A Bibliographical, Antiquarian and Picturesque Tour in France and Germany Volume II Part 19

_Madame de la Sabliere_. Oval: very clever.

_Madame Deshoulieres_. Similar, in both repects.

_Madame Cornuel_. Oval: a stiff performance.

_Madame la d.u.c.h.esse d'Orleans_. She is represented as Hebe. A pretty picture; but a little too much "frenchified."

_Madame de Staal_. Oval. Beautiful and perfect.

_Madame la Marquise de Rambouillet_. A 1646. A most beautiful picture. The head and shoulders are worthy of Vand.y.k.e. The curtain, in the background, is flowered; and perhaps too hard.

_Madame la d.u.c.h.esse de la Valliere, mere du dernier duc de ce nom_. She was the mother of the Duke de la Valliere who had the celebrated library; and died in 1782, within three months of reaching her hundredth year! She was an old woman, but yet very handsome, when this portrait was painted. Her colour is yet tender, and her features are small and regular. The eyes have unusual intelligence, for so protracted a period of life. It is a half length, and I should think by Rigaud. She is sitting in a chair, holding a tea spoon in her right hand, and a tea cup in her left. This may have some allusion, of which I am ignorant. The whole picture is full of nature, and in a fine tone of colour.

The _Duke of Monmouth_. He is sitting: holding a truncheon in his right hand. A helmet and plume are before him. He wears a white sash. This is a dark, but may be called a finely painted, picture. Yet the Duke is not represented as a handsome man.

_Turenne_. By P. de Champagne. Fine.

_Bossuet_. By Rigaud. This is not only considered as the chef-d'oeuvre of Rigaud, but it has been p.r.o.nounced to be the finest portrait ever executed within the last century of the French School.[184] It is a whole length; and is well known to you from the wonderful print of it by Drevet. The representation is worthy of the original; for Bossuet was one of the last of the really great men of France. He had a fine capacity and fine scholarship: and was as adroit in polemics as Richelieu was in politics. He resembled somewhat our Horsley in his pulpit eloquence,--and was almost as pugnacious and overbearing in controversy. He excelled in quickness of perception, strength of argument, and vehemence of invective; yet his sermons are gradually becoming neglected--while those of Fenelon, Ma.s.sillon, and Saurin are constantly resorted to ... for the fine taste, pure feeling, and Christianlike consolation which breathe throughout them.

One thing, in this fine whole length portrait of Bossuet, cannot fail to be noticed by the curious. The head seems to have been separately painted, on a small square piece of canva.s.s, and _let into_ the picture.

There is certainly a _rifacimento_ of some kind or other; which should denote the head to have been twice painted.

_C. Paulin_. By Champagne. Paulin was first confessor to Louis XIV.; and had therefore, I should apprehend, enough upon his hands. This is a fine portrait.

_William III_. Harsh and stiff. It is a performance (as most of those of William seem to be) for the model of a head of a ship.

_Colbert, Eveque de Montpellier_. A fine head.

_Flechier, Eveque de Nismes_. A very fine portrait. The name of the painter does not appear.

A fine half length portrait of a _Marshal of France_, with a truncheon in his hand. Both the hands are beautifully drawn and coloured.

_Marechal duc d'Harcourt_. By Rigaud.

_Eliz. Angelique de Montmorenci, d.u.c.h.esse de Chatillon_. She died in 1695 in her 69th year. This is a fine picture, but injured and retouched. The left hand rests upon a lion's head.

_F. Marie de Bourbon, fille de Madame de Montespan, et femme du Regent_. A stiffish picture; but the countenance is pleasing.

_Madame la d.u.c.h.esse de Nevers, fille de Madame de Thianges, et niece de Madame de Montespan_. A bow is in her right hand, and a dog in her left.

The countenance is beautiful and well painted. The eyes and mouth in particular have great sweetness of expression.

_Duc de Montausier_; in a hat and red feather. By Rigaud.

_Madame la d.u.c.h.esse de Sforce: fille cadette de Madame de Thianges_. A small whole length, sitting: with two greyhounds in her lap, and a third at her side.

_Le Ministre Colbert_. By Mignard. A fine picture.[185]

_Marie Leezinska, femme de Louis XV_. A cleverly painted head.

_Le Cardinal Mazarin_. By P. de Champagne. Whole length. A fine portrait-- which I never contemplate without thinking of the poor unfortunate "man in an iron mask!"

_Madame de Motteville_. She died in her 74th year, in 1689. This is merely the head and shoulders; but in the Vand.y.k.e style of execution.

_Charles Paris d'Orleans, dernier Duc de Longueville._ He was killed in the famous pa.s.sage of the Rhine, at Tolhuys, in 1672.

