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ABTIS     ICIINTIA    Vt&lTA« 


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A  HISTORY  OF  FRENCH  ART 


1100-1899 


i 


HISTORY  OF  FRENCH  ART 


IIOO-1899 


ROSE    G!    glNGSLEY 

OFPICIER  UE   L'INSTRUCTION   PUBLIQUB 


LONGMANS,     GREEN,    AND    CO. 

39  PATERNOSTER  ROW,  LONDON 

NEW  YORK  AND  BOMBAY 

1899 


-  /. ,  ■    .-■      -*  '  y 


A/ 


TO    MY   FRIENDS 

LT^:ONCE   BENEDITE, 

CONBBRVATEUR  DU  MUS^E  DU  LUXElUBOURa, 

AND 

ANTONIN    BAKTHilLEMY, 

ATTACH^  AU  CONSDLAT  q£nKrAL  DE  FRANCE,  X  LONDRBS, 

I   DEDICATE   THIS   BOOK, 

WHICH    WOULD   NEVER   HAVE   BEEN   WRITTEN 

WITHOUT     THEIR     ENCOURAGEMENT    AND    HELP. 


PREFACE. 

When,  some  three  years  ago,  my  friend  M.  Antoniii 
Barth^lemy  begged  me  to  write  a  general  History  of 
French  Art  from  the  twelfth  century  to  the  present 
day — a  book  which  he  said  was  much  needed — I  felt 
at  once  that,  congenial  as  the  task  was,  it  would  be 
beyond  my  ix)wers  unless  I  could  count  upon  the 
help  and  counsel  of  the  best  French  Authorities. 

That  help  and  counsel  has  been  given  me  with 
no  grudging  hand.  From  first  to  last,  a  ready  and 
generous  interest  has  been  shown  by  all  in  my  work. 
And  it  has  been  my  good  fortune  to  find  that  the 
most  distinguished  intellects  of  France  are  ready  to 
open  the-  stores  of  their  learning,  and  to  spare  neither 
time  or  trouble,  if  they  can  thereby  aid  any  student 
who  is  really  in  earnest.  To  all  those  who,  in  Paris 
and  elsewhere,  have  helped  and  encouraged  me,  I 
offer  my  most  grateful  thanks  for  endless  kindness, 
courtesy,  and  acts  of  friendship. 

The  original  scheme  of  the  book  was  suggested  by 
M.  Antonin  Barth61emy.  And  to  him  are  due  many 
of  its  most  valuable  pages,  especially  in  the  first  and 
twelfth  chapters.  From  M.  Roujon,  the  distinguished 
Directeur  des  Beaux  Arts,  I  have  received  never- 
failing  help.     For  his  all-powerful  word  has  unlocked 


viii  PREFACE. 

every  door,  and  given  me  priceless  opportunities  of 
study  in  public  and  private  collections.  To  M.  de 
Nolhac,  conservateur,  and  M.  Perat^,  conservateur- 
adjoint,  those  well-known  authorities,  I  owe  delight- 
ful and  instructive  days  in  that  great  Museum  of 
Decorative  Art,  the  Palace  of  Versailles.  With  M. 
fimile  Molinier,  I  have  been  privileged  to  examine 
the  Ivories  and  other  treasures  of  the  Louvre.  The 
kindness  of  M.  Bouchot,  the  learned  chief  of  the 
Gralerie  des  Estampes,  in  the  Bibliothfeque  Nationale, 
and  M.  Auguste  KafFet,  enabled  me  to  make  a 
thorough  study  of  the  MSS.  and  drawings  of  the 
Renaissance  period.  M.  Armand  Dayot,  inspecteur 
des  Beaux  Arts,  and  M.  Roger  Marx,  inspecteur 
principal  des  Mus6es,  have  supplemented  the  counsel 
they  are  so  well  able  to  give,  with  valuable  introduc- 
tions, and  books  and  pamphlets  which  I  could  not 
have  obtained  otherwise.  M.  Eugfene  Miintz,  Librarian 
of  the  JEcole  des  Beaux  Arts,  placed  his  erudition  at 
the  service  of  my  task,  giving  me  invaluable  help  in 
the  choice  of  my  authorities. 

While,  to  my  friends,  M.  Andr6  Michel,  conserva- 
teur au  Mus6e  du  Louvre,  and  M.  L6once  Benedite, 
conservateur  du  Mus^e  du  Luxembourg,  I  owe  a  debt 
that  has  been  steadily  growing  for  years  and  can 
never  be  paid,  of  gratitude  for  all  I  have  learnt  from 
them,  whether  among  the  sculptures  of  the  Louvre, 
the  paintings  of  the  Luxembourg,  or  the  last  word  of 
mode  mite  in  the  Salons. 

I  must  add  that  from  MM.  Boussod  and  Valadon, 
and  MM.  Durand-Ruel,  I  have  for  years  received 
every  assistance  and  courtesy  in  my  studies  in  Modern 
French  Art. 


PREFACE.  IX 

In  a  book  of  this  size  it  is  impossible  to  give 
anything  approaching  a  complete  list  of  the  works 
of  each  painter  and  sculptor.  I  have  not  therefore 
attempted  to  do  more  than  indicate  a  few  of  the  best 
examples  ;  and  those — ^as  far  as  possible — are  taken 
from  among  works  I  have  myself  seen.  Many  well- 
known  pictures  in  private  collections  both  in  England, 
France  and  America,  I  have  been  obliged  to  omit, 
owing  to  the  extreme  difficulty  of  tracing  their  present 
owners.  I  shall  be  grateful  for  any  communications 
on  this  point,  from  the  possessors  of  French  pictures, 
ancient  or  modem. 

It  has  also  been  impossible  to  include  certain 
branches  of  French  Art.  The  enamels  of  Limoges, 
and  the  pottery  of  Bernard  Palissy,  would  lead  on 
to  the  porcelain  of  Sevres,  to  the  modern  decorative 
glass  and  pottery  of  Gall^,  Thesmar,  and  many  more. 
But  these  would  need  a  volume  to  themselves  ;  and, 
as  life  is  short,  it  was  necessary  to  put  some  limit  to 
this  attractive  and  interesting  subject.  I  have  there- 
fore confined  myself  to  the  three  great  fellow  arts  of 
Architecture,  Sculpture,  and  Painting.  And  if  my 
poor  words  help  in  any  degree  to  a  better  knowledge 
of  the  art  and  aims  of  our  sister  country,  I  shall  be 
more  than  rewarded  for  my  labour. 


ROSE  G.  KINGSLEY. 


28/^  February,  1899. 


CONTENTS 

CHUn-RR  PAOK 

I.  INTRODUCTION.    The  French  Race  and  Soil— An 

Outline  of  French  Art          1 

II.  Architecture  and  Sculpture  before  the  Renais- 
sance, 1100-1500     15 

III.  The  Renaissance  in  France,  1475-1589          37 

IV.  Architects  of  the  Renaissance 52 

V.  Sculptors  of  the  Renaissance 74 

VI.  Painters  of  the  Renaissance     88 

VII.  Art  under  Henri  IV.  and  Louis  XIII.,  1589-1643...  105 

VIII.  Reign  of  Louis  XIV.— The  Academy  and  Painters  131 

IX.  Reign   of  Louis  XIV.  (con^mtitft/)— Architects  and 

SCULITORS 161 


X.  The  Art  of  the  Eighteenth  Century          187 

XI.  Art  of  the  Eighteenth  Century  (con^inu^d)— Sculp- 
tors AND  Architects      220 

XII.  What  the  Revolution  did  for  Art 241 

XIII.  Art  of  the  Nineteenth  Century— The  Classics  ...  257 

XIV.  The  Romantics 284 

XV.         The  Landscape  Painters      302 

XVI.         The  Peasant  Painters          324 


Xll  CONTENTS. 

