Anecdotes of Painters, Engravers, Sculptors and Architects and Curiosities of Art Part 20

"Contradicting reports continued to prevail among the crowds of strangers and natives as to the intentions of the allies, but on Sat.u.r.day, the 23d of September, all doubt was removed. On going up to the door of the Louvre, I found a guard of one hundred and fifty British riflemen drawn up outside. I asked one of the soldiers what they were there for? 'Why, they tell me, sir, that they mean to take away the pictures,' was his reply. I walked in amongst the statues below, and on going to the great staircase, I saw the English guard hastily trampling up its magnificent ascent: a crowd of astonished French followed in the rear, and, from above, many of the visitors in the gallery of pictures were attempting to force their way past the ascending soldiers, catching an alarm from their sudden entrance. The alarm, however, was unfounded; but the spectacle that presented itself was very impressive.

A British officer dropped his men in files along this magnificent gallery, until they extended, two and two, at small distances, from its entrance to its extremity. All the spectators were breathless, in eagerness to know what was to be done, but the soldiers stopped as machines, having no care beyond obedience to their orders.

"The work of removal now commenced in good earnest: porters with barrows, and ladders, and tackles of ropes made their appearance. The collection of the Louvre might from that moment be considered as broken up for ever. The sublimity of its orderly aspect vanished: it took now the melancholy, confused, desolate air of a large auction room, after a day's sale. Before this, the visitors had walked down its profound length with a sense of respect on their minds, influencing them to preserve silence and decorum, as they contemplated the majestic pictures; but decency and quiet were dispelled when the signal was given for the breaking up of the establishment. It seemed as if a nation had become ruined through improvidence, and was selling off.

"The guarding of the Louvre was committed by turns to the British and Austrians, while this process lasted. The Prussians said that they had done their own business for themselves, and would not now incur odium for others. The workmen being incommoded by the crowds that now rushed to the Louvre, as the news spread of the destruction of its great collection, a military order came that no visitors should be admitted without permission from the foreign commandant of Paris. This direction was pretty much adhered to by the sentinels as far as the exclusion of the French, but the words _Je suis Anglais_, were always sufficient to gain leave to pa.s.s from the Austrians: our own countrymen were rather more strict, but, in general, foreigners could, with but little difficulty, procure admission. The Parisians stood in crowds around the door, looking wistfully within it, as it occasionally opened to admit Germans, English, Russians, &c., into a palace of their capital from which they were excluded. I was frequently asked by French gentlemen, standing with ladies on their arms, and kept back from the door by the guards, to take them into their own Louvre, under my protection as an unknown foreigner! It was impossible not to feel for them in these remarkable circ.u.mstances of mortification and humiliation; and the agitation of the French public was now evidently excessive. Every Frenchman looked a walking volcano, ready to spit forth fire. Groups of the common people collected in the s.p.a.ce before the Louvre, and a spokesman was generally seen, exercising the most violent gesticulations, sufficiently indicative of rage, and listened to by the others, with lively signs of sympathy with his pa.s.sion. As the packages came out, they crowded round them, giving vent to torrents of _pestes_, _diables_, _sacres_, and other worse interjections.

"Wherever an Englishman went, in Paris, at this time, whether into a shop or a company, he was a.s.sailed with the exclamation, _'Ah! vos compatriotes!'_ and the ladies had always some wonderful story to tell him, of an embarra.s.sment or mortification that had happened to _his_ duke; of the evil designs of the Prince Regent, or the dreadful revenge that was preparing against the injuries of France. The great gallery of the Louvre presented every fresh day a more and more forlorn aspect; but to the reflecting mind, it combined a number of interesting points of view. The gallery now seemed to be the abode of all the foreigners in the French capital:--we collected there, as a matter of course, every morning--but it was easy to distinguish the last comers from the rest.

They entered the Louvre with steps of eager haste, and looks of anxious inquiry; they seemed to have scarcely stopped by the way--and to have made directly for the pictures on the instant of their reaching Paris.

The first view of the stripped walls made their countenances sink under the disappointment, as to the great object of their journey. Crowds collected round the _Transfiguration_--that picture which, according to the French account, _destiny_ had always intended for the French nation: it was every one's wish to see it taken down, for the fame which this great work of Raffaelle had acquired, and its notoriety in the general knowledge, caused its departure to be regarded as the consummation of the destruction of the picture gallery of the Louvre. It was taken away among the last.

