The Story of Paris Part 18

Proceeding to the end of the Rue Clovis, we turn R., ascend the Rue Cardinal Lemoine, and cross to the Rue Rollin, which we descend to its intersection with the Rue Monge: in the Rue de Navarre opposite will be found the ruins of the old Roman Arena (p. 13). To return, we descend the Rue Monge, which terminates at the Place Maubert, where we find ourselves on familiar ground; or we may re-ascend the Rue Rollin, retracing our steps to the Rue Cardinal Lemoine, cross L. to the Place Contrescarpe and on our L. find the interesting Rue Mouffetard with curious old houses: 99, the site of the Palace of the Patriarchs of Alexandria and Jerusalem, is now the Marche des Patriarchs. The street terminates at the church of St. Medard, whose notorious cemetery (p.

245) is now a Square. We retrace our steps, noting L. the old fountain at the corner of the Rue Pot de Fer, continue to the end of the Rue Mouffetard, and descend by the Rue Descartes, where at No. 50 is an inscription marking the site of the Porte St. Marcel called Porte Bordet. We pa.s.s the ecole Polytechnique, on the site of the old College of Navarre, and continue down the Rue de la Montagne Ste. Genevieve to the Place Maubert.

[Ill.u.s.tration: INTERIOR OF ST. eTIENNE DU MONT.]

SECTION IV

_The Louvre[193]--Sculpture: Ground Floor._

[Footnote 193: The Louvre is open from 9-5 in summer, from 10-4 in winter. On Sundays it is open from 10-4. It is closed on Mondays and holidays and on Thursdays till 1 o'clock.]

No other edifice in Europe contains so vast a treasure of things beautiful and rare as the great royal palace of the Louvre, whose growth we have traced in our story. From periods so remote that works of art sometimes termed ancient are in comparison but of yesterday to the productions of the generation of artists who have just pa.s.sed away, we may study the varying phases of the manifestation through the ages of the artistic sense in man. From Egypt, Chaldea and a.s.syria, from Persia, Phoenicia and Greece, rich and marvellous collections afford a unique opportunity for the study of comparative aesthetics.

We may safely a.s.sume, however, that the traveller will be chiefly interested in the manifold examples of the plastic and pictorial arts, here exhibited, from Greece downwards. In the limited s.p.a.ce at our disposal we can do no more than indicate the princ.i.p.al and choicest objects in the various rooms, praying those whose leisure and interest impel them to more thorough examination of any one department, to possess themselves of the admirable and exhaustive special catalogues issued by the Directors of the Museum.

The nucleus of the gallery of sculpture and painting was formed by Francis I. and the Renaissance princes at the palace of Fontainebleau, where the canvases at the beginning of the seventeenth century had reached nearly 200. Colbert, during the reign of Louis XIV. by the purchase of the Mazarin and other Collections, added 647 paintings and nearly 6000 drawings in ten years. In 1681 the Cabinet du Roi, for so the collection of royal pictures was called, was transferred to the Louvre. They soon, however, followed their owner to Versailles, but some hundred were subsequently returned to Paris, where they might be inspected at the Luxembourg Palace by the public on Wednesdays and Sat.u.r.days. In 1709 Bailly, the keeper of the king's cabinet, took an inventory of the paintings and they were found to number 2376. In 1757 all were again returned to Versailles, and it was not until 1793, when the National Convention, on Barrere's motion, took the matter in hand, that they were restored to the Parisians and, together with the works of art removed from the suppressed churches and monasteries preserved by Lenoir, formed the famous gallery of the Louvre, which was formally opened to the public on the first anniversary of the memorable 10th of August. The arrival of the artistic spoils from Italy was stage-managed by Napoleon with consummate skill and imposing spectacular effect. Amid the applauding mult.i.tudes of Parisians a long procession of triumphal cars slowly wended its way, loaded with famous pictures, securely packed, but each bearing its t.i.tle in monumental inscription. THE TRANSFIGURATION, by RAPHAEL: THE CHRIST, by t.i.tIAN, etc. Then followed the heavy rumbling of ma.s.sive cars groaning under the weight of sculptures, these too inscribed: THE APOLLO BELVEDERE: THE LAOc.o.o.n, etc. Other chariots loaded with trunks containing famous books, precious ma.n.u.scripts, captured flags, trophies of arms, gave the scene all the pomp and circ.u.mstance of a veritable Roman triumph.