_Charles I_. By Vand.y.k.e. A beautiful half length portrait. Perhaps too highly varnished.

_Le Marquis de Cinq-Mars_. He was beheaded at the age of twenty-two, in September 1642. There is also a whole length of him, in a rich, white, flowered dress. A genuine and interesting picture.

_Mary Queen of Scots_. Whole length: in a white dress. A copy; or, if an old picture, repainted all over.

_Don Carlos_, the unfortunate son of Philip II. of Spain. A beautiful youth; but this picture, alleged to have been painted by Alfonso Sanchez Coello, must be a copy.

The foregoing are the princ.i.p.al decorations along the gallery of this handsome and interesting room. In an adjoining closet, where were once two or three portraits of Bonaparte, is a beautiful and highly finished small whole length of _Philip Duke of Orleans_, Regent of France. Also a whole length of _Marmontel_, sitting; executed in crayon. The curiously carved frame, in a brown-coloured wood, in which this latter drawing is contained, is justly an object of admiration with visitors. I have scarcely seen a more appropriate ornament, for a choice cabinet, than this estimable portrait of Marmontel. Here are portraits of _Neckar_, and _Clement Marot_, in crayons: the latter a copy. Here is, too, a cleverly painted portrait of _L. de Boulogne_.

We descend--to a fourth room, or rather to a richly furnished cabinet-- below stairs. Every thing here is "en pet.i.t." Whether whole lengths, or half lengths, they are representations in miniature. What is this singular portrait, which strikes one to the left, on entering? Can it be so? Yes ...

DIANE DE POICTIERS again! She yet lives every where in France. 'Tis a strange performance; but I have no hesitation in calling it AN ORIGINAL ...

although in parts it has been palpably retouched. But the features--and especially the eyes--(those "gla.s.ses of the soul," as old Boiastuau calls them[186]) seem to retain their former l.u.s.tre and expression. This highly curious portrait is a half length, measuring only ten inches by about eight. It represents the original without any drapery, except a crimson mantle thrown over her back. She is leaning upon her left arm, which is supported by a bank. A sort of tiara is upon her head. Her hair is braided.

Above her, within a frame, is the following inscription, in capital roman letters: "_Comme le Cerf brait apres le decours des Eaues; ainsi brait mon Ame, apres Toy, o Dieu_." Ps. XLII. Upon the whole, this is perhaps the most legitimate representation of the original which France possesses.[187]

In the same boudoir is a small and beautifully coloured head of _Francis I._ Here is a portrait of the famous _d.u.c.h.ess of Portsmouth_, on horseback, in red; and another of the _d.u.c.h.ess of Nevers_, in a blue riding jacket.

But much more estimable, and highly to be prized--as works of art--- are the TWO MURILLOS: one, apparently of St. Francis, which was always religiously preserved in the bed-chamber of Madame de Maintenon, having been given to her by Louis XIV. The other, although fine, has less general interest. I could hardly sufficiently admire the whole length of _Jacques Callot_, painted by himself. It is delicious, of its kind. There is a very curious and probably coeval picture representing whole length portraits of the _Cardinals of Guise and Lorraine_, and the _Dukes of Guise and Mayenne_,[188] The figures are very small, but appear to be faithful representations. An old portrait of _Louis Roi de Sicile, Pere de Rene_,--a small head, supposed to be of the fifteenth century--is sufficiently singular, but I take this to be a copy. Yet the likeness may be correct. A whole length of _Washington_, with a black servant holding his horse, did not escape my attention. Nor, as an antiquary, could I refuse bestowing several minutes attention upon the curious old portrait (supposed to be by _Jean de Bruges_) of _Charlotte, Wife of Louis XI._ It is much in the style of the old illuminations. In one of the lower rooms, I forget which, is a portrait of Bonaparte; the upper part of the same representation of him which appeared in London from the pencil of David. He is placed by the side of a portrait (of the same dimensions) of his conqueror, Wellington: but I am not much disposed to admire the style of execution of our hero. It is a stiff, formal, and severely executed picture. a.s.suredly the present school of French portrait painters is most egregiously defective in expression; while ours, since the days of Reynolds, has maintained a most decided superiority. I believe I have now noticed every thing that is more particularly deserving of attention in the Collection of Mr. Quintin Craufurd ... But I cannot retrace my steps without again expressing my admiration of the _local_ of this little domain. The garden, offices, and neighbourhood render it one of the most desirable residences in Paris.[189]

As I happen to be just now in the humour for gossiping about the fine arts, suppose I take you with me to the collection of paintings of the MARQUIS DE SOMMARIVA, in the _Rue du Bas Rempart_? It is among the most distinguished, and the most celebrated, in Paris; but I should say it is rather eminent for sculpture than for painting. It is here that Canova reigns without a rival. The early acquaintance and long tried friend of the Marquis, that unrivalled sculptor has deposited here what he considers to be the _chef-d'oeuvre_ of his art, as a single figure. Of course, I speak of his _Magdalen_. But let me be methodical. The open day for the inspection of his treasures is _Friday_.