"Students of all nations fixed themselves round the princ.i.p.al pictures, anxious to complete their copies before the workmen came to remove the originals. Many young French girls were seen among these, perched upon small scaffolds, and calmly pursuing their labors in the midst of the throng and bustle. When the French gallery was thoroughly cleared of the property of other nations, I reckoned the number of pictures which then remained to it, and found that the total left to the French nation, of the fifteen hundred pictures which const.i.tuted their magnificent collection, was _two hundred and seventy-four_! The Italian division comprehended about eighty-five specimens; these were now dwindled to _twelve_: in this small number, however, there are some very exquisite pictures by Raffaelle, and other great masters. Their t.i.tians are much reduced, but they keep the Entombment, as belonging to the King of France's old collection, which is one of the finest by that artist. A melancholy air of utter ruin mantled over the walls of this superb gallery: the floor was covered with empty frames: a Frenchman, in the midst of his sorrow, had his joke, in saying, 'Well, we should not have left to _them_ even these!' In walking down this exhausted place, I observed a person, wearing the insignia of the legion of honor, suddenly stop short, and heard him exclaim, '_Ah, my G.o.d--and the Paul Potter, too!_' This referred to the famous painting of a bull by that master, which is the largest of his pictures, and is very highly valued. It belonged to the Netherlands, and has been returned to them. It was said that the emperor Alexander offered fifteen thousand pounds for it.

"The removal of the statues was later in commencing, and took up more time; they were still packing these up when I quitted Paris. I saw the Venus, the Apollo, and the Laoc.o.o.n removed: these may be deemed the presiding deities of the collection. The solemn antique look of these halls fled forever, when the workmen came in with their straw and Plaster of Paris, to pack up. The French could not, for some time, allow themselves to believe that their enemies would dare to deprive them of these sacred works; it appeared to them impossible that they should be separated from France--from _la France_--the country of the Louvre and the Inst.i.tute; it seemed a contingency beyond the limits of human reverses. But it happened, nevertheless: they were all removed. One afternoon, before quitting the place, I accidentally stopped longer than usual, to gaze on the Venus, and I never saw so clearly her superiority over the Apollo, the impositions of whose style, even more than the great beauties with which they are mingled, have gained for it an inordinate and indiscriminating admiration. On this day, very few, if any of the statues had been taken away--and many said that France would retain them, although she was losing the pictures. On the following morning I returned, and the pedestal on which the Venus had stood for so many years, the pride of Paris, and the delight of every observer, was vacant! It seemed as if a soul had taken its flight from a body."

REMOVAL OF THE VENETIAN HORSES FROM PARIS.

"The removal of the well known horses taken from the church of St. Mark in Venice, was a bitter mortification to the people of Paris. These had been peculiarly the objects of popular pride and admiration. Being exposed to the public view, in one of the most frequented situations of Paris, this was esteemed the n.o.blest trophy belonging to the capital; and there was not a Parisian vender of a pail-full of water who did not look like a hero when the Venetian horses were spoken of.

"'Have you heard what has been determined about the horses?' was every foreigner's question. 'Oh! they cannot mean to take the horses away,'

was every Frenchman's answer. On the morning of Thursday, the 26th of September, 1815, however it was whispered that they had been at work all night in loosening them from their fastening. It was soon confirmed that this was true--and the French then had nothing left for it, but to vow, that if the allies were to attempt to touch them in the _daylight_, Paris would rise at once, exterminate its enemies, and rescue its honor.

On Friday morning I walked through the square; it was clear that some considerable change had taken place; the forms of the horses appeared finer than I had ever before witnessed. When looking to discover what had been done, a private of the British staff corps came up, 'You see, sir, we took away the harness last night,' said he. 'You have made a great improvement by so doing,' I replied; 'but are the British employed on this work?' The man said that the Austrians had requested the a.s.sistance of our staff corps, for it included better workmen than any they had in their service. I heard that an angry French mob had given some trouble to the people employed on the Thursday night, but that a body of Parisian gendarmerie had dispersed the a.s.semblage. The Frenchmen continued their sneers against the allies for working in the dark: fear and shame were the causes a.s.signed. 'If you take them at all, why not take them in the face of day? But you are too wise to drag upon yourselves the irresistible popular fury, which such a sight would excite against you!'

"On the night of Friday, the order of proceeding was entirely changed.