These spoils, which almost choked the Louvre during Napoleon's reign, were reduced by the return, in 1815, of 5233 works of art to their original owners under British supervision, and during the removal of the statues and pictures, ostentatiously effected to the bitter humiliation of the Parisians, British sentinels were stationed along the galleries and British soldiers stood under arms in the quadrangle and the Place du Carrousel to protect the workmen.

Before beginning our artistic pilgrimage let us pay grateful tribute to the memory of Alexandre Lenoir, to whose tact and love for the arts we owe the preservation of so many priceless objects here, at St.

Denis, and other museums of Paris. Appointed by the National a.s.sembly, Director of a _Commission pour les Monuments_ formed to collect all objects of art worthy of preservation during the search for lead coffins to be cast into bullets, he induced the authorities to grant him the use of the monastery of the Pet.i.ts Augustins (now part of the ecole des Beaux Arts) for their storage. There the admirable official succeeded in rescuing some 500 historical and royal monuments from Paris and St. Denis and some 2,600 pictures from the confiscated monasteries and ecclesiastical establishments, although existing receipts for about 600 pictures reclaimed from Lenoir by the Revolutionary Tribunal and burned, prove that he was only partially successful. In 1793 the National Convention a.s.signed the Pet.i.ts Augustins to Lenoir as a Museum of French Monuments, and the collection was pieced together, somewhat unskilfully it is true, and arranged in six rooms: many of the objects were in due time destined to find their way back to St. Denis, others to enrich the Louvre.

(_a_) ANCIENT SCULPTURE.

Entering the quadrangle of the Louvre and making our way to the S.W.

angle we shall see, traced on the granite paving by a line of smaller stones, the outline of the E. and N. walls and towers of the old fortress of Philip Augustus, the position of the E. gateway, the Porte de Bourbon, being marked by its two flanking towers. Enclosed within these lines, the site of the ma.s.sive old keep is shown by two circular strings of stones on the asphalt. Lescot's and Goujon's beautiful facade (p. 173) is now before us. Although the whole of the decorative sculpture was designed by Goujon, only three groups of figures can be safely attributed to his hand; those that adorn the three _oeil de boeuf_ windows of the ground floor: Fame and Victory; Peace, and War disarmed; History and Glory. Concerning the two first-named figures--Fame blowing a trumpet, and a winged Victory offering a crown of laurel--on either side of the window in the S.W. angle, it is related that one day as King Henry II. sat at table with his architect, he asked him what he had in mind when he made the design.

"Sire," answered Lescot, "by the first figure I meant Ronsard, and by the trumpet, the power of his verse, which carried his name to the four quarters of the earth." Ronsard, who was present, returned the compliment by a flattering poetic epistle which he sent to Lescot.

Goujon's figures, destined for the pediment of the attic, were placed by Napoleon I. most awkwardly over the entrances to the Egyptian and a.s.syrian collections in the E. wing, and utterly spoiled of their effect. The monograms on either side of the windows: two D's interlaced with the bar of an H, or two C's with the whole of the letter H, are variously interpreted as the initials of Diana of Poitiers and Henry II. or Catherine de' Medici and Henry II.

We enter the palace by the Pavilion de l'Horloge (the clock pavilion) and, turning L. find on our L. a door which opens to the Salle des Caryatides (p. 173). Here, in the old Salle Ba.s.se, memories crowd upon us--the dangling bodies of the four terrorist chiefs of the Sections hanged by the Duke of Mayenne from the beams of the old ceiling; the Red Nuptials of fair Queen Margot and Henri Quatre; the chivalrous and handsome, but ill-fated young hero of Lepanto, Don John of Austria, on his way, in 1576, to the Netherlands, his brain seething with romantic dreams of rescuing Mary Queen of Scots and seating her beside himself on the throne of England, taking part in a royal ball, disguised as a Moor, and leaving, smitten by the charms of Queen Margot; the lying in state of the murdered Henri; the dying Mazarin wheeled in his chair to witness the royal performances by Moliere. Beneath our feet in the _caves_ are part of the foundations of the old feudal chateau, and pillars and fragments of old sculpture discovered in 1882-1884.