When I entered, not a creature was in the rooms. The general effect was splendid and imposing. I took out my memorandum-book, and went directly to work; noticing only those subjects which appeared, on one account or other, to be more particularly deserving of attention. There is a pretty picture of CUPID AND PSYCHE, by _Carlo Cignani_; the simple and quiet effect of which is much heightened by being contrasted with the very worst representation of the _same subject_, which I ever saw, by _David_: painted last year at Brussels. How the Marquis can afford so many square yards of his walls for the reception of such a performance, is almost marvellous. It is, throughout, in the worst possible taste. The countenance of Cupid, who is sitting on the bed or couch with the vacant grin of an ideot, is that of a negro. It is dark, and of an utterly inane expression. The colouring is also too ruddy throughout. Near to this really heartless picture, is one of a woman flying; well drawn, and rather tenderly coloured. Opposite, is a picture of Venus supported in the air by a group of Cupids. The artist is _Prudhon_. In the general glare of colour, which distinguishes the French school, it is absolutely refreshing to have the eye soothed by something like an attempt, as in this picture, at a mellow chiaro-oscuro. It has undoubted merit. It is, upon the whole, finely coloured; but the countenance of Venus is so pale as to have an almost deathly effect. It is intended to represent her as s.n.a.t.c.hed away from the sight of her dead Adonis.

In common courtesy I must make but brief mention of a very clumsy, and ill-drawn child, by De Broisefremont: and hasten, in the next room, to the magnificent picture of _Diana and Endymion_, painted by Guerin in 1810, and lately engraved. This picture is a very fair ill.u.s.tration of the merits and demerits of the FRENCH SCHOOL OF PAINTING. The drawing of Endymion is, upon the whole, good; but a palpable copy of the antique. This necessarily gives it somewhat an air of affectation. The shepherd lies upon a bed of clouds, (terminated by an horizon which is warmed by the rays of a setting sun) very gracefully and perhaps naturally. He seems to sleep soundly. His whole figure and countenance glow with the warmth of beauty and youth. I will not disturb his slumbers by finding the least fault--even with the disposition of the extremities. But his nightly visitor--the enamoured G.o.ddess--is, of all female figures which I have ever seen upon canva.s.s, one of the most affected, meagre, and uninteresting. Diana has been exchanged for an opera dancer. The waist is pinched in, the att.i.tude is full of conceit, and there is a dark shadow about the neck, as if she had been trying some previous experiment with a _rope_! Endymion could never open his eyes to gaze upon a figure so utterly unworthy of the representation of an enamoured deity.[190] The Cupids must also be condemned; for they are poor in form, and indifferent in execution. The back ground has considerable merit: but I fear the picture is too highly glazed. In this room also is the famous picture of _Belisarius_, engraved with so much eclat by Desnoyers. I own that I like the engraving better than the painting; for I see no occasion for such a disproportionate quant.i.ty of warm colouring as this picture exhibits.

Pope (in his Epistle to Jarvis, I think) says of artists, that, "to paint the naked is their dear delight." No artists ever delighted so much in this branch of painting as the French. Does not this taste argue a want--not only of respect, but--of _feeling?_ It was therefore pleasing to me, my dear friend, to turn my attention from the studied display of naked G.o.ddesses, in the collection of the worthy Marquis of Sommariva, towards objects a little more qualified to gratify the higher feelings connected with art:--and the first thing which soothed me, when I _had_ so turned my attention, was, the _Terpsich.o.r.e_ of _Canova_. You know it from the print by Morghen. The countenance, to my eye, is the perfection of female beauty:--yet it is a countenance which seems to be the abstract--the result of study, and of combination--rather than of beauty, as seen "in mortal race which walks the earth." The drapery appears to be studiously neglected--giving it the appearance of the antique, which had been battered and bruised by the casualties of some two thousand years. By this, I mean that the folds are not only numerous, but the intermediate parts are not marked by that degree of precision and finish, which, in my opinion, they ought to have received. Yet the whole has an enchantingly simple air: at once cla.s.sical, pure, and impressive. The Marquis has indeed great reason to be proud of it.

But if I pat the right cheek of Canova with one hand, I must cuff his left cheek with the other. Here is a Cupid by him, executed in 1787. It is evidently the production of a mind not ripened to its fullest powers. In other words, I should call it "a poor, flat thing."

