Paris as It Was and as It Is Part 23

The philanthropic LA ROCHEFOUCAULD, (the last Duke of the family), as President of that committee, fixed on a number of artists and literati to select such monuments as the committee were anxious to preserve. The munic.i.p.ality of Paris, being specially entrusted, by the National a.s.sembly, with the execution of this decree, also nominated several literati and artists of acknowledged merit to co-operate with the former in their researches and labours. Of this a.s.sociation was formed a commission, called _Commission des Monumens_. From that epoch, proper places were sought for the reception of the treasures which it was wished to save from destruction. The _Committee of Alienation_ appointed the _ci-devant_ monastery of the _Pet.i.ts Augustins_ for the monuments of sculpture and pictures, and those of the _Capucins, Grands Jesuites,_ and _Cordeliers_, for the books and ma.n.u.scripts.

By these means, the monuments in the suppressed convents and churches were, by degrees, collected in this monastery, which is situated in the _Rue des Pet.i.ts Augustins_, so named after that order of monks, whose church here was founded, in 1613, by Marguerite de Valois, first wife of Henry IV.

At the same period, ALEXANDRE LENOIR was appointed, by the Const.i.tuent a.s.sembly, director of this establishment. As I shall have frequent occasion to mention the name of that estimable artist, I shall here content myself with observing, that the choice did honour to their judgment.

In the mean time, under pretext of destroying every emblem of feudality, the most celebrated master-pieces were consigned to ruin; but the commission before-mentioned opportunely published instructions respecting the means of preserving the valuable articles which they purposed to a.s.semble.

The National Convention also gave indisputable proof of its regard for the arts, by issuing several decrees in their favour. Its _Committee of Public Instruction_ created a commission, composed of distinguished literati and artists of every cla.s.s, for the purpose of keeping a watchful eye over the preservation of the monuments of the arts. The considerable number of memoirs, reports, and addresses, diffused through the departments by this learned and scientific a.s.sociation, enlightened the people, and arrested the arm of those modern Vandals who took a pleasure in mutilating the most admired statues, tearing or defacing the most valuable pictures, and melting casts of bronze of the most exquisite beauty.

Among the numerous reports to which these acts of blind ignorance gave birth, three published by GReGOIRE, ex-bishop of Blois, claim particular distinction no less on account of the taste and zeal which they exhibit for the advancement of literature and the fine arts, than for the invective with which they abound against the madness of irreligious barbarism. This last stroke, aptly applied, was the means of recovering many articles of value, and of preserving the monuments still remaining in the provinces.

In these eventful times, LENOIR, the Conservator of the rising museum, collected, through his own indefatigable exertions, a considerable number of mausolea, statues, bas-reliefs, and busts of every age and description. No sooner did a moment of tranquillity appear to be reestablished in this country, than he proposed to the government to place all these monuments in historical and chronological order, by cla.s.sing them, according to the age in which they had been executed, in particular halls or apartments, and giving to each of these apartments the precise character peculiar to each century. This plan which, in its aggregate, united the history of the art and that of France, by means of her monuments, met with general approbation, and was accordingly adopted by the members of the government.

Thus, throughout this Museum, the architectural decorations of the different apartments are of the age to which the monuments of Sculpture, contained in each, belongs; and the light penetrates through windows of stained gla.s.s, from the designs of RAPHAEL, PRIMATICCIO, ALBERT DURER, LE SUEUR, &c., the production of the particular century corresponding to that of the sculpture.

Come then, let us visit this Museum, and endeavour to discriminate the objects which may be most interesting both to the artist and historian. We first enter the

ANTI-CHAMBER.

This apartment presents itself to our inquisitive looks, as a Hall of Introduction, which may not be unaptly compared to the preface of a grand work. Here we behold a crowd of monuments, arranged methodically, so as to prepare our eyes for tracing the different ages through which we have to travel.

We first remark those altars, worn by the hand of Time, on which the trading Gauls of the ancient _Lutetia_, now Paris, sacrificed to the G.o.ds in the time of Tiberius. Jupiter, Mars, Vulcan, Mercury, Venus, Pan, Castor and Pollux, and the religious ceremonies here sculptured, are sufficient to attest that the Parisians were then idolaters, and followed the religion of the Romans, to whom they were become tributary. The Inscriptions on each of these monuments, which are five in number, leave no doubt as to their authenticity, and the epoch of their erection.

These altars, five in number, are charged with bas-reliefs, and the first of them is inscribed with the following words in Latin.

TIB. CAESARE.

AVG. IOVI OPTVMO MAXSVMO (_aram_) M.

NAVTAE. PARISIACI PUBLICE POSIERVNT.

_Tiberius Caesar, having accepted or taken the name of Augustus, the navigators (Nautae) belonging to the city of Paris, publicly consecrated this altar to Jupiter the most great and most good._

In 1711, these monuments were dug up from the choir of the cathedral of _Notre-Dame_, out of the foundations of the ancient church of Paris, constructed by Childebert, on the ruins of a temple, formerly dedicated to Isis, which he caused to be demolished. Near them we see the great G.o.ddess of the Germans figure under the name of Nehalennia, in honour of whom that people had erected a great number of monuments, some of which were discovered in the year 1646, when the sea retired from the island of Walcheren.