We note Goujon's Caryatides (p. 174), traverse the hall, filled with Roman sculpture and, turning R. along the Corridor de Pan, enter the Salle Grecque, which contains a small but precious collection of Greek sculptures. In the centre are three archaic works: a draped Juno, and in gla.s.s cases, a Head of Apollo, and a Head of a Man, the latter still bearing traces of the original colouring. Also in cases are: Head of a Lapith from the Parthenon; and Head of a woman attributed to the sculptor Calamis, acquired in 1908 from the Humphrey Ward collection. Three bas-reliefs from a temple of Apollo at Thasos show a marked advance in artistic expression, which reaches its ultimate perfection in the lovely fragment of the Parthenon frieze, and in a mutilated metope from the same temple. An interesting comparison is afforded by the metopes (The Labours of Hercules) from the Temple of Jupiter at Olympia, earlier and transitional in style but admirable in craftsmanship. On the walls and in the embrasures of the S. windows are a number of stele, or sepulchral reliefs,[194] executed by ordinary funeral masons, which will demonstrate the remarkable general excellence of Attic sculpture in the finest period: 766, to Philis, daughter of Cleomedes, is especially noteworthy. Even the inferior reliefs are characterised by an atmosphere of dignified and restrained melancholy.

[Footnote 194: The architectural framework is believed to represent the portal of Hades.]

We return to the Corridor de Pan and continue past the Salle des Caryatides through halls filled with Graeco-Roman work of secondary importance, to the sanctuary of the serenely beautiful Venus of Melos, the best-known and most admired of Greek statues in Europe. Much has been written by eminent critics as to the att.i.tude of the complete statue. Three conflicting theories may be briefly summarised: (1) That the left hand held an apple, the right supporting the drapery; (2) that the figure was a Victory holding a shield and a winged figure on an orb; (3) the latest conjecture, by Solomon Reinach, that the figure is the sea-G.o.ddess Amphitrite, who held a trident in the extended left arm. It was to this exquisite creation[195] of idealised womanhood that the poet Heine dragged himself in May 1848 to bid adieu to the lovely idols of his youth, before he lay, never again to rise, on his mattress-grave in the Rue d'Amsterdam. "As I entered the hall," he writes, "where the most blessed G.o.ddess of beauty, our dear lady of Melos, stands on her pedestal, I well-nigh broke down, and fell at her feet sobbing piteously, so that even a heart of stone must be softened. And the G.o.ddess gazed at me compa.s.sionately, yet withal so comfortless, as who should say: 'Seest thou not that I have no arms and cannot help thee?'"

[Footnote 195: We are credibly informed that this priceless statue was first offered to the English Government for 4,000 francs and refused!

The French Government bought it for 6,000 francs.]

To the R. of the Salle de la Venus de Milo is the Salle Melpomene, with a fine colossal figure of the Tragic Muse, and, No. 419[196]

(163), an excellent Head of a Woman. We enter the Salle de la Pallas de Velletri, and ranged along its centre find: 436, a fine bust of Alexander the Great; the Venus of Arles, 439, said to be a copy of an early work by Praxiteles; a magnificent Head of Homer, 440; and 441, Apollo, the Lizard-slayer, after a bronze by Praxiteles. The colossal Pallas, in a recess to the R., was found at Velletri in 1797: it is another Roman reproduction of a Greek bronze. Near the entrance to the next room stands a pleasing Venus, 525, and in the centre the famous "Borghese Gladiator" or _Heros Combattant_, actually, a warrior attacking a mounted Amazon. An inscription states that it is the work of Agasias of Ephesus. To the R. is a fine Marsyas, doomed to be flayed alive by order of Apollo; to L. 562, the Borghese Centaur, and near the exit, 529, the charming Diana of Gabii, a Greek girl fastening her mantle. We pa.s.s to the Salle du Tibre, in the centre of which stands the famous Diana and the Stag, acquired for Francis I., much admired and over-rated by the sculptors of the renaissance: at the end is a colossal group, symbolising the Tiber and Rome. We turn R. and again enter the Corridor de Pan, pa.s.s through the Salle Grecque and reach the Rotonde with the Borghese Mars in its centre. We turn L., continue direct through Rooms XIV. to XVIII. the old Pet.i.te Galerie[197] and the apartments of the queen mothers of France still retaining their ceiling decorations by Romanelli. We then turn R. to the s.p.a.cious Salle d'Auguste, (XIX), at the end of which, in a recess, stands a majestic draped statue of Augustus. In the centre are a bust, 1204, said to be the head of Antiochus III., king of Syria 223-187 B.C., and 1207 the stately Roman Orator as Mercury, which an inscription on the tortoise states to be the work of Cleomanes, an Athenian. In this and the subsequent halls are placed many imperial busts[198] of much historical and some artistic interest.