CUAPTEH  rA(;B 

Art  of  the  Nineteenth  Century  {continued) — 

XVII.          Military  Painters      343 

XVIII.          Genre  Painters  and  Orientalists           307 

XIX.          Portrait  Painters       389 

XX.         Imaginative    Painters.      Decorative    Painters. 

Idealists.    Symbolists       405 

XXI.         The  Impressionists      ... 429 

XXII.  Architecture  of  the  Nineteenth  Century 449 

XXIII.  Sculpture    of   the    Nineteenth    Century — 1.  The 

xIONCjCjKo              ...                   ...                  ...                  ...                  ...                  ...                   ...  *X.t\j 

XXIV.  French  Sculpture  of  the  Nineteenth  Century— 2. 

Contemporary  Sculptors  and  Medallists 489 

A  A^  X^ M2j ^^     •••       •••       •••       •••       •■•       •••       •••       •••       •••  ^"XL 


AUTHORITIES. 

1.  Dicidonnaire  raisonn^  de  rArchitectare  Fran^aise       .       Viollet-Le-Duo. 

2.  Mus^  du  Trocad^ro Viollet-Le-Duc. 

8.  Qothio  Architecture Prof.  C.  H.  Mooie. 

4.  La  Sculptare  Fran^aise  au  moyen  age  .  A.  de  Baudot. 

5.  La  Sculpture  Fran^aise Louis  Grouse. 

6.  The  Renaissance  ........  Walter  Pater. 

7.  The  Renaissance  of  Art  in  France Lady  Dilke. 

8.  Le  Louvre Babeau. 

9.  La  Renaissance  en  France L^on  Palustre. 

10.  Diet,  des  Architectes  Fran^ais Baucbal. 

11.  Diet,  des  Architectes  Fran^ais Jal. 

12.  Diet,  des  Artistes  Frant^ais   ....       Bellier  de  la  Chavignerie. 

13.  Renaissance  des  Arts  en  France de  Laborde. 

14.  Catalogue  of  £cole  Franyaise  au  Louvre      ....  F.  Villot. 

15.  Les  Glouet.    Artistes  ct^l^bres Bouchot. 

16.  Modern  Architecture Fergusson. 

17.  L'Art  sous  Richelieu  et  Mazarin Lemonnier. 

18.  Le  Musde  National  de  Versailles  .        .        .        .       de  Nolhac  et  Perat^. 

19.  L'Art  au  IS^^  si^le E.  and  J.  de  Goncourt. 

20.  Watteau.    Artistes  cel^bres G.  Dargenty. 

21.  Boucher.    Artistes  c^l^bres Andre  Michel. 

22.  Greuze.    Artistes  cel^bres Gh.  Normand. 

23.  Les  Artistes  de  mon  temps  . Charles  Blanc. 

24.  Ingres  et  ses  oeuvres      .        .     ' Charles  Blanc. 

26.  Musde  du  Louvre Th^ophile  Gautier. 

26.  Peintres  et  Sculpteurs  contemporains  ....  Jules  Claretie. 

27.  Corot,  Souvenirs  intimes Henri  Daumesnil. 

28.  Les  chef  d'oeuvres  de  TArt  au  19>ne  si^le,  Vol.  1         .  Andr^  Michel. 


XIV  AUTHORITIES. 

29.  Hist,  du  Departement  de  Sculpture  modeme,  Louvre  Gourajod. 

90.  Le  Musee  des  MoDumeutB  Fran^ais     ....    Alexandre  Lenoir. 

31.  La  Capitale  de  TArt Albert  Wolff. 

32.  Maitres  et  petits-maltres Ph.  Burty. 

33.  The  Barbizon  School D.  Croal  Thomson. 

34.  J.  F.  Millet,  sa  vie  et  ses  oeuvres Sensier. 

35.  Courbet Cmto.  H.  d'Ideville. 

36.  Jules  Bastien-Lepage Julia  ^L  Ady 

37.  Charlet Armand  Dayot. 

38.  Kaffet Annand  Dayot. 

39.  L'Lcole  Orientalist Leonce  Benedite. 

40.  L'Art  Modcmo Andr^  Michel. 

41.  Manet Bazire. 

42.  Souvenirs  de  M^nct       .        ......        .        .       Antonin  Proust 

43.  Critique  d'Avant  Garde         .        .        ...        .        .      Theodore  Duret. 

Gazette  des  Beaux  Arts,  Ist,  2nd,  and  Srd  series. 

"Salons"  by  MM.   G.   Lafenestre,   Andn'*    Michel,    Roger    Marx,    Leonce 
Benedite,  Armand  Dayot,  etc«,  etc. 


ABBREVIATIONS  AND  SIGNS. 


o.*      -      -      - 

c  ... 

G.O.*    - 

M.  DB  l'Inbt. 

M.  DE  L*ACAD.  Fb. 

Bib.  Nat,     - 


Clievalier  of  the  Legion  of  Honour, 
Officier  of  the  Legion  of  Honour. 
Commandeur  of  the  Legion  of  Honour. 
Grand  Officier  of  the  Legion  of  Honour 
Membre  de  VInstitut, 
Membre  de  VAcctdHnie  Fran^aise. 
BUioth^que  Nationale^  Paris, 


CHAPTEE  I. 
INTEODUCTION. 

THE  FRENCH  RACE  AND  SOIL— AN  OUTLINE  OF 

FRENCH  ART. 

French  Art,  at  more  than  one  period  of  its  being  so  widely 
known,  so  justly  celebrated,  and  exercising  so  great  an  in- 
fluence on  the  Art  of  Northern  Europe,  has  for  a  consider- 
able time  been  completely  ignored  in  England.  Our  national 
collections — with  the  one  exception,  so  recent  that  it  cannot  be 
taken  into  account,  of  Hertford  House — contain  few  examples 
of  French  pictures  or  sculptures  later  than  the  days  of 
Poussin  and  Claude  Lorraine,  of  Jean  Goujon  and  Germain 
Pilon.  And  it  is  safe  to  say  that  no  modern  nation  has  been 
so  ignorant  of  what  French  Art  has  accomplished  in  the  last 
hundred  years,  as  England. 

Within  the  last  decade,  however,  a  remarkable  awaken- 
ing of  interest  has  been  manifested.  This  has  been  mainly 
due  to  two  causes.  First,  to  the  efforts  of  private  collectors, 
who  have  generously  allowed  the  public  to  see  the  master- 
pieces in  their  possession  of  Corot  and  Eousseau,  Millet, 
Diaz,  Troyon,  Daubigny,  and  many  others.  Secondly,  to  the 
extraordinary  impulse  given  by  the  memorable  Centennial 
Exhibition  of  1889  in  Paris,  where  a  unique  opportunity  was 
afforded  to  the  civilized  world  of  studying  the  progress  of 
French  Art  since  the  Eevolution.  English  artists  are  now 
beginning  to  complain  that  it  is  not  just  that  they  should  be 
forced  to  go  out  of  their  own  country  to  study  the  work  of 
their  French  brethren.  And  the  English  Art-loving  public 
is  slowly  waking  up  to  the  fact,  that  a  great  and  splendid 
expression  of  Art  has  existed  and  does  still  exist  across  the 

Channel — a  national  Art,  as  important,  in  many  respects, 

1 


2  A  HISTORY  OF  FRENCH  ART.  Ch.  I. 

as  the  Art  of  Italy  and  Spain,  beyond  which  two  countries 
a  large  majority  never  dream  of  looking. 

Believing  in  the  extreme  importance  and  value  of  this 
artistic  expression,  both  in  the  past  and  in  the  present,  the 
endeavour  of  this  book  will  be  to  supply  English  people  with 
a  guide,  which  will  enable  them  not  only  to  make  fuller 
acquaintance  with  the  works  of  Modern  French  artists,  but 
enable  them  to  judge  French  Art  as  a  whole.  A  guide  which 
will  give  them  some  insight  into  the  history  and  develop- 
ment of  French  Art,  which  for  800  years  has  stood  alone, 
individual  and  national,  untouched  by  the  schools  of  neigh- 
bouring nations.  A  guide  which  will  show  why  it  has 
flourished  with  such  remarkable  vigour,  and  what  are  the 
tendencies  of  race  and  soil  which  have  contributed  to  its 
growth,  and  its  often  repeated  renaissance. 