Capitals, charged with bas-reliefs, taken from a subterraneous basilic, built by Pepin, have likewise been collected, and follow those which I have just mentioned. Next comes the tomb of CLOVIS, which exhibits that prince lying at length; he is humbling himself before the Almighty, and seems to be asking him forgiveness for his crimes. We likewise see those of CHILDEBERT and of the cruel CHILPERIC. The intaglio, relieved by inlaid pieces of Mosaic, of queen FREDEGOND, has escaped the accidents of twelve centuries. Just Heaven! what powers have disappeared from the face of the earth since that period! And to what reflections does not this image, still existing of that impious woman, give birth in the mind of the philosopher! CHARLEMAGNE, who was buried at Aix-la-Chapelle, seated on a throne of gold, appears here, in a haughty att.i.tude, with his sword in his hand, still to be giving laws to the world!

As might naturally be supposed, most of these figures have suffered much by the rude attacks of Time; but in spite of his indelible impression, the unpolished hand of the sculptor is still distinguishable, and betrays the degraded state of the arts during the darkness of the middle ages. Let us pa.s.s into the

HALL OF THE THIRTEENTH CENTURY.

Here we shall remark arches in the Gothic style, supported by thick pillars, according to the architecture of that period. Ornaments, in the form of _culs-de-lampe_, terminate the centre of the arches, which are painted in azure-blue, and charged with stars. When temples were begun to be sheltered or covered, nations painted the inside of the roof in this manner, in order to keep in view the image of the celestial canopy to which they directed all their affections, and to preserve the memory of the ancient custom of offering up sacrifices to the divinity in the open air.

Here the statue of LEWIS IX, surnamed the Saint, is placed near that of PHILIP, one of his sons, and of CHARLES, his brother, king of Sicily, branded in history, by having, through his oppression, driven his subjects into revolt, and caused the ma.s.sacre of the French in that island in 1277; a ma.s.sacre well known by the name of the _Sicilian vespers_.

It seems that it was the fashion, in those days, for kings themselves to be bearers at funerals. We are told by St. Foix, that the body of LEWIS, another son of the Saint, who died in 1662, aged 26, and whose cenotaph is here, was first carried to St. Denis, and thence to the abbey of Royaumont, where it was interred. "The greatest lords of the kingdom," says he, "alternately bore the coffin on their shoulders, and Henry III; king of England, carried it himself for a considerable time, as feudatory of the crown."

PHILIP III, too, above-mentioned, having brought to Paris the remains of his father from Tunis in Africa, carried them barefooted, on his shoulders, to St. Denis. Wherever he rested by the way, towers were erected in commemoration of this act of filial piety; but these have been destroyed since the revolution.

The cas.e.m.e.nts of this hall, in the form of ogives, are ornamented with stained gla.s.s of the first epoch of the invention of that art.

We now come to the

HALL OF THE FOURTEENTH CENTURY.

This hall shews us the light, yet splendid architecture of the Arabs, introduced into France in consequence of the Crusades. Here are the statues of the kings that successively appeared in this age down to king JOHN, who was taken prisoner by Edward, the black prince, at the battle of Poietiers. They are clad after the manner of their time, and lying at length on a stylobate, strewn with flower-de-luces.

Twenty-two knights, each mounted on lions, armed cap-a-pie, represented of the natural size, and coloured, fill ogive niches ornamented with Mosaic designs, relieved with gold, red, and blue.

The tombs of CHARLES V, surnamed the _Wise_, and of the worthy constable, DU GUESCLIN, together with that of SANCERRE, his faithful friend, rise in the middle of this apartment; which presents to the eye all the magnificence of a Turkish mosque. After having quitted it, what a striking contrast do we not remark on entering the

HALL OF THE FIFTEENTH CENTURY!

Columns, arabesque ceilings charged with gilding, light pieces of sculpture applied on blue and violet grounds, imitating cameo, china, or enamel; every thing excites astonishment, and concurs in calling to mind the first epoch of the regeneration of the arts in this country.

The ideas of the amateur are enlivened in this brilliant apartment: they prepare him for the gratification which he is going to experience at the sight of the beautiful monuments produced by the age, so renowned of Francis I. There, architecture predominates over sculpture; here, sculpture over architecture.

The genius of RAPHAEL paved the way to this impulse of regeneration: he had recently produced the decorations of the Vatican; and the admirable effect of these master-pieces of art, kindled an enthusiasm in the mind of the artists, who travelled. On their return to France, they endeavoured to imitate them: in this attempt, JEAN JUSTE, a sculptor sent to Rome, at the expense of the Cardinal D'AMBOISE, was the most succcessful.

First, we behold the mausoleum of LOUIS D'ORLeANS, victim of the faction of the Duke of Burgundy, and that of his brother CHARLES, the poet. Near them is that of VALENTINE DE MILAN, the inconsolable wife of the former, who died through grief the year after she lost her husband. As an emblem of her affliction, she took for her device a watering-pot stooped, whence drops kept trickling in the form of tears. Let it not be imagined, however, that it was on account of his constancy that this affectionate woman thus bewailed him till she fell a victim to her sorrow.