[Footnote 196: Unfortunately the numeration of the sculpture in the Louvre is in a most chaotic state. Some of the objects are unnumbered; others retain their old numbers, yet others have both old and new numbers.]

[Footnote 197: There was originally a fosse between it and the garden which Marie de' Medici bridged by a wooden structure, known as the Pont d'Amour, to facilitate interviews with her favourite Concini.]

[Footnote 198: It may not be inopportune to summarise here, Bienkowski's criterion for dating Roman busts, which is as follows: Augustan and Julio-Claudian epoch, head only rendered; Flavian, shoulders rendered but juncture of arms not indicated; the sculptors of Trajan's time included the juncture of the arms, and of Hadrian's and the Antonines, part of the upper arm. Later, the bust developed to a half-length figure. It is necessary of course to exclude decapitated busts subsequently restored or fitted with heads of another epoch.]

We return to Room XVIII. where we find, 1205, the colossal bust of Antinous, the beautiful young favourite of Hadrian, who in a fit of melancholy flung himself into the Nile and (deified) became the most popular of the G.o.ds in the Pantheon of the later Empire: the eyes were originally formed of jewels. This is the bust referred to by J.A.

Symonds, in his _Sketches and Studies in S. Europe_, as by far the finest of the simple busts of the imperial favourite. In Room XV. is a statue, 1121, of the Emperor Julian, found at Paris, some curious Mithraic reliefs, and, in Room XIV. are interesting Roman altars and sacrificial reliefs. We again enter the Rotonde, turn L. and proceed across the Vestibule Daru to the Escalier Daru, ascending which, we are confronted by the majestic Victory of Samothrace, one of the n.o.blest examples of Greek art, wrought immediately before it had spent its creative force and began to direct a subtle and technical mastery to serve private luxury and pomp. We descend and return to the Quadrangle.

(_b_) MEDIaeVAL AND RENAISSANCE SCULPTURE.

We cross the quadrangle to the S.E. and enter[199] the Musee des Sculptures du Moyen Age et de la Renaissance, where the sense of beauty inherent in the Gallic race is seen expressed in a medium which has always appealed to its peculiar objective and lucid temperament.

We proceed to Room I., which contains some typical early Madonnas and other figures in wood and stone; a fifteenth-century statuette in marble (No. 211), in the embrasure of the second window, is worthy of special attention. The fine sepulchral monument of Phil. Bot, Seneschal of Burgundy, an effigy on a grave-stone borne by eight mourners, ill.u.s.trates a favourite design of the Burgundian sculptors.

The rec.u.mbent figure, 224, of Philippe VI. of France (1350), attributed to Andrieu Beaunepveu, the art-loving Charles V's. _cher ymagier_, is one of the earliest attempts at portraiture. Centre of hall, 887 and 888, rec.u.mbent statues of Charles IV. and Jeanne d'evreux, fourteenth-century, by Jean de Liege. The tomb of Philippe de Morvillier, 420, in the recess of a window, is an example of early fifteenth-century acrolithic monumental sculpture; the head and hands of the figure being of marble according to a common custom dating from Greek times. On either side of the entrance are fine busts of Charles VIII. and Marie of Anjou.

[Footnote 199: Now (1911) entered from the E. portal (_Antiquites egyptiennes_).]

Rooms II., IX. and X. should next be visited. In IX. stands the oldest fragment of mediaeval sculpture in the Louvre, a capital from the old abbey of St. Genevieve, whereon an eleventh-century artist has carved a quaint relief of Daniel in the Lions' Den. The Virgin and Child in the same room, 37, is late twelfth-century; the painted statue of Childebert, 48, from the abbey of St. Germain, is an example of the more mature art of the thirteenth century, as are also in Room II., 78, a scene in the Inferno from Notre Dame, and two lovely angels from the tomb of St. Louis' brother, in the embrasures of the window.