We approach the far-famed MAGDALEN. Immediately opposite the boudoir, where the last mentioned treasures are deposited, you observe a door, or aperture, half covered with silken drapery of a greyish brown tint. There was something mysterious in the appearance, and equally so in the approach.

I had no intimation of what it led to; for, as I told you, not a creature besides myself was in the rooms. With a gently raised hand I drew the drapery aside, entered ... and looked before me. There stood the MAGDALEN.

There she was, (more correctly speaking) kneeling; in anguish and wretchedness of soul--her head hanging down--contemplating a scull and cross, which were supported by her knees. Her dishevelled hair flowed profusely over her back and shoulders. Her cheeks were sunk. Her eyes were hollow. Her att.i.tude was lowly and submissive. You could not look at her without feeling pity and compa.s.sion.

Such, in few words, is the Magdalen of Canova. For the first five minutes I was lost in surprise and admiration. The windows are hid by white curtains; and the interior is hung all over with the same grey silk drapery, before noticed. A gla.s.s, placed behind the figure, affords you a view of the back while you are contemplating the front. This is very ingenious; but it is probably too artificial. The effect of the room, however--from the silken drapery with which it is entirely covered--is, although studied, upon the whole excellent. Of course the minutes flew away quickly in such a place, and before such an object; and I think I viewed the figure, in every possible direction, for full three quarters of an hour. The result of that view--after the first feelings of admiration had subsided--I proceeded forthwith to impart: and shall be most happy to be set right if I have erred, in the conclusion which I draw. In truth, there can be only one or two little supposed impeachments of the artist's judgment, in the contemplation of this extraordinary figure. The Magdalen has probably too much of the abject expression of _mendicity_ in her att.i.tude; and, for a creature thus poor and prostrate, one is surprised to find her gazing upon a _golden_ cross. It is a piece of finery ill placed in the midst of such wretchedness. But Canova is fond of gilt; yet what is appropriate in _Hebe_ may be discordant in the _Magdalen_. This penitent creature, here so touchingly expressed, is deeply wrapped in meditation upon her crucified Master. She has forsaken the world ... to follow the cross!--but surely this idea would have been more powerfully expressed, if the cross had _not_ been _visible_?. Was this object necessary to tell the tale?--or, rather, did not the sculptor deem it necessary to _balance_ (as is called) the figure? Nor am I over well satisfied with the scull. It is common-place. At any rate, if scull and cross must be there, I wish the cross had been simply of stone--as is the scull.

My next objection relates to a somewhat more important point. I think the _face_ and _figure_ do not seem to belong to the _same_ human being: the former is shrunken, ghastly, and indicative of extreme const.i.tutional debility: the latter is plump, well formed, and bespeaks a subject in the enjoyment of full health. Can such an union, therefore, be quite correct?

In the different views of this figure, especially in profile, or behind, you cannot fail to be struck with the general beauty of the form; but this beauty arises from its fulness and just proportion. In gazing upon it, in front, you are pained by the view of a countenance shrunk almost to emaciation! Can this be in nature? And do not mental affliction and bodily debility generally go together? The old painters, even as far back as the time of illuminators of books, used to represent the Magdalen as plump, even to fatness,--and stout in all respects; but her _countenance_ usually partook of this vigour of stamina. It was full, rosy, and healthful. The older artists sometimes placed the Magdalen in a very awkward, and perhaps impossible, situation; and she was even made to be buried up to the bosom in earth--still exercising her devotions. Canova has doubtless displayed great pathos in the wretched aspect, and humiliated att.i.tude, of his Magdalen; but he has, at the same time, not been inattentive to beauty of form. I only wish she appeared to be in as good condition as the _torso_ indicates. A fastidious observer might say the figure was not _quite balanced_, and that she must fall backward--if she retained such an att.i.tude for a quarter of an hour. But this is hyper-criticism. The date of the execution of this figure is 1796: and parts of it clearly indicate that, if the sculptor were now to re-execute it, he would have paid even yet more attention to the finishing of the hair. Upon the whole, however, it is a masterly effort of modern art.

It is almost fixed that we leave Paris within a week or ten days from hence:--and then, for green fields, yellow corn, running streams, ripened fruit, and all the rural evidences of a matured summer.

[164] It was translated into English, and published in this country on a reduced scale, both as to text and engravings--but a reprint of it, with a folio volume of plates, &c. had appeared also in 1802. At the time, few publications had such a run; or received a commendation, not more unqualified than it was just. See an account of this work in the _Library Companion_, p. 442. edit. 1824.

[165] [M. Denon DIED in 1825, aged 78. The sale of his _Marbles, Bronzes, Pictures, Engravings, &c._ took place in 1826.]