We  have  therefore  to  ask,  what  are  the  influences  which 
have  fostered  the  growth  of  French  Art?  And  by  Art, 
Sculpture  and  Painting  alone  are  not  meant.  In  studying 
this  subject  it  is  necessary  to  take  that  wider  acceptation 
of  the  term,  which  happily  is  obtaining  more  and  more  in 
modern  days.  We  must  not  ignore  Architecture,  of  which 
Sculpture  was  but  the  handmaid,  until  she  grew  strong 
enough  to  stand  alone.  Nor  must  we  forget  the  miniatures, 
the  medals,  the  ivories,  the  enamels,  the  decorative  metal 
work.  All  these  bear  their  part  in  French  Art.  All  have 
helped  in  perfecting  that  expression  of  the  artistic  sense  in 
France,  which  has  set  its  stamp  of  exquisite  taste  and  dis- 
tinct artistic  quality  on  all  that  the  nation  has  produced, 
whether  in  the  so-called  **  Fine-Arts,"  or  in  manufactures. 
The  same  artistic  sense  which  has  made  French  literature 
a  model  of  form,  distinction,  and  purity  of  diction  to  the 
whole  world. 

We  believe  that  an  intimate  connection  exists  between 
the  Art  of  a  nation  and  its  literature,  and  that  both  are 
influenced  by  its  social  and  political  conditions.  We  further 
believe  that  the  intellectual  and  artistic  activity  of  a  nation 
is,  to  a  very  great  extent,  formed  and  modified  by  its  geo- 
graphic aspects.     And  in  France  it  would  seem  that  each 


1100-1899.  THE  FRENCH  RACE  AND  SOIL.  3 

province,  differing  widely  in  racial  as  well  as  in  geographic 
character,  has  brought  a  distinct  note  of  its  own  to  add  to 
the  general  harmony  of  the  French  genius. 

In  other  nations  we  see  that  their  Art  has  undoubtedly 
been  affected  by  conditions  of  race,  soil,  and  climate. 

The  blue  sky  and  blue  waves  of  Italy — its  vines,  and  oUves, 
and  cypress  groves,  the  grace  and  charm  of  its  women,  in 
whom  the  mysterious  attraction  of  the  goddess  of  antiquity 
seems  to  live  afresh,  were  predestined  to  produce  that  most 
perfect  flower  of  Art,  which  has  made  the  whole  country  a 
shrine.  And  to  that  shrine  a  ceaseless  stream  of  devotees 
have  flocked  for  hundreds  of  years,  paying  eternal  homage 
to  etemaJ  beauty.  In  Spain — the  land  of  fierce  adventure 
and  passionate  serenade,  severe  in  its  natural  aspects,  with 
a  people  of  strongly-marked  characteristics,  tough  as  their 
own  Toledo  blades,  gloomy  and  fanatical  in  their  religion 
— we  get  the  very  key  to  Spanish  Art.  And  the  inex- 
pressible charm  which  reigns  over  the  English  landscape 
— the  sense  of  tranquil  security — the  country  life  and 
love  of  nature  which  are  so  closely  bound  up  with  the  life 
of  the  whole  nation — the  deep,  heavy  colour — the  moist 
verdure  of  hedgerow  and  pasture,  woodland  and  moorland 
— to  aJl  these  elements  we  owe  our  great  landscape  artists, 
who  have  so  nobly  interpreted  the  solid,  steadfast,  yet  tender 
beauty  of  their  country. 

France  is  in  some  respects  the  most  richly-dowered 
country  on  earth,  both  in  the  characteristics  of  her  race  and 
in  the  diversity  of  her  natural  gifts.  And  France  has  always 
captivated  the  world  by  her  very  contradictions.  Despite 
momentary  irritations  and  impatiences,  she^  must  always  be> 
not  only  to  her  children,  but  to  all  who  have  once  experienced 
her  subtle  charm,  what  she  was  called  of  old — "  La  douce 
France  ".  Her  race,  composed  of  many  elements,  has  pre- 
served the  characteristics  of  each,  and  gradually  fused  them 
into  a  harmonious  whole. 

From  her  Boman  Conquerors,  from  the  Latinized  Gauls 
of  Narbonne  and  Acquitaine,  France  derives,  besides  her 
language,  the  taste  for  unification  and  authority,  precision. 


4  A  HISTORY  OF  FRENCH  ART.  Ch.  I. 

distinctness,  lucidity.  With  their  irruption  into  Gaul,  the 
Burgundian  tribes  brought  their  skill  as  artizans  from  beyond 
the  mountains.  And  ''  the  Gothic  people  almost  immediately 
'*  after  their  settlement  in  Acquitaine,  manifested  a  singular 
'*  aptitude  for  a  yet  higher  civilization  ".  From  her  original 
inhabitants,  the  Gauls,  she  gets  that  courage  which,  as  Sir 
James  Stephen  says,  **when  unchilled  by  oppression  and 
**  slavery  was  of  an  almost  incomparable  ardour.  Keenly 
**  susceptible  of  every  kind  of  impulse,  impelled  into  speech 
**  and  action  by  a  restless  constitutional  vivacity,  fickle  of 
**  purpose,  impatient  of  the  tranquil  rule  of  law,  and  involved 
"  in  perpetual  disunions  with  each  other,  this  ingenious, 
**  volatile  enthusiastic  race  might  seem  to  have  been  moulded 
"  by  the  hand  of  nature  herself,  as  a  living  antithesis  to 
**  their  Teutonic  Conquerors  (the  Franks).  The  subtle,  in- 
**  sinuating,  courteous  Gaul  despised,  even  while  he  obeyed, 
**  the  sluggish,  simple-minded  German ;  and  found  inex- 
**  haustible  food  for  ridicule  in  his  blunt  speech  and  phleg- 
'*  matic  demeanour.  The  Gaul  yielded  himself  recklessly  to 
'*  every  gust  of  emotion.  The  German  lived  under  the  con- 
^'  trol  of  passions  as  measured  in  their  outward  manifestation, 
"**  as  they  were  fervent  and  enduring  in  reality.  The  Gaul 
'*  .  .  .  was  egregiously  vain.  The  German  neither  rendered 
**  nor  coveted  any  idolatrous  homage,  but  meditating  the  in- 
**  terests  of  his  nation,  or  his  tribe,  merged  his  own  fame  in 
'*  theirs,  and  cheerfully  abandoned  his  separate  purposes  to 
*'  promote  the  designs  of  his  associates  in  policy  or  in  arms." 

Thus  from  the  mercurial,  emotional  Gauls,  and  from  their 
phlegmatic,  but  equally  passionate  Frankish  Conquerors, 
France  derives,  besides  courage,  enthusiasm  for  noble  causes, 
the  desire  for  self-devotion,  not  exempt  perhaps  from  a 
certain  curiosity  with  regard  to  the  afifairs  of  others,  her  elo- 
quence, her  vivacity,  and  that  imaginative  faculty  in  which 
her  children  take  refuge  as  an  escape  from  the  unhappy 
realities  of  hfe,  which  are  too  often  their  own  handiwork. 

The  soil  of  France  is  as  rich  in  diversities  as  the  elements 
that  go  to  make  up  her  race.  And,  as  with  her  race,  these 
manifold  diversities  in  no  way  impair  that  unity,  which  is  the 


1100-1899.  THE  FRENCH  RACE  AND  SOIL.  5 

object  France  always  has  in  view,  and  which  is  an  absolute 
necessity  to  the  French  race. 

At  one  extreme  we  find  Flanders,  with  its  wide  expanse 
of  flat,  fertile  country,  inhabited  by  a  stolid  and  masculine 
people.  At  the  other,  those  provinces  of  the  South,  where 
the  soft  languor  of  nature,  basking  lazily  in  the  sun,  does 
not  hinder  the  southern  character  from  being  vigorously 
equipped  for  the  struggles  or  excitements  of  commerce  or 
politics — even  as  the  fierce  mistral  sweeps  across  the  sunlit 
land.  There  is  Brittany — the  Armorica  of  the  ancient  Gauls 
— dreamy  and  passionate,  with  its  mysterious  landes,  peopled 
with  supernatural  beings  who  form  part  of  the  everyday  life 
of  the  Breton  peasant.  Brittany,  with  its  robust  and  serious 
faith,  which  makes  even  the  most  sceptical  bow  his  head  as 
the  Pardon  passes  by.  Brittany,  where*  the  love  even  of  the 
poorest  is  pervaded  with  an  element  of  tender  and  rehgious 
sadness. 