The fourteenth-century Madonnas in these mediaeval rooms possess a peculiar, intimate character and mark the change of feeling which came over French artists of the time. The impersonal, unemotional and regal bearing of the thirteenth-century figures give way to a more naturalistic treatment. The Virgin's impa.s.sive features soften; they become more human; she turns to her child with a maternal smile (which later becomes conventionalised into a simper), or permits a caress. In Room X. are: 889, 890, two fifteenth-century statues, admirable and living portraitures of Charles V. and his queen, from the church of the Celestins, whose preservation is due to the excellent Lenoir--statues famous in their day, and mentioned by the contemporary Christine de Pisan as _moult proprement faits_; 892, a fifteenth-century statue in wood of St. John; 943, Eve, a fine example of the German school of the sixteenth century, painted and gilded; other works are temporarily placed in this room. We return to Room III., noting in pa.s.sing (Room IX.) 875, a small thirteenth-century relief of St. Matthew writing his Gospel at the dictation of an angel.

[Ill.u.s.tration: DIANA AND THE STAG.

_Jean Goujon._]

The stubborn individuality of French sculptors who long resisted the encroaching advance of the Italian renaissance is well seen in Room III. by the works of Michel Colombe (? 1430-1570), after whom this hall is named. The exquisite relief on the L. wall, St. George and the Dragon, displays an art touched indeed by the new Italian life, but impressed with an intimate charm and spirit which are eminently French. The Virgin and Child, 143, and the tombs of Roberte Legendre and her husband have also been ascribed to this truly great master.

The fine effigies of Philippe de Comines the annalist, and his wife, 126, are wrought in the traditional French manner, the decorations on the tomb being obviously by another and Italianised artist; the sh.e.l.ls on the shields denote that the knight had made the pilgrimage to St.

James of Compostella in Galicia. Beneath is the tomb of their daughter, Jeanne. The sixteenth-century Virgin of Ecouen, 144, is typically French in treatment; the large relief on the L. wall from the old church of St. Jacques de la Boucherie, 199, is an excellent example of transitional Franco-Italian sculpture; and the half-reclining bronze effigy of Prince Carpi from the great Franciscan church (the Cordeliers) of Paris, is wholly Italian in style. The gruesome figure, _La Mort_, in the embrasure of a window, from the old cemetery of Les Innocents, and a fine bust, 173, of John of Alesso, will also be noted. We pa.s.s to Room IV., dominated by the most eminent sculptor of the French renaissance, Jean Goujon (? 1520-1567), whose famous Diana and the Stag, from a fountain at Diana of Poitiers'

chateau of Anet, marks the increasing influence of the Italians, and especially of Cellini, who were attracted to Fontainebleau by the patronage of Francis I. A more intimate example, however, of Goujon's genius will be seen in the beautiful bas-reliefs on the L. wall, Tritons and Nereids, from the Fontaine des Innocents, executed 1548-49, and those (R. wall) from the old choir screen of St. Germain l'Auxerrois in 1544, happily rescued from clerical vandals.[200] For sheer loveliness of form and poetry of outline, those reliefs are unsurpa.s.sed by any contemporary artist. His younger contemporary, Germain Pilon (1535-1590), is well represented in this room. The Three Graces (_trois graces decentes_), which Catherine de' Medici commissioned him to execute, to sustain an urn containing the heart of her royal husband at the Celestins, is an early work; the admirable kneeling bronze effigy, 257, of Rene of Birague, a maturer production.

The four cardinal virtues in oak were executed for the abbey church of St. Genevieve: they were originally covered with stucco and held on high the saint's reliquary. The too lachrymose Madonna in terra-cotta, 256, already ushers in the decadence. Portrait busts of Henry II., 227, the vicious Henry III., 253, and of the feeble Charles IX., 252, are also to be noted. Pilon's pupil, Bart. Prieur (d. 1611), is responsible for the monument to the Constable Anne of Montmorency and Madeleine of Savoy, in the recess of a window, and the three bronze statues placed by the opposite wall. With Pierre Biard the elder, who about 1600 executed the elaborate choir-screen of St. etienne du Mont, the French renaissance sinks to a not inglorious end. His Fame (224, _bis_), in Room III. and a copy of Giov. da Bologna's Mercury, made for the Duke of Epernon's tomb, hints at the impending pomposity and extravagance of the later French pseudo-cla.s.sic school. Room V.

