series of subjects most whimsically conceived, but most sweetly touched and finished. You cannot imagine any thing more perfect of their kind and for their size, than are the beasts, birds, insects, fruits, and flowers. The vellum harmonises admirably, from its colour and quality. There are several comparatively large illuminations: some with very small figures; and two (one of St. John the Baptist, and the other of Christ mocked) are of great beauty in respect to force of colour. The initial capitals are executed with equal attention to taste in composition, and delicacy in colouring. This diminutive volume is only four inches high, by about two inches and three quarters wide. It is bound in red velvet, and mounted with silver k.n.o.bs, with heads of cherubim upon them. It is fastened by a silver clasp; upon which is painted, and glazed, a head of Christ--of the time, as I conceive. M. Denon told me he bought this little gem of a bookseller in Italy, for 400 francs.

He has another Missal, about half an inch wider and taller, in the binding of the time, with stamped ornaments. This exhibits flowers, fruits, and birds, in the margins; touched with great delicacy and truth. Some of the borders have a gold ground, shaded with brown, upon which the fruit is richly brought out in relief: others have human figures; and the border, encircling the temptation of our first Parents, has nothing superior to it--and is really worth an engraved fac-simile: but not in _lithography!_ It is on the forty-fifth leaf. One of the heads, in the border, is like that of our Edward VI. The third illuminated ms. volume, in M. Denon's possession, is probably the most valuable. It is a quarto, written in the Spanish language, and bearing the date of 1553. The scription is in red and black letters, alternately. This book contains several large illuminations, and coloured borders; and I was told, by its owner, that it was the _very book_ upon which the OATHS OF INITIATION INTO THE SPANISH INQUISITION were administered. Its condition is most perfect. The first large illumination represents a Saint, with his scull divided by a sword, and blood streaming copiously from him: a palm, with three crowns, is in his right hand; a book is in his left: at top we read "_Exsurge Domine, et judica Causam tuam_."

The Saint is surrounded by a border of fruits and flowers. It is the princ.i.p.al embellishment in the volume. This book is in its original, black leather, stamped binding, with k.n.o.bs and clasps. A marginal note thus remarks: "_ynoscan obligados a.s.seruier cargome off^o. de ella salbo si de su voluntad loquisier en servi_."

In my last visit to Denon,[177] I met with ANDRIEU; a name which reflects l.u.s.tre upon the Fine Arts. As a medallist, he has no equal, nor perhaps ever had any, among the French. Our own SIMON enables us to oppose to him a rival of great and unquestionable talents; but we have slept soundly, both in the _medallic_ and _numismatic_ art, since the time of Cromwell: except that we were shook a little out of our slumbers during the reigns of Anne and George I. Andrieu has more of the pure Greek feeling about him, than Simon ever evinced: and prefers executing his _hair_ more in ma.s.ses than in detail. He is therefore on this head, a copyist; but he transfuses into the countenance that soul and intelligence which we delight to contemplate, and which we are prompt to own, in the countenances upon Greek coins. The series of _Bonaparte-Medals_ are, almost entirely, I believe, the work of his hand. But _every_ head is _safe_ with Andrieu. He had just brought a medal of the present King (Louis XVIII.) to shew Denon. It was about the size of our half crown, in bronze. The countenance was in profile:--an admirable, and a very strong resemblance. The reverse was the equestrian statue of Henri IV., upon the Pont-Neuf.[178] Upon the whole, quite as good, as an effort of _art_, as what has been done for Bonaparte. The artist had well nigh succeeded in drawing me into a sort of half temptation to bespeak an impression of the medal _in gold_. "It was but a trifling sum--some twenty louis, or thereabouts. It would look so sharp and splendid in gold! and...." "I thank you much Sir, (replied I) but twenty louis will carry me almost to _Strasbourg_, whither I am to proceed in about a week or ten days." One thing I must add, much to his good sense and pure patriotic feeling:--he had been indirectly solicited to strike some medals, commemorative of the ill.u.s.trious achievements of our WELLINGTON: but this he pointedly declined. "It was not, Sir, for _me_ to perpetuate the name of a man who had humbled the power, and the military glory, of my _own country_." Such was his remark to me. What is commendable in MUDIE,[179]

would have been ill-timed, if not disgraceful, in Andrieu.

Come with me, now, to a very different exhibition: to a unique collection, of its kind: to a collection, not frequently visited: as little known; but undoubtedly well deserving both of being often visited and described. It is of the _Collection of Paintings_ belonging to MR. QUINTIN CRAUFURD, living in the _Rue d'Anjou_, no. 21, that I am about to speak:--the fruits of a long residence (upwards of thirty years) in France; during the alternate commotions of republicanism and despotism. A letter of introduction procured me every facility of access to make repeated examinations of these treasures; and during my sojournings I fancied myself holding converse alternately with some of the grandees of the time of Francis I. and Louis XIV.

Such a collection of _French portraits_--almost entirely of characters who have cut a figure in _history_--is no where else to be seen in Paris. In my estimation, it is beyond all price.

Facing you, as you enter, stands--firmly upon his legs, and looking you manfully in the face--- the gallant and faithful _Comte De Brienne, Grand Master of the Ceremonies to Francis I. and Henry II._ A fine picture; and quite perfect.[180] To the left, is a charming whole length portrait, by _Velasquez_: a tender and exquisitely careful specimen of art. Of other whole lengths, but subordinately executed, you should notice one of _Christine, d.u.c.h.esse de Savoie_, daughter of Henry II. and Catherine de Medicis; very curious, and in perfect preservation. There is a duplicate of this picture in the Louvre. A much more curious picture is a whole length, supposed to be of _Agnes Sorel_, mistress of Charles VII. One minute's reflection will correct this designation of the portrait. In the time of Agnes Sorel, portrait painting, in oil, was unknown--at least in France.