'*  Belle  amie,  ainsi  vas  dc  nous 

**  Ni  vous  sans  moi,  ui  moi  sans  vous." 

Champagne,  light  and  ■  sparkling  as  its  own  wine.  The 
Lyonnais,  where,  above  the  busy  factories  and  workshops, 
rises  the  mystic  spire  of  Notre  Dame  de  Fourviferes.  Nor- 
mandy, of  fat  pastures  and  racy  legends ;  whose  faithful,  hard- 
working race,  despite  their  matter-of-fact  appearance,  are 
as  solid  and  sturdy  as  the  architecture  that  bears  their  name. 
Poitou,  which  Scaliger  called  the  **  Soul  of  France  '* ;  a 
luminous  centre  of  civilization  in  the  dark  ages  of  her  history. 
The  rugged,  volcanic  Auvergne,  with  its  industrious  people, 
the  hewers  of  wood  and  drawers  of  water  for  the  whole  of 
France.  Touraine  where  the  language  is  so  pure,  the 
laugh  so  hearty  and  wholesome,  and  Chateaux  and  Palaces  of 
King  and  Courtier  lie  scattered  thick  along  her  noble  rivers. 
'*  L'aimable  et  vineuse  Bourgogne."  And  Paris,  where 
France  finds  her  supreme  expression. 

The  French  soil,  therefore,  with  its  unique  variations, 
has  undoubtedly  been  a  considerable  factor  in  moulding 
the  French  race,  formed  in  its  turn  of  such  diverse  elements. 
And  all  outside  attempts  to  destroy  the  whole  that  we  call 


6  A  HISTORY  OF  FRENCH  ART.  Ch.  I. 

France,  have  only  resulted  in  welding  these  various  and 
widely  differing  particles  into  a  great  unity.  For,  although 
at  times  the  very  existence  of  France  may  appear  to  be  im- 
perilled by  internal  dissensions,  all  are  forgotten  if  her 
integrity  is  menaced  from  without.  And  it  is  the  actual 
exaggeration  of  that  love  of  the  Patrie — so  admirable  in 
itself — that  leads  France,  at  times,  to  make  herself  somewhat 
absurd  in  the  eyes  of  calmer  and  less  \avacious  nations. 
For  go  where  you  will,  place  him  in  what  circumstances 
you  will,  the  Frenchman — be  he  from  Normandy  or  Bor- 
deaux, from  Provence  or  from  Brittany,  remains  essentially 
French  ;  and  will  always  be  more  French  than  anything 
else. 

Sensitive,  quick-witted,  impulsive,  suspicious  of  other 
nations  and  ready  to  take  offence,  truly  patriotic,  believing 
in  the  absolute  superiority  of  his  own  country  over  all  others 
on  earth,  the  Frenchman,  that  mixture  of  Latin,  Gaul  and 
Franc,  is  above  all  an  Artist.  His  delight  is  in  the  ex- 
pression of  the  beautiful  in  well-ordered  form — whether  in 
literature — in  the  Fine  Arts — in  the  cooking  of  his  food — or 
in  the  trimming  of  a  bonnet.  And  this  keen  artistic  sense, 
does  not  merely  belong  to  the  educated  classes  of  France. 
It  belongs  to  the  very  soil.  It  manifests  itself  in  all  parts 
of  France.  It  has  done  so  from  the  earliest  days  of  her 
history.  Those  untaught,  untrained,  nameless  monks,  who 
covered  the  Cathedrals  of  Provence  and  Acquitaine,  Flanders 
and  risle  de  France  with  sculpture,  were  sons  of  the  people. 
If  we  examine  the  biographies  of  French  artists,  we  find 
that  a  large  proportion  of  those  who  have  distinguished 
themselves  in  painting  or  sculpture,  from  the  15th  century 
to  the  present  day,  have  been  the  sons  of  poor  peasants.  In 
French  literature  it  is  the  same.  The  most  exquisite  literary 
taste  has  been  cradled  in  the  peasant's  hut,  or  on  the  small 
farm.  This  has  been  seen  during  the  last  twenty  years  in 
the  remarkable  poetic  revival  in  Provence ;  where  it  has 
fallen  out  at  the  annual  meeting  of  the  Felibres,  that  the 
writer  of  the  prize  poem  of  the  year  cannot  attend  to  receive 
her  prize,  because  her  father  needs  her  help  in  the  hay  field. 


1100-1899.  THE  FRENCH  RACE  AND  SOIL.  7 

Art  in  France  is  indeed  the  heritage  of  the  people.  And 
even  where  it  does  not  attain  that  full  expression  which 
makes  the  Artist,  the  artistic  sense,  which  belongs  to  France, 
makes  itself  felt  in  every  industrial  product,  in  every  manu- 
facture. Each  dainty  article  de  Paris  that  we  buy  for  a  few 
pence — each  yard  of  stuff — besides  being  admirably  well- 
made,  possesses  a  certain  distinction  and  grace,  a  harmony 
of  colour  and  design,  that  in  the  course  of  centuries  has 
made  Paris  the  arbiter  of  fashion  for  the  world.  And  do 
not  let  us  treat  this  matter  too  hghtly.  It  is  not  the  result 
of  mere  chance,  or  of  a  passing  fancy.  A  far  deeper  signi- 
ficance underlies  it.  For  it  is  the  evidence  of  forces  which 
have  won  this  position  by  some  intrinsic  merit  of  their  own. 

The  French  spirit  is  intensely  articulate.  Though  the 
thought  may  not  be  of  the  deepest  or  the  greatest,  the  ex- 
pression of  that  thought,  whether  in  Art  or  in  literature,  is 
always  perfectly  lucid ;  put  in  the  most  admirableTform ;  and 
fearless,  because  deeply  convinced.  That  love  of  the  C!On- 
crete  rather  than  of  the  abstract,  which  leads  France  into 
the  worship  of  an  exaggerated  bureaucratic  system,  of  an 
excessive  centralization,  enables  her  also  to  see  the  goal 
clearly,  and  to  make  direct  for  it  without  hesitation  or  un- 
certainty. There  is  nothing  tentative  or  nebulous  in  the 
works  of  Art  or  of  literature  that  France  has  produced. 
That  conscience  in  intellectual  matters,  which,  as  Matthew 
Arnold  tells  us,  the  Frenchman  possesses  in  such  an  emi- 
nent degree — **  his  active  belief  that  there  is  a  right  and  a 
**  wrong  in  them,  that  he  is  bound  to  honour  and  obey  the 
**  right,  that  he  is  disgraced  by  cleaving  to  the  wrong" — is 
brought  to  bear  on  all  that  he  does.  It  is  to  be  seen  and 
felt  in  his  plays,  his  pictures,  his  buildings,  his  manufactures. 
And  the  reason  why  we  go  to  France  for  our  china,  our 
jewels,  our  gowns,  our  stuffs — the  reason  why  we  are  be- 
ginning to  go  to  France  for  our  pictures  and  our  statues — 
is,  that  the  production  of  each,  whether  costly  or  of  no  value, 
shows  the  evidence  of  that  intellectual  conscience,  which  for 
hundreds  of  years  has  trained  and  guided  the  taste  of  the 
whole  nation. 


8  A  HISTORY  OF  FRENCH  ART.  Ch.  I. 

The  ground  is  ready — prepared  by  a  series  of  fortuitous 
circumstances,  by  qualities  of  exceptional  variety  and  value 
in  race  and  soil.  We  have  now  to  see  what  is  the  crop  it 
brings  forth. 

French  genius  may  be  said  to  be  the  harmonious  result 
of  two  tendencies  which  at  first  sight  are  contradictor^\  The 
taste  for  positive  realizations,  and  imaginative  sentiment. 
And  French  genius  has  always  shown  itself  triumphant  in 
the  handling  of  those  two  primordial  forms  of  Art,  which  are 
the  outcome  of  these  tendencies — Architecture,  and  its  im- 
mediate successor  Sculpture.  The  Gallo-Franc  is  by  nature 
an  architect  and  a  sculptor.  And  no  people  have  brought  a 
more  lively  invention,  a  more  sustained  and  closely  reasoned 
logic,  a  more  continuous  power  of  renewal,  of  fresh  growth, 
to  bear  on  these  two  expressions  of  the  aesthetic  idea,  than 
the  French. 