affords an instructive comparison with some productions of the Italian renaissance. 332, Florentine school, is a charming bust of Beatrice d'Este, the girl bride of Lodovico il Moro, autocrat of Milan. The fine bas-relief, 386, Julius Caesar, was formerly ascribed to Donatello; 389, Virgin and Child, is also a school work; 403, the Child-Baptist, is a good example of Mino da Fiesole's sweet and tender style, as are some Madonna bas-reliefs in the embrasure of the first window. Here, too, and in the next window, are some well-wrought early renaissance reliefs in bronze (scenes in the life of a physician), by a Paduan artist, from the tomb of a celebrated professor of Verona, Marc'antonio della Torre. In the lunette of the R. wall is embedded Cellini's Nymph of Fontainebleau, and on either side of the n.o.ble portal from the Palazzo Stanza at Cremona, which forms the entrance to Room VI., stand the divine Michael Angelo's so-called Two Slaves, actually fettered Virtues intended for the unfortunate tomb of Pope Julius II. These priceless statues, given to Francis I. by Robert Strozzi, subsequently found their way to Richelieu's garden, and during the later years of the monarchy lay neglected in a stable in the Faubourg du Roule: when put up to auction in 1793 the vigilant and admirable Lenoir seized them for his Musee National at the Augustins.

Among other objects we note, 396, a fine bust of Filippo Strozzi by Benedetto da Maiano. We enter Room VI. The excellent bust of the Baptist, 383, by Desiderio da Settignano is officially a.s.signed to Donatello, and the coloured Virgin and Child in wood to the Sienese Jacopo della Quercia. Room VII. contains many beautiful specimens of della Robbia ware, and among the statues and busts we note Louis XII.

by Lorenzo da Mugiano, of which the head has been restored.

Provisionally placed in this room is a recently acquired relief in marble of the Madonna by Agostino di Duccio.

[Footnote 200: The canons decided that these were unworthy of the enlightened taste of the eighteenth century and had them cleared away.

The relief of the Evangelists was discovered in 1850 embedded in the wall of a house in the Rue St. Hyacinthe.]

[Ill.u.s.tration: ST. GEORGE AND THE DRAGON. _Michel Colombe._]

(_c_) MODERN SCULPTURE.

We cross the quadrangle to the N.W. and find the entrance to the Musee des Sculptures Modernes, where we may trace the rapid decline and utter degradation of French sculpture during the seventeenth and eighteenth centuries, and some signs of its recovery during the revolutionary period. Many causes contributed to the decay; the essentially bourgeois and commonplace taste of Colbert and the influence of his artistic henchman, Lebrun; the slavish worship of Graeco-Roman and Roman models, fostered by the creation of the ecole de Rome; and the teachings of critics like Lessing and Winkelmann, who drew their inspiration not from pure Greek models, but from the decadent and sterile art of the Empire, stored in the Vatican. Among the artists whose individuality stands forth from the ma.s.s of sculptures in these rooms is Charles Antoine Coysevox (1640-1720), who gives his name to Room I. to the L. of the vestibule. His chief works are in the "royal pandemonium," at Versailles, but in the vestibule will be found excellent examples of his art, 555, Nymph with a sh.e.l.l, and 560, Shepherd playing a flute. In Room I., 561, Marie Adelaide of Savoy as Diana; 557, a fine bronze bust of the great Conde and a bust of Ant. Coypel acquired in 1910, are worth attention, as is also 552, the grand monument to Mazarin in Room II. Pierre Puget (1622-1694), who gives his name to this hall, began his career as a carver of figure-heads at the a.r.s.enals of Toulouse and Ma.r.s.eilles. He was the chief exponent of the bombastic and exuberant art of the century, and the inventor of the peculiar gusty draperies in statuary known as the _coup de vent dans la statuaire_. 794, Milo (the famous athlete of Crotona), attacked by a Lion, his most popular work, and 796, a relief, Diogenes and Alexander, esteemed by Gonse one of the most _eclatante_ creations of modern sculpture, will be found in this room.

Some bronzes, 702-704, Louis XIII., Anne of Austria, and the child Louis XIV., from an old monument on the Pont au Change by Simon Guillain (1581-1658) are of interest. The Coustous, Nicholas (1658-1733) and Guillaume (1677-1746), nephews and pupils of Coysevox are represented in Room III. 547, Apollo presenting the Image of Louis XIV. to France (embrasure of window); 548, Adonis (centre of room); 549, Julius Caesar; and 550, Louis XV., are due to the former: the statue of Louis' queen Maria Leczinska, 543, to the latter, whose masterpiece, the Horse-tamers of Marly, stands at the entrance of the Champs elysees opposite Coysevox', Mercury and Fame on winged horses, at the entrance to the Tuileries Gardens. J.B. Pigalle (1714-1785) is but poorly represented by: 785, a bronze bust of Guerin; and 781, a Mercury in lead, which has much suffered from exposure to the atmosphere in the Luxembourg Gardens. A most talented portraitist in marble was J.J. Caffieri (1725-1792), whose seven masterly busts in the foyer of the Theatre Francais, paid for by free pa.s.ses, which the artist promptly sold, will be familiar to playgoers. His diploma work, The River, 518 (L. of entrance), and a bust of the poet Nivelle de la Chaussee, 519 (embrasure of window), will be found in this room. J.A.