It had been found proper to call out a strong guard of Austrians, horse and foot. The mob had been charged by the cavalry, and it was said that several had their limbs broken. I expected to find the place on Sat.u.r.day morning quiet and open as usual; but when I reached its entrance, what an impressive scene presented itself! The delicate plan--for such in truth it was--of working by night, was now over. The Austrians had wished to spare the feelings of the king the pain of seeing his capital dismantled before his palace windows, where he pa.s.sed in his carriage when he went out for his daily exercise. But the acute feelings of the people rendered severer measures necessary. My companion and myself were stopped from entering the place by Austrian dragoons: a large mob of Frenchmen were collected here, standing on tip-toe to catch the arch in the distance, on the top of which the ominous sight of numbers of workmen, busy about the horses, was plainly to be distinguished. We advanced again to the soldiers: some of the French, by whom we were surrounded, said, 'Whoever you are, you will not be allowed to pa.s.s.' I confess I was for retiring--for the whole a.s.semblage, citizens and soldiers, seemed to wear an angry and alarming aspect. But my companion was eager for admittance. He was put back again by an Austrian hussar:--'_What, not the English!_' he exclaimed in his own language.

The mob laughed loudly, when they heard the foreign soldier so addressed; but the triumph was ours; way was instantly made for us--and an officer on duty, close by, touched his helmet as we pa.s.sed.

"The king and princes had left the Tuilleries, to be out of the view of so mortifying a business The court of the palace, which used to be gay with young _gardes du corps_ and equipages, was now silent, deserted, and shut up. Not a soul moved in it. The top of the arch was filled with people, and the horses, though as yet all there, might be seen to begin to move. The carriages that were to take them away were in waiting below, and a tackle of ropes was already affixed to one. The small door leading to the top was protected by a strong guard: every one was striving to obtain permission to gratify his curiosity, by visiting the horses for the last time that they could be visited in this situation.

Permission, however, could necessarily be granted but to few. I was of the fortunate number. In a minute I had climbed the narrow dark stair, ascended a small ladder, and was out on the top, with the most picturesque view before me that can be imagined. An English lady asked me to a.s.sist her into Napoleon's car of victory: his own statue was to have been placed in it, _when he came back a conqueror from his Russian expedition!_ I followed the lady and her husband into the car, and we found a Prussian officer there before us. He looked at us, and, with a good humored smile, said, 'The emperor kept the English out of France, but the English have now got where he could not! '_Ah, pauvre, Napoleon!_'

"The cry of the French now was, that it was abominable, execrable, to insult the king in his palace--to insult him in the face of his own subjects by removing the horses in the face of day! I adjourned with a friend to dine at a _restaurateur's_, near the garden of the Tuilleries, after witnessing what I have described. Between seven and eight in the evening we heard the rolling of wheels, the clatter of cavalry, and the tramp of infantry. A number of British were in the room; they all rose and rushed to the door without hats, and carrying in their haste their white table napkins in their hands. The horses were going past in military procession, lying on their sides, in separate cars. First came cavalry, then infantry, then a car; then more cavalry, more infantry, then another car; and so on till all four pa.s.sed. The drums were beating, and the standards went waving by. This was the only appearance of parade that attended any of the removals. Three Frenchmen, seeing the group of English, came up to us, and began a conversation. They appealed to us if this was not shameful. A gentleman observed, that the horses were only going back to the place from whence the French had taken them: if there was a right in power for France, there must also be one for other states but the better way to consider these events was as terminating the times of robbery and discord. Two of them seemed much inclined to come instantly round to our opinion: but one was much more consistent. He appeared an officer, and was advanced beyond the middle age of life. He kept silence for a moment; and then, with strong emphasis, said--'You have left me nothing for my children but hatred against England; this shall be my legacy to them.'"--_Scott._

REMOVAL OF THE STATUE OF NAPOLEON FROM THE PLACE VENDOME.

"What will posterity think of the madness of the French government and the exasperation of public feeling in a nation like the French, so uniformly proud of military glory, when very shortly after the first arrival of their new monarch, Louis XVIII., an order was issued for leveling with the dust that proud monument of their victories, the famous column and statue of Napoleon in the Place Vendome cast from those cannon which their frequent victories over the Austrians had placed at their disposal? The ropes attached to the neck of the colossal brazen figure of the Emperor, wherewith the pillar was crowned, extended to the very iron gratings of the Tuillerie gardens; thousands essayed to move it, but all attempts were vain--the statue singly defied their malice; upon which a second expedient was resorted to, and the carriage horses, etc., from the royal stables were impressed into this service, and affixed to the ropes, thus uniting their powerful force to that of the _bipeds_: but even this proved abortive; the statue and column braved the united shocks of man and beast, and both remained immoveable." The statue was afterwards quietly dislodged from its station by the regular labors of the experienced artisan. It was not replaced till after the Revolution in 1830.--_Ireland._

THE MUSEE FRANCAIS AND THE MUSEE ROYAL.