The  object  of  this  book  will  be  to  give  in  as  far  as 
is  possible,  a  consecutive  history  of  the  growth  of  French 
Architecture,  Sculpture,  and  Painting  from  the  12th  century 
to  the  present  day.  And  to  demonstrate  that  French 
Art  has  throughout  been  in  sympathy  with  the  national 
characteristics  of  the  country,  and  of  the  people  of  France. 

In  Architecture  we  shall  glance  at  the  early  styles. 

The  Eomanesque  of  the  Gallo-Eoman  provinces  of 
Provence  and  Auvergne  ;  and  the  Eomanesque  or  Norman  of 
Bayeux  and  Caen.  The  Gothic,  which  had  its  origin  in  the 
very  heart  of  France ;  and  the  Flamboyant,  which  marks  its 
beautiful  decay.  Then  we  shall  watch  the  effect  of  the 
Italian  Eenaissance  on  French  architects.  The  gradual  de- 
velopment of  the  purely  French  style,  in  those  Chateaux 
that  clustered  down  the  Loire  like  beads  upon  a  rosary — 
those  palaces  that  sprang  up  in  and  about  Paris,  now  at 
length  the  real  capital  of  the  Kingdom.  The  magnificences, 
severe  and  ofl&cial,  of  the  reign  of  Louis  XIV.  The  later 
Classic  revival  of  the  end  of  the  18th  century.  And  we  shall 
study  the  Uves  and  aims  of  the  brilliant  line  of  architects  from 
Bullant,  De  TOrme  and  Pierre  Lescot,  from  Le  Vau  and 
Mansart,  Le  Mercier  and  Perrault,  to  Fontaine  and  Percier, 


1100-1899.  THE  FRENCH  RACE  AND  SOIL.  9 

Labrouste  and  Visconti,  Brongniart  and  Duban,  Viollet-le- 
Dnc  and  Charles  Gamier. 

We  shall  see  how  Sculpture,  from  being  a  mere  accessory 
to  Architecture,  develops  under  the  humanists  of  the  French 
Eenaissance  into  a  noble  and  distinct  art,  in  the  hands  of 
such  masters  as  Jean  Goujon,  Germain  Pilon,  Pierre 
Bontemps. 

It  was  a  gradual  development.  And  to  trace  it  from  its 
source  is  a  task  of  deep  interest  and  import. 

Sculpture,  up  to  the  end  of  the  13th  century  was  almost 
wholly  rehgious.  For  Architecture  till  that  period  was 
almost  exclusively  in  the  hands  of  the  Church,  and  was  the 
expression  of  the  religious  idea.  But  as  early  as  Louis  le  Gros* 
accession  in  1108  we  get  the  first  faint  sign  of  Naturahsm. 
It  is  shown  primarily  in  ornament.  The  leaf  of  the  French 
Arum  appears  in  capitals.  A  little  later  we  find  it  in  the  treat- 
ment of  figures.  And  gradually  the  Byzantine  ideal  dies  out, 
when  Naturalist  begins  to  take  the  place  of  Hieratic  Art  about 
1150,  as  we  may  see  in  the  figures  of  Bourges  and  Chartres. 

In  the  reign  of  Philippe- Auguste  (1180-1223),  when 
Royalty  and  the  Church  turn  to  the  laity  for  help,  the  great 
expansion  of  sculptural  Art — the  building  of  the  Cathedrals — 
is  reached.  Gothic  Art,  strong,  fertile,  fully  equipped,  is 
ready  to  make  its  superb  response  to  the  extraordinary  de- 
mands made  upon  it.  And  we  find  the  sculptors  of  the 
13th  century  are  more  than  capable  of  carrying  out  the 
tremendous  programme  laid  before  them.  For  they  now 
draw  their  inspiration,  not  from  an  effete  Byzantinism,  but 
from  the  wells  of  truth  itself.  And  they  create  an  original, 
national,  Uving,  expressive  art,  admirably  suited  to  its  object 
— "  picturesque  while  it  is  grave,  delicate  while  it  remains 
"  monumental,  an  art  at  once  free,  ingenuous,  flexible  and 
*'  varied,  the  eloquent  interpreter  of  the  religious  thought 
**  which  inspires  it — the  docile  assistant  of  those  architectural 
"  forms,  of  which  its  Mission  is  to  accentuate  the  decorative 
**  functions".  And  Sculpture,  like  Architecture,  gradually 
becomes  the  exact  expression  of  the  habits,  the  climate,  the 
social  conditions,  and  the  very  race  of  France. 


10  A  HISTORY  OF  FRENCH  ART.  Ch.  I. 

At  the  end  of  the  13th  century,  four  great  Schools  of 
Sculpture,  each  bring  their  special  territorial  expression  to 
the  history  of  the  Art — Champagne — Picardy — Burgundy — 
He  de  France.  In  the  14th  century  however,  an  important 
change  takes  place  in  Sculpture.  Architecture  has  now 
become  an  exact  Science.  Sculpture,  like  Painting,  turns 
towards  a  closer  expression  of  reality.  Art,  as  a  whole,  is 
tending  towards  Naturalism.  We  find  what  has  been  aptly 
called  "  rinqui^tude  du  portrait ".  And  we  see  how  this 
preoccupation  with  the  exact  portrait,  which  has  been  de- 
veloping for  half  a  century  in  the  purely  French  provinces, 
gains  a  footing  in  Flanders,  and  thence  spreads  all  over 
France.  Sculptors  now  become  known  by  name  and  gather 
schools  about  them.  Jean  d'Arras,  to  whose  chisel  we  owe 
the  earliest  Eoyal  statue  in  marble,  that  of  Philippe  le 
Hardi  (1298-1307),  the  first  of  the  superb  series  of  authentic 
effigies  of  the  Kings  of  France.  Andre  Beauneveu  of  Valen- 
ciennes. Jean  de  Cambrai,  one  of  the  strongest  individualities 
in  French  Sculpture.  And  that  great  Flemish-Burgundian, 
Claux  Sluter,  whose  Philippe  le  Hardi,  Duke  of  Burgundy, 
at  Dijon,  has  been  justly  compared  as  a  work  of  art  to  some 
of  the  greatest  statues  of  the  16th,  18th  and  19th  centuries. 

This  brings  us  to  the  end  of  the  15th  century  and  the 
dawn  of  the  French  Renaissance ;  to  a  strong  territorial  ex- 
pression of  French  Art,  the  rise  of  the  School  of  Tours,  with 
that  noble  artist  Michel  Colombe  at  its  head.  And  although 
it  has  been  repeatedly  asserted  that  this  was  a  period  of 
seniUty — that  the  French  genius  was  worn  out,  and  needed 
the  infusion  of  new  blood  from  Italy — later  and  less  prejudiced 
research  has  demonstrated  that  the  racial  energy  was  so 
deeply  rooted — the  vital  force  of  French  Sculpture  so  intense 
— that  it  was  able  to  maintain  the  continuity  of  a  national 
ideal  of  Art — a  logical  evolution,  through  the  Franco-Flemish, 
from  the  old  Gothic  foundation.  In  the  early  Renaissance 
period  the  architectural  form  remains  Gothic.  It  is  only 
ornament  that  becomes  Italian  for  a  time.  And  French 
Sculpture  really  bore  the  mark  of  Italy  for  a  very  short  period. 
Under  Fran9ois  I.  (1515-1547)  there  was  a  pause,  when  Sculp- 


1100-1899.  THE  FRENCH  RACE  AND  SOIL.  11 

ture  became  purely  decorative  and  architectural  again.  But 
this  was  only  a  pause  to  gather  fresh  strength.  For  it  was 
followed  by  the  great  national  revival  under  Henri  II. 
(1547-1559),  when  French  Art  blossomed  once  more  with 
renewed  vigour ;  and  the  permanent  instincts  of  the  race 
triumphed  over  formulas  which  seemed  destined  to  obscure 
them  for  ever.  That  splendid  period,  when  Philibert  de 
rOrme  and  Pierre  Bontemps  erected  the  world  -  famous 
tomb  of  Fran9ois  I. — when  Germain  Pilon  sculptured  his 
Birague — and  the  immortal  Jean  Goujon  gave  us  the  de- 
corations of  the  Louvre  and  the  Fontaine  des  Innocents, 
the  Dian^  Chasseresse,  and  how  many  more  masterpieces. 