Houdon (1741-1828), whose admirable bust of Moliere, and marvellously vivid statue of the seated Voltaire--the greatest production of eighteenth-century French sculpture--will be also known to playgoers at the Francais, gives his name to Room IV. Few artists maintained so high and consistent a standard of excellence.[201] 716 is a replica in bronze of a statue of Diana, executed for the Empress Catherine II. of Russia; 708, Diderot; 711, Rousseau; 712 Voltaire; 713, Franklin; 715, Washington; 717, Mirabeau, are busts of revolutionary heroes of which many replicas exist, executed at seventy-two francs each (if with shoulders ninety-six francs), to save himself from starvation during the revolutionary period. Two exquisitely charming terra-cotta busts in gla.s.s cases of the children, Louise and Alexandre Brogniart, and 1034, 1035, the original busts in plaster of Mme. Houdon and Sabine Houdon, will also be noted. Like Caffieri, Houdon was an _habitue_ of the Francais, and in his old age would totter to the theatre supported by his servant, to calmly sleep the performance out. A favourite exponent of the suave and languishing style that appealed to the decadent tastes of the age was Antoine Pajou (1730-1809) here represented by 775, a Bacchante, and 772, Maria Leczinska as Charity.

Other two works by Pigalle, 782, Love and Friendship, and 783, bust of Marshal Saxe, may be noticed before quitting this room. Room V. is dedicated to A.D. Chaudet (1763-1810), whose diploma work, Phorbas and OEdipus, 533, is here shown; 537, a Bacchante, is a rather poor example of the art of Claude Michel (1738-1814), known as Clodion whose popularity rivalled that of his master Pajou, and whose prodigious output of marble and terra-cotta sculpture failed to keep pace with the demands of his clients. 777 is Pajou's, The Forsaken Psyche. By the seductive and sentimental Canova are 523 and 524, variants of a favourite theme, Love and Psyche.[202] With some sense of relief we enter the more invigorating atmosphere of Room VI., named after the st.u.r.dy Francois Rude (1784-1855), who flung off the yoke of the Roman cla.s.sicists, and from whose simple, austere atelier issued works instinct with a new life, such as the dramatic group, The Departure of the Volunteers of 1792, on the E. base of the Triumphal Arch of the Etoile. Rude, who rescued the art from the fetid atmosphere of a corrupt society and emanc.i.p.ated it from a hide-bound pedagogy, is here represented by his Jeanne d'Arc, 813; Maurice de Saxe, 811; and 815, Napoleon awakening to Immortality, a model for a monument to the Emperor. In the centre are 810, Mercury in bronze, and the Neapolitan fisher lad (no number). Rude's contemporary and fellow-liberator, David d'Angers (1789-1856), chiefly renowned for his pediment sculpture on the Pantheon (p. 330) is here represented by 566, Philopoeman, the famous general of the Achaen League; busts of Arago and of Beranger; 567 _bis_, Child and Grapes, and a series of medals in the embrasures of the windows. Of Antoine Barye (1796-1875), pupil of pere Rude and another victorious a.s.sailant of the "Bastille of Cla.s.sicism," this room exhibits three masterly works in bronze; 494, Centaur and Lapith; 495, Jaguar and Hare; and (no number), Tiger and Crocodile. A later contemporary and excellent master was Jean Baptiste Carpeaux (1827-1875), after whom Room VII. is named. Here stand his models for the famous group, Dancing, which adorns the Opera facade; and for The Four Quarters of the World, at the Fountain of the Observatoire. Among others of his productions may be cited a bronze group, Ugolino and his Children. In a new room (Salle Moderne) are some more recent works transferred from the Luxembourg, among which is Chapu's Joan of Arc.

[Footnote 201: _Copiez, copiez toujours et surtout copiez juste_ was his favourite maxim.]

[Footnote 202: The best criticism pa.s.sed on this facile artist was uttered by Flaxman: "That man's hand is too great for his head."]