LOUIS D'ORLeANS was a great seducer of ladies of the court, and of the highest rank too, says Brantome. Indeed, historians concur in stating that to a brilliant understanding, he joined the most captivating person. We accordingly find that the Dutchess of Burgundy and several others were by no means cruel to him; and he had been supping tete-a-tete with Queen Isabeau de Baviere, when, in returning home, he was a.s.sa.s.sinated on the twenty-third of November 1407. His amorous intrigues at last proved fatal to the English, as you will learn from the following story, related by the same author.

One morning, M. d'Orleans having in bed with him a woman of quality, whose husband came to pay him an early visit, he concealed the lady's head, while he exhibited the rest of her person to the contemplation of the unsuspecting intruder, at the same time forbidding him, as he valued his life, to remove the sheet from her face. Now, the cream of the jest was, that, on the following night, the good soul of a husband, as he lay beside his dear, boasted to her that the Duke of Orleans had shewn him the most beautiful woman that he had ever seen: but that for her face he could not tell what to say of it, as it was concealed under the sheet. "From this little intrigue," adds Brantome, "sprang that brave and valiant b.a.s.t.a.r.d of Orleans, Count Dunois, the pillar of France, and the scourge of the English."

Here we see the statues of CHARLES VI, and of JANE of Burgundy. The former being struck by a _coup de soleil_, became deranged in his intellects and imbecile, after having displayed great genius; he is represented with a pack of cards in his hand to denote that they were first invented for that prince's diversion. The latter was Dutchess of BEAUFORT, wife to the Duke, who commanded the English army against Charles VII, and as brother to our Henry IV, was appointed regent of France, during the minority of his nephew, Henry V.

Next come those of ReNeE D'ORLeANS, grand-daughter of the intrepid Dunois; and of PHILIPPE DE COMMINES, celebrated by his memoirs of the tyrant, LEWIS XI, whose statue faces that of CHARLES VII, his father.

The image of JOAN OF ARC, whom that king had the baseness to suffer to perish, after she had maintained him on the throne, also figures in this hall with that of ISABEAU DE BAVIeRE. The shameful death of the Maid of Orleans, who, as every one knows, was, at the instigation of the English, condemned as a witch, and burnt alive at Rouen on the 30th of May 1430, must inspire with indignation every honest Englishman who reflects on this event, which will ever be a blot in the page of our history. Isabeau affords a striking example of the influence of a queen's morals on the affections of the people. On her first arrival in Paris, she was crowned by angels, and received from the burghers the most magnificent and costly presents. At her death, she was so detested by the nation, that in order to convey her body privately to St. Denis, it was embarked in a little skiff at _Port-Landri_, with directions to the waterman to deliver it to the abbot.

The superb tomb of LEWIS XII, placed in the middle of this apartment, displays great magnificence; and his statue, lying at length, which represents him in a state of death, recalls to mind that moment so grievous to the French people, who exclaimed, in following his funeral procession to St. Denis, "Our good king Lewis XII is dead, and we have lost our father."

The historian delights to record a n.o.ble trait of that prince's character. Lewis XII had been taken prisoner at the battle of St.

Aubin by Louis de la Trimouille, who, fearing the resentment of the new king, and wishing to excuse himself for his conduct, received this magnanimous reply: "It is not for the king of France to revenge the quarrels of the duke of Orleans."

The statue of PIERRE DE NAVARRE, son of Charles the _Bad_, seems placed here to form in the mind of the spectator a contrast between his father and Lewis XII. The tragical end of Charles is of a nature to fix attention, and affords an excellent subject for a pencil like that of Fuseli.

Charles the _Bad_, having fallen into such a state of decay that he could not make use of his limbs, consulted his physician, who ordered him to be wrapped up from head to foot, in a linen cloth impregnated with brandy, so that he might be inclosed in it to the very neck as in a sack. It was night when this remedy was administered. One of the female attendants of the palace, charged to sew up the cloth that contained the patient, having come to the neck, the fixed point where she was to finish her seam, made a knot according to custom; but as there was still remaining an end of thread, instead of cutting it as usual with scissars, she had recourse to the candle, which immediately set fire to the whole cloth. Being terrified, she ran away, and abandoned the king, who was thus burnt alive in his own palace.

What a picture for the moralist is this a.s.semblage of persons, celebrated either for their errors, crimes, talents, or virtues!

LETTER XXV.

_Paris, November 28, 1801_.

Conceiving how interested you (who are not only a connoisseur, but an F.A.S.) must feel in contemplating the only repository in the world, I believe, which contains such a chronological history of the art of sculpture, I lose no time in conducting you to complete our survey of the MUSEUM OF FRENCH MONUMENTS in the _Rue des Pet.i.ts Augustins_.

Having examined those of the fifteenth century, during our former visit, we are at length arrived at the age of the Fine Arts in France, and now enter the

HALL OF THE SIXTEENTH CENTURY.