We  then  reach  the  Naturalist  reaction  under  Louis  XIII. 
and  the  successors  of  Germain  Pilon.  The  **  Siecle  de 
Louis  XTV."  with  its  Girardon  and  Desjardins,  its  Pierre 
Pujet  and  Coysevox.  The  purely  French  Art  of  the  18th 
century  with  the  Coustous,  Bouchardon,  Pigalle,  the  Caffieri, 
Pajou,  Houdon.  And  so  we  come  to  the  Eevolution — the 
dawning  of  the  19th  century — and  all  the  noble  Modern 
School  of  sculptors,  from  Rude  and  the  great  Barye,  to  Car- 
peaux  and  Falgui^re — Fremiet  and  Mercie — Guillaume  and 
Chapu — Saint  Marceaux  and  Rodin. 

While  speaking  of  Sculpture  we  must  also  give  space  to 

the    series  of  French   Medals — a   form   of  Art  flourishing 

during  the  Renaissance  under  Guillaume  Martin,  Guillaume 

Dupre,  Jean  Warin,  and  Germain  Jacquet.    And  now  carried 

to  what  seems  the  summit  of  artistic  attainment,  by  Pons- 

carme,    Michel  Cazin,  Dupuis,  Chaplain,   Patey,  and  that 

supreme  master,  Roty.     And  some  mention  must  be  made  of 

the  ivories,  especially  those  of  the  13th  and  14th  centuries ; 

when    great   and   nameless    artists    produced    such    chefs- 

d'oeuvres    as    the    Descente    de    Croix   of    the   Louvre,   the 

Couronnement  de  la  Vienje,  and  the   entrancing    Vierge  de  la 

Sainte    Chapelle. 

In  the  history  of  French  Painting,  to  which  a  great  part 
of  this  book  will  naturally  be  devoted,  considerable  difficulty 
and  obscurity  exists  when  we  attempt  to  trace  its  very  be- 
ginnings.    Sculpture  and  Architecture  had  reached  a  high 


12  A  HISTORY  OF  FRENCH  ART.  Ch.  I. 

point  of  attainment  before  painting  began  to  hold  its  own  in 
France.  The  earliest  paintings  are  to  be  found  in  missals. 
The  earliest  existing  portraits  are  miniatures  in  manuscripts. 
And  this  exquisite  art  of  miniature  painting  has  flourished 
with  almost  unrivalled  success  in  France,  from  anonymous 
monks  in  the  13th  century,  to  Gerbier  and  Petitot  in  the  17th, 
Isabey,  Guerin,  Augustin,  Frederic  Millet,  etc.,  in  the  18th 
and  19th  centuries. 

The  long  roll  of  authentic  French  artists  begins  in  the 
15th  century,  with  Jehan  Fouquet  of  Tours,  and  King  Rene 
of  Anjou.  But  the  distinctive  French  School  can  hardly  be 
said  to  exist  before  the  16th  century,  which  opens  gloriously 
with  those  renowned  portrait  artists  the  Clouets,  Jean,  and 
Fran9ois  his  son,  both  *'  peintres  du  roi  "  ;  with  Jean  Cousin, 
and  Comeille  de  Lyon.  While  a  httle  later,  we  find  Simon 
Vouet,  the  father  of  French  Orientahsts ;  the  Le  Nains, 
whose  poignant  pictures  of  the  peasant  seem  to  presage 
the  work  and  aims  of  Jean  Francois  Millet,  nearly  300 
years  before  he  lived ;  and  the  great  Poussin.  In  the  17th 
century  under  Louis  XIV.,  artists  take  their  profession 
seriously.  The  Academy  is  founded.  And  Art  becomes 
aristocratic  and  official — depending  on  the  King  and  the 
government  for  long  years  to  come — under  the  system  of 
unification  and  order,  instituted  by  Louis  XIV.  and  Col- 
bert. And  now  such  great  names  stand  out  in  the  crowd 
of  painters  as  Gaspar  Poussin  (Dughet)  and  Claude  Lorraine 
in  landscape  ;  the  lofty  and  dehcate  talent  of  Le  ScBur ; 
Mignard,  Largillifere  and  Eigaud,  and  the  triumphant 
Le  Brun. 

With  the  18th  century  comes  a  reaction  against  official- 
ism— a  return  to  a  gayer,  softer,  less  rigid  view  of  life 
and  Art  than  that  of  the  Grand  Steele,  We  delight  in 
Watteau  and  Lancret,  Chardin  and  Boucher,  Greuze  and 
Fragonard.  While  Nattier  and  Tocque  paint  the  powder  and 
paint,  the  silks  and  satins  of  the  society  of  Fetes  galantes. 
It  is  then  that  the  first  real  intercourse  takes  place  between 
Art  and  Letters,  in  the  relations  of  the  Philosophers  and  the 
artists.     Art  Criticism  begins;  and  Diderot  talks  of  **  locai 


1100-1899.  THE  FRENCH  RACE  AND  SOIL.  13 

colour  ".  Then  the  Revolution  bursts  upon  the  world.  And 
we  find  that  far  from  destroying  Art,  it  is  to  the  Revolution 
that  Modem  Art  owes  its  life.  For  though  in  places,  the  mob 
destroyed  many  priceless  works  of  Art,  the  chiefs  of  the 
Revolution  did  all  in  their  power  to  preserve  them.  The 
Convention  organized  Museums  and  Schools  of  Art,  in- 
stituted pubUc  exhibitions  of  pictures,  fostered  the  Academy 
of  Rome,  created  the  Museum  of  the  Louvre — and  in  short 
gave  French  Art  that  without  which  no  Art  can  flourish — 
that  of  which  it  had  so  long  been  deprived — Liberty. 

At  the  end  of  the  18th  century  we  find  a  fresh  Classic 
revival.  Its  history,  the  tendencies  and  the  results  of  the 
Classic  school  of  David  and  his  successors,  are  of  high  im- 
portance in  any  study  of  the  art  of  the  19th  century.  While 
the  reaction  against  this  false  classicism,  in  the  so-called 
Romantic  movement  under  Gericault  and  Delacroix,  is  of 
even  greater  interest.  In  1830  we  reach  the  Naturalist  re- 
vival— Corot  and  Rousseau,  Dupre  and  Diaz,  Daubigny, 
Harpignies,  and  Troyon,  and  all  that  they  have  taught  the 
modern  world.  Then  the  painters  of  the  Peasant — that 
evidence  of  the  Democratic  spirit  of  the  age — the  great 
Millet — the  revolutionary  Courbet — Bastien-Lepage,  Jules 
Breton,  and  many  more. 

With  the  Military"  painters  we  again  watch  the  evolution 
of  the  democratic  idea — from  Gros,  Charlet,  Raffet,  and  the 
Wars  of  Napoleon,  to  the  terrible  struggle  of  1870,  and  its 
painters,  De  Neuville  and  Detaille. 

The  endless  series  of  Genre  painters  we  shall  find  sub- 
divided into  many  groups,  as  we  study  the  painters  of  Still 
Life,  the  Neo-Greeks   of   1848,  the   Modem   Classics,  the 
painters  of  History  and  literature,  of  everyday  hfe,  whether 
of  town  or  country  or  sea-shore.     And  that  Uving  and  grow- 
ing school  of  Orientalists,  which  began  with  Simon  Vouet 
in  the  16th  century,  and  numbers  among  its  members  such 
men  as  Delacroix,  Decamps,  Fromentin,  Henri  Regnault, 
and  many  another   fine   artist  of  the  present  day.      The 
Portrait  painters  too   repay  serious  study.     And   thus   we 
reach  the  most  modem  developments  of  French  Art.     The 


/ 


14  A  fflSTORY  OF  FRENCH  ART.  Ch.  I. 

Decorative  painters,  from  Delacroix  to  the  great  master, 
Puvis  de  Chavannes.  The  SymboHsts,  Ideahsts,  Mystics, 
such  as  Gustave  Moreau,  and  Henri  Martin.  And  lastly 
the  Impressionist  school  of  to-day,  from  Manet  to  Claude 
Monet. 