When the Allies entered Paris in 1815, they found in the gallery of the Louvre about two thousand works of art--the gems of the world in painting and antique sculpture--mostly the spoils of war, deposited there by the Emperor Napoleon. The selection of these works was entrusted to a commission, at the head of whom was the Baron Denon, who accompanied the Emperor in all his expeditions for this purpose. The Louvre, at this time, was the acknowledged emporium of the fine arts.

The grand determination of Napoleon to place France highest in art among the nations, did not rest here. The design of combining in one single series, five hundred and twenty-two line engravings from the finest paintings and antique statues in the world, was a conception worthy of his genius and foresight, and by its execution he conferred a lasting favor not only on the artistic, but the civilized world, for the originals were subsequently restored by the Allies to their rightful owners and only about three hundred and fifty pieces remained of that splendid collection. "These works" (the Musee Francais, and the Musee Royal), says a distinguished connoisseur, "are unquestionably the greatest production of modern times. They exhibit a series of exquisite engravings by the most distinguished artists, of such a magnificent collection of painting and of sculpture as can never be again united."

These works were intended as a great treasury of art, from which not only artists, but the whole world might derive instruction and profit.

To secure the utmost perfection in every department, no expense was spared. The drawings for the engravers to engrave from, were executed by the most distinguished artists, in order to ensure that every peculiarity, perfection, and _imperfection_ in the originals should be exactly copied, and these are pointed out in the accompanying criticisms. These drawings alone cost the French government 400,000 francs.

The engravings were executed by the most distinguished engravers of Europe, without regard to country, among whom it is sufficient to mention Raffaelle Morghen, the Chevalier von Muller, and his son C. F.

von Muller, Bervic, Richomme, Rosaspina, Bartolozzi, Gandolfi, Schiavonetti, the elder and younger Laurent, Ma.s.sard, Girardet, Lignon, Chatillon, Audouin, Forster, Claessens, etc. Stanley says that proof impressions of Bervic's masterpiece, the Laoc.o.o.n, have been sold in London for thirty guineas each. There are many prints in these works not less celebrated, and which are regarded by connoisseurs as masterpieces of the art.

Nor was this all. Napoleon summoned Visconti, the famous antiquary, archaeologist, and connoisseur, from Rome to Paris, to a.s.sist in getting up the admirable descriptions and criticisms, particularly of the ancient statues. This department was confided to Visconti, Guizot, Clarac, and the elder d.u.c.h.esne. The supervision of the engraving and publishing department was entrusted to the Messrs. Robilliard, Peronville, and Laurent. These works were published in numbers of four plates, atlas folio, at the price of 96 francs each for the proofs before the letter, and 48 francs for the prints. The first number of the Musee Francais was issued in 1803, and the last in 1811; but the Musee Royal, which was intended to supply the deficiencies of the Musee Francais, was not completed till 1819; nevertheless, it was Napoleon's work, though consummated in the reign of Louis XVIII.

The Musee Francais was originally published in five volumes, and contains, besides the descriptions and criticisms on the plates, admirable essays--1st. on the History of Painting, from its origin in ancient times down to the time of Cimabue; 2d. on the History of Painting in the German, Dutch, Flemish, and French schools; 3d. on the History of Engraving; 4th. on the History of Ancient Sculpture. The Musee Royal was published in two volumes. A second edition of the Musee Francais was published by the Messrs. Galignani, in four volumes, with an English and French letter-press, but both greatly abridged. The letter-press of the Musee Royal has never been rendered into English.

The plates were sold by the French government in 1836, since which time a small edition has been printed from both works.

BOYDELL'S SHAKSPEARE GALLERY.

About the year 1785, Alderman J. Boydell, of London, conceived the project of establishing a 'Shakspeare Gallery,' upon a scale of grandeur and magnificence which should be in accordance with the fame of the poet, and, at the same time, reflect honor upon the state of the arts in Great Britain and throughout the world. Mr. Boydell was at this time a man of great wealth and influence, and a patron of the fine arts, being an engraver himself, and having acc.u.mulated his fortune mostly by dealings in works of that character.