The costume betrays the misnomer: for it is palpably not of the time of Agnes Sorel. Here is also a whole length of _Isabella, daughter of Philip II._ and Governess of the Low Countries. There are several small fancy pictures; among which I was chiefly, and indeed greatly struck, with a woman and two children by _Stella_. 'Tis a gem of its kind.

[Ill.u.s.tration: COMTE DE BRIENNE,

From an original Painting in the Collection of the late Quintin Crauford Esq.

London, Published June 1829, by R. Jennings, Poultry.]

Leaving this room, you turn, to the left--into a small room, but obscurely lighted. Here is a Virgin and Child, by _Sa.s.so Ferrato_, that cannot be surpa.s.sed. There is a freedom of design, a crispness of touch, and a mellowness of colouring, in this picture, that render it a performance very much above the usual representations of this subject. In the same room is a spirited, but somewhat singular, picture of the _birth of Venus_. It exhibits the conception and touch of a master. The colouring is very sober.

The name of the artist is not upon the frame, and as I was generally alone when I made my memoranda, I had no one to instruct me. You leave this room, and pa.s.s on--catching a glimpse of a lawn richly bedecked with flowers and shrubs--into a long and lofty room, which unites the two enviable distinctions of LIBRARY and GALLERY. Here you are bewildered for an instant: that is to say, you are divided in your attention between the admiration of the proportion and structure of the room, and the alternate captivation of books, busts, and pictures. But as you have had enough of _paper_ and _print_ in former despatches, I shall confine myself here exclusively to the _pencil_ and the _chisel_.

Let us first walk leisurely about the ground floor, ere we mount the gallery. To begin with the busts. That of the late _Abbe Barthelemi_, in white marble, immediately strikes you.[181] It is full of nature and of character; and the hair has just enough of the antique gusto about it to render the toute ensemble equally cla.s.sical and individualised--if you will allow this latter expression. Here is a terra-cotta head of _Corneille_, of very indifferent workmanship; and much inferior to a similar representation of him at Rouen. The terra-cotta head of _Rousseau_ is considerably better.

But the marble bust of _Voltaire_, by Houdon, throws every thing about it into tameness. It is as fine as is the terra-cotta bust of the same person which Denon possesses. Here, however, the poet is in a peruque, or dress-wig. His eyes sparkle with animation. Every feature and every muscle seems to be in action: and yet it is perfectly free from caricature or affectation. A surprising performance. This head and that of Barthelemi are quite perfect of their kind. And yet I am not sure whether I should not have preferred the fine bronze bust of _Henri II._, somewhat larger than life, to either of the preceding. But I must not forget the colossal head of _Bonaparte_, when a young man, by Canova. It is of white marble: considered to be the original. Denon has a similar head, by the same artist. I am not sure if I do not prefer Mr. Craufurd's. Of paintings, on this floor, the head of _Francis I_. by t.i.tian--(which may be called rather a finished sketch, and which is retouched in parts) is a very desirable performance; but it is inferior to the same head, by the same artist, in the Louvre. Here is a charming portrait of a Lady in the time of Louis XV., who chose to lead the life of a _Religieuse_: sweetly and naturally touched. A fine portrait of _Grotius_ is also here; well deserving a conspicuous place in any cabinet of learning.[182]

We will now walk up stairs to the gallery. Of course, in the confined s.p.a.ce between the bal.u.s.trade and the wainscot (not much more than three feet), it is barely possible to appreciate the full effect of the paintings; but I here send you a list of the greater part of them, with brief remarks, upon the general accuracy of which you may rely.

_Madame Scarron_, with the _Duc du Maine_; apparently by Mignard: in a very fresh and perfect state.

A fine head of _Racine_, and similar one of _De La Motte_.

_Mademoiselle de Guiche, Princesse de Monaco_; in all probability by Mignard. Good.

_Mademoiselle Hamilton, Comtesse de Grammont_; by Mignard. If the Comte de Grammont chose to fall in love only with beautiful women, he could scarcely, upon his own principles, (which indeed were any thing but moral) have found any one so lovely as was his WIFE. Yet I have seen handsomer portraits of her than this.

_Anne de Gonzague_. She was Princess Palatine, and daughter of Charles Duke of Nevers. This is a half length portrait. A garland is in her right hand.

A gay and pleasing picture.

_Le Chancelier d'Aguesseau_. By Rigaud. A fine mellow portrait.

_Louis XI_. A whole length; supposed to be by Leonardo da Vinci. Not very credible. It is a fine, bold, horribly-looking portrait: not in the very best state of preservation.

_Blaise Pascal_. Very fine. The artist's name is not inscribed; but there is a Murillo-like effect about this portrait, which is very striking.

Pascal holds a letter in his hand.

Next to Pascal is a prodigiously fine oval portrait (is it of _Fontaine_?) by Rigaud. No name is subjoined.

_Comtesse de la Fayette_. A fine countenance: hands apparently recoloured.

In yellow drapery.

_Julie-Lucie d'Augennes, d.u.c.h.esse de Montausier._ She died in 1671. The portrait is by Mignard. It represents this celebrated female, when young, _encadred_ by flowers. The carnation tints of the flesh, and the blue l.u.s.tre of the eye, have nothing finer in the whole circle of Mignard's performances. This is a picture from which the eye is withdrawn with no common reluctance. It is clear, bright, fresh, and speaking.[183]

The _Wife of P. de Champagne_. She holds a small oval portrait of the mother of her husband, the famous painter, in her lap. The picture is by P.

de Champagne himself. The head of the mother is very clever: but the flesh has perhaps too predominant a tint of pinkish-purple throughout.