All  through  the  long  centuries  from  1100  to  1900,  the 
vital  energy  of  French  Art,  drawn  from  those  varied  elements 
of  the  race  and  soil  of  France,  has  enabled  it  to  stand  alone, 
to  be  itself.  While  invaded  from  time  to  time  by  foreign 
influences,  such  is  the  inherent  vigour  of  the  French  race 
and  French  genius,  that  it  has  at  last  always  succeeded  in 
using  those  influences  for  its  own  ends,  subordinating  them 
to  its  own  purposes,  bending  them  to  its  service — not  yield- 
ing up  its  own  individuality  to  them. 

French  Art  has  been  true  to  itself — true  to  the  dominant 
characteristics  of  the  French  race. 

As  Joubert  says  **  En  France,  il  semble  qu'on  aime  lea 
**  arts  pour  en  juger  bien  plus  que  pour  en  jouir  ".  And  so 
the  French  race  has  always  been  more  intellectual  than 
impressionable — more  reasonable  than  moral — more  literary 
than  poetic — ''Uprise  de  clarte'* — often  putting  a  practical 
business  capacity  in  the  place  of  common-sense — finding  its 
highest  artistic  pleasure  in  the  perfect  order  of  architectural 
lines — making  unity  the  guiding  principle  of  its  politics, 
its  Uterature,  its  art.  But,  in  fine,  always  clinging  with 
passionate  devotion  to  what  it  takes  for  truth,  and  to  that 
lucidity  of  expression  which  is  one  of  the  most  admirable 
forms  of  self-respect. 


(( 


if 


CHAPTEK  II. 

ARCHITECTURE  AND  SCULPTURE  BEFORE  THE  RENAISSANCE. 

1100—1600. 

"  That  which  distinguishes  French  from  all  other  European 
"  Architecture,  is,  that  during  more  than  ten  centuries  it  has 
"  been  cultivated  in  various  original  schools  which  came  into 
**  being  spontaneously  in  different  provinces,  working  in  emula- 
tion of  each  other  on  different  principles  and  with  different 
methods,  each  imprinting  on  its  works  its  special  character 
"  and  yet  a  national  stamp.  From  the  11th  century  each  of 
"  our  provinces  had  its  artists,  its  traditions,  its  system  ;  and 
"  this  astonishing  variety  in  art  has  produced  chefs-d'ceuvres 
"  in  almost  every  case.  For  all  over  France  the  genius  of  our 
"  artists  has  left  the  strong  impress  of  its  grandeur  and  its 
**originaUty.**^ 

Until  the  end  of  the  13th  century.  Architecture  is  almost 
exclusively  in  the  hands  of  the  Church,  and  is  the  aesthetic 
expression  of  the  religious  spirit.  The  castles  and  palaces 
were  to  a  great  extent  mere  strongholds  or  fortresses — 
Chateaux-forts — as  their  name  denotes.  Protection  from 
danger,  not  beauty  of  living,  was  their  use.  It  is  therefore 
to  the  Churches  and  Abbeys  that  we  must  look  for  the 
earliest  dawnings  of  architectural  and  sculptural  art. 

From  the  time  that  Charlemagne  introduced  the  civihzing 
influences  of  arts  and  letters  from  Rome  and  Spain,  to  his 
barbarous  populations,  French  Architecture  has  steadily 
developed  on  perfectly  national  lines.  Fifty  years  after  his 
death,  those  germs  of  the  feudal  system  which  already 
existed  among  the   Franks,   reasserted  themselves.      The 

1  Viollet-le-Duc. 

(15) 


16  A  HISTORY  OF  FRENCH  ART.  Ch.  H. 

kingdom  he  had  so  laboriously  welded  together,  broke  up 
into  separate  provinces;  and  as  M.  VioUet-le-Duc  points 
out,  the  particular  genius  of  each  province  is  reflected  in  the 
architectural  monuments  of  the  9th  and  10th  centuries. 
**  During  the  11th  and  12th  centuries  this  diversity  is 
**yet  more  marked.  Each  province  forms  a  school.  The 
'*  feudal  system  reacts  on  architecture ;  and  as  each  noble 
*'  shuts  himself  up  in  his  domain,  as  each  diocese  isolates 
**  itself  from  the  neighbouring  diocese,  so,  step  by  step,  the 
**  art  of  building  follows  this  new  political  organization. 
**  The  builders  no  longer  seek  their  precious  materials  afar 
**  ofif,  they  no  longer  use  the  same  receipts ;  they  work  on 
**  their  own  ground,  employ  the  materials  within  their  reach, 
**  modify  their  usages  by  reason  of  the  climate  in  which  they 
**  live,  and  yield  to  purely  local  influences."  ^ 

Hitherto  art  had  been  wholly  confined  to  the  limits  of 
the  cloister.  The  Abbey  of  Cluny  (a.d.  909)  enfranchised 
by  the  Pope  from  all  dependence  on  King,  bishop,  or  noble, 
was  not  only  the  type  of  all  Abbeys  of  the  Order  of  Cluny, 
but  **  simple  parishes,  rural  buildings,  public  monuments  in 
**the  cities,  took  these  centres  of  richness  and  light  as  their 
**  models". 

At  the  beginning  of  the  11th  century  the  feudal  system 
was  fully  organized ;  and  Bishops  and  Abbots  exercised  the 
same  feudal  rights  as  the  lay  lords  :  the  Church  thus  losing 
its  purely  spiritual  character,  and  becoming  a  secular  power, 
opposed  to  that  of  the  nobles.  But  now  the  people,  jealous 
of  the  oppressive  wealth  and  power  of  the  Abbeys  and  of  the 
feudal  lords,  used  the  opportunities  offered  by  the  struggle 
between  the  Church  and  the  laity,  and  the  series  of  civil 
wars  which  the  feudal  system  engendered,  to  enfranchise 
themselves.  And  the  Communes,  destined  to  play  so  remark- 
able a  part  in  French  Architecture,  were  organized.  From 
the  8th  century  each  great  monastery  had  had  its  atehera 
of  builders,  carpenters,  goldsmiths,  sculptors,  painters,  etc^ 
The  lay  corporations  for  these  various  trades  which  soo 

^  Viollet-le-Duc,  Diet,  de  V Architecture  Fran^aisc. 


11001500.     ARCHITECTURE  BEFORE  THE  RENAISSANCE.  17 

sprang  up  within  the  Communes,  followed  the  system  of  the 
monastic  organization.  And  until  the  end  of  the  12th  century, 
Architecture,  even  in  the  hands  of  lay  architects,  preserved 
much  of  its  theocratic,  origin. 

One  voice  alone  was  raised  against  the  growing  artistic 
splendour  of  Monasteries  and  Churches.  All  the  Monas- 
teries built  under  the  inspiration  of  Saint  Bernard,  **  marked 
"  by  a  severity  of  style  very  uncommon  at  that  moment, 
"  contrast  with  the  richness  of  the  Abbeys  under  the  order 
**  of  Cluny".  But  Saint  Bernard's  reformation  was  per- 
sonal not  national.  It  was  contrary'  to  the  genius  of  the 
Gallo-Eoman  population.  His  establishments,  at  the  end  of 
the  12th  century,  were  left,  the  isolated  protest  of  a  single 
man,  against  the  taste  of  a  whole  nation.  While  Archi- 
tecture, whether  religious  or  civil,  made  use  of  every 
resource  that  sculpture  or  painting  could  afiford  for  its 
embellishment. 

French  Architecture  before  the  Renaissance  is  of  two 
styles.  Romanesque,  and  that  which  grew  by  a  logical  evolu- 
tion from  Romanesque — Gothic. 