He advertised for designs from artists throughout Great Britain, and paid a guinea for every one submitted, whether accepted or not; and for every one accepted by the committee, a prize of one hundred guineas. The committee for selecting these designs was composed of five eminent artists, Boydell himself being the president. The first painters of the age were then employed to paint these pictures, among whom were Sir Joshua Reynolds, Sir Benjamin West, Fusell, Romney, Northcote, Smirke, Sir William Beechy, and Opie.

Allan Cunningham, in his 'Lives of Eminent British Artists,' mentions that Sir Joshua Reynolds was at first opposed to Boydell's project, as impracticable on such an immense scale, and Boydell, to gain his approbation and a.s.sistance, privately sent him a letter enclosing a 1000 Bank of England note, and requesting him to paint two pictures at his own price. What sum was paid by Boydell for these pictures was never known. A magnificent building was erected in Pall Mall to exhibit this immense collection, called the Shakspeare Gallery, which was for a long time the pride of London.

The first engravers of England were employed to transfer these gems to copper, and such artists as Sharp, Bartolozzi, Earlom, Thew, Simon, Middiman, Watson, Fyttler, Wilson, and many others, exerted their talents for years in this great work. In some instances, the labor of more than five years was expended on a single plate, and proof impressions were taken for subscribers at almost every stage of the work. At length in 1803, after nearly twenty years, the work was completed. The price fixed (which was never reduced) was two guineas each for the first three hundred impressions, and the subscription list was then filled up at one guinea each, or one hundred guineas a set of one hundred plates.

Besides these subscriptions, large donations were made by many of the n.o.blemen of England, to encourage the undertaking, and to enable Boydell to meet his enormous outlay. The cost of the whole work, from the commencement, is said to have been about one million pounds sterling; and although the projector was a wealthy man when he commenced it, he died soon after its completion, a bankrupt to the amount, it is said, of 250,000.

After these plates were issued, Boydell pet.i.tioned Parliament to allow him to dispose of his gallery of paintings by a lottery. The pet.i.tion was granted, and the whole collection was thus disposed of. One of the finest of these pictures, King Lear, by Sir Benjamin West, is now in the Boston Athenaeum.

One fact in relation to these plates gives great value to them. "All the princ.i.p.al historical characters are genuine portraits of the persons represented in the play; every picture gallery and old castle in England was ransacked to furnish these portraits."

BRIEF SKETCH OF A PLAN FOR AN AMERICAN NATIONAL GALLERY OF ART.

Public Galleries of Art are now regarded by the most enlightened men, and the wisest legislators, as of incalculable benefit to every civilized country. (See vol. i., page 6, of this work.) They communicate to the mind, through the eye, "the acc.u.mulated wisdom of ages," relative to every form of beauty, in the most rapid and captivating manner. If such inst.i.tutions are important in Europe, abounding in works of art, how much more so in our country, separated as it is by the broad Atlantic from the artistic world, which few comparatively can ever visit: many of our young artists, for the want of such an inst.i.tution, are obliged to grope their way in the dark, and to spend months and years to find out a few simple principles of art.

A distinguished professor, high in public estimation, has declared that the formation of such an inst.i.tution in this country, however important and desirable it may be, is almost hopeless. He founds his opinion on the difficulty of obtaining the authenticated works of the great masters, and the enormous prices they now command in Europe. The writer ventures to declare it as his long cherished opinion that a United States National Gallery is entirely practicable, as far as all useful purposes are concerned; and at a t.i.the of the cost of such inst.i.tutions in Europe. In the present state of the Fine Arts in our country, we should not attempt to emulate European magnificence, but utility. The "course of empire is westward," and in the course of time, as wealth and taste increases, sale will be sought here, as now in England, for many works of the highest art. It is also to be hoped that some public benefactors will rise to our a.s.sistance. After the foundation of the inst.i.tution, it may be extended according to the taste and wants of the country; professorships may be added, and the rarest works purchased.

When the country can and will afford it, no price should be regarded too great for a perfect masterpiece of art, as a model in a national collection. To begin, the Gallery should contain,

1st. A complete library of all standard works on Art, historical and ill.u.s.trative, in every language.

2d. A collection of the masterpieces of engraving; these should be mounted on linen, numbered, bound, described and criticised.

3d. A complete collection of casts of medals and antique gems, where the originals cannot be obtained. There are about 70,000 antique medals of high importance to art. (See Numismatics, vol. iii., p. 269, of this work.) These casts could easily be obtained through our diplomatic agents; they should be taken in Plaster of Paris or Sulphur, double--i.e., the reverse and obverse,--cla.s.sified, catalogued, described, and arranged in cases covered with plate gla.s.s, for their preservation.