In  these  two  styles  many  diversities  and  subdivisions  are 
to  be  found,  dependent  mainly  on  those  racial  and  climatic 
influences  of  which  I  have  already  spoken.  But  they  are 
distinguished  by  two  absolute  principles.  In  Romanesque, 
the  principle  of  inert  stability.  In  Gothic,  that  of  a  perfectly 
scientific  principle  of  exquisitely  -  balanced  equilibrium.' 
Strength  distinguishes  the  Romanesque  style.  Logical  and 
symmetrical  beauty  and  grace  the  Gothic. 

The  early  Romanesque  Church,  built  on  the  lines  of  the 
Latin  Basilica,  is  marked  by  massive  walls,  small  apertures, 
horizontal  lines,  absence  of  vaultings,  thick  round  pillars, 
round-headed    arches — simplicity    and   inert    strength.      In 
the  later  Romanesque  buildings,  signs  of  the  coming  change 
J     are  found  in  the  general  use  of  vaultings  and   the  conse- 
quent necessity  for  buttresses.      To  this  I  will  refer  later. 
Romanesque  in  France  is  of  two   styles — that  of  Southern 
Gaul,  the  part  of  France  in  closest  contact  with  Roman 

and  Byzantine  influence.      And   that   of   Normandy,   and 

2 


/ 


18  A  HISTORY  OF  FRENCH  ART.  Ch.  n. 

consequently  of  England.     Let  us,  following  the  lines  laid 
down  by  VioUet-le-Duc,  first  glance  at  that  of  Southern  Gaul. 

In  the  11th  century  many  antique  buildings  remained 
almost  intact,  in  the  valleys  of  the  Rhone  and  Sa6ne,  from 
Marseilles  to  Chalons.  And  the  Roman  remains,  found  so 
abundantly  in  Provence,  are  reproduced  in  the  details — even 
where  the  whole  has  been  modified  to  suit  fresh  conditions — 
of  the  churches- of  Thor,  V^nasqueSy  Penies,  the  porches  of  Notre 
Dame  dcs  Dons  at  Avignon,  Saint  Trophy  vie  at  Aries,  and 
Saint  Gilles.  The  constant  intercourse  of  the  coast  towns 
with  the  East,  is  manifested  in  the  Byzantine  type  of  orna- 
ment as  well  as  in  the  general  idea.  Higher  up  the  Rhone 
this  type  changes,  as  it  comes  in  contact  with  a  second 
Oriental  influence  from  the  east  of  the  Rhine.  For  while 
in  the  12th  century  the  Mediterranean  Coasts  were  in  direct 
communication  with  the  East,  the  Byzantine  art  of  the 
Trans-Rhenan  provinces  had  existed  from  the  time  of 
Charlemagne,  modified  of  course  by  local  causes.  A  singu- 
lar admixture  of  these  two  architectural  influences  is  to  be 
found  in  the  Haute-Sa6ne,  Burgundy  and  Champagne. 
And  yet  the  result  is  harmonious,  in  the  hands  of  men  who 
probably  worked  in  complete  ignorance  of  the  origin  of 
the  ideas  they  used,  as  seen  in  the  church  of  Tournus,  the 
Abbeys  of  V^zelay,  Charlieu  and  Clnny, 

But  there  were  other  channels,  as  Viollet-le-Duc  points 
out,  by  which  the  Oriental  influence  penetrated  the  Gallo- 
Roman  provinces.  The  Abbey  Church  of  Saint  Front,  Peri" 
gueuxy  founded  in  a.d.  984,  was  built  exactly  on  the  plan  of 
Saint  Mark's,  Venice,  either  under  the  direction  of  a  French- 
man who  had  studied  Saint  Mark's  (built  a  few  years  before), 
or  of  a  Venetian.  But  in  either  case  by  Gallo-Roman  work- 
men. For  if  the  architecture — a  Church  with  cupolas  upon 
pendentives — is  Venetian,  **  the  construction  and  details  of 
**  the  ornamentation  belong  to  the  Roman  decadence,  and  do 
"  not  in  any  way  recall  the  sculpture  or  method  of  building 
"  employed  at  Saint  Mark's  ".  Without  any  wish  to  plunge 
rashly  into  the  controversy  which  rages  round  Saint  Front 
in   the  architectural   world   at  the  present  moment,  it  is 


1100-1600.    ARCHITECTURE  BEFORE  THE  RENAISSANCE.  19 

certain  that  the  influence  of  this  church  on  the  buildings  of 
Acquitaine  in  the  11th  and  12th  centuries  was  considerable. 
And  the  Cathedrals  of  Paitiers,  Anjers,  and  even  Le  Mans 
show  "in  the  method  of  constructing  the  vaultings  of  the 
**  great  naves  a  last  trace  of  the  cupola  ".  But  the  extent 
and  significance  of  this  influence  has  been  greatly  exag- 
gerated. Nothing  certainly  is  more  natural  than  the  presence 
of  oriental  influence  in  the  South-west  of  France.  For 
numerous  Venetian  colonies  existed  at  Limoges  and  on  the 
West  coast,  carrying  the  whole  commerce  between  the 
Levant  and  the  North  of  France  and  Britain  across  from 
Marseilles  or  Narbonne  to  La  BocheUe  or  Nantes,  in  order 
to  avoid  the  perils  of  pirates  in  the  Straits  of  Gibraltar. 

Li  the  North  of  France  no  monuments  exist  prior  to  the 
coming  of  the  Normans.  The  Danish  incursions  swept 
everything  away.  And  though  some  traces  of  Merovingian 
buildings  were  probably  existent,  it  is  to  the  Normans  alone 
the  North  owes  its  architecture.  For  once  established  they 
became  bold  and  active  builders.  They  began,  as  was  natural 
with  conquerors,  by  castles  as  fortresses.  But  with  their 
shrewd  sense,  they  soon  recognized  the  importance  of  the 
clergy ;  and  it  only  took  them  a  century  and  a  half  to  cover 
the  land  with  buildings,  rehgious,  monastic,  and  civil,  of  a 
richness  and  magnitude  very  unusual  at  that  time,  bringing 
to  bear  upon  architecture  their  national  genius,  positive, 
grand,  somewhat  barbaric,  and  yet  singularly  detached  and 
fearless.  The  Normans  also,  had  constant  intercourse  with 
the  East.  But  with  them  the  Eastern  influence  was  not  mani- 
fested in  construction,  as  in  Acquitaine,  but  in  decoration. 
To  the  first  Crusades  and  the  Norman  conquests  in  Sicily 
and  Spain,  those  gorgeous  stuffs  are  due  which  appear  in  all 
tombs  and  paintings  of  the  12th  century.  And  while  in 
Kormandy  the  architectural  forms  follow  the  Gallo-Roman  or 
the  Bomanesque  traditions,  the  decoration  of  the  11th  and 

12th  centuries   is   Levantine.      The    noblest   examples   of 
I     Northern  Bomanesque,  are  the  Abbey  Churches  of  la  Trinite 

and  Saint-Etiefine,  Caen,  commonly  called  VAhbaye  aux  Davies, 

and  VAbbaye  aux  Hommes. 


20  A  fflSTORY  OF  FRENCH  ART.  Ch.  IL 

The  Eomanesque  Church,  as  I  have  said,  is  built  on  the 
plan  of  the  Latin  Basilica,  modified  to  suit  the  requirements 
of  Christian  worship.  In  the  10th  century  the  apse  was  the 
only  portion  in  which  vaultings  were  found.  The  nave  and 
aisles  were  covered  with  timber-work.  But  this  presented 
constant  dangers  from  decay  and  from  fire.  And  gradually 
stone  vaults  were  adopted.  The  system  of  vaulting  the 
basilica  differed  greatly  in  dififerent  parts  of  France.  In 
Acquitaine  the  cupolas  of  Saint  Front  affected  the  roofs  of 
many  churches.  In  Auvergne,  and  following  the  Loire  as 
far  north  as  Nevers,  the  barrel  roof  was  adopted,  with  demi- 
vaults  resting  upon  the  walls  of  the  clerestory  and  support- 
ing the  central  vault.  Notre  Datne  du  Port  at  Clermont- 
Ferrand,  and  Saint  Etienyie  at  Nevers  are  perfect  specimens 
of  this  type.  "In  these  buildings  all  the  thrusts  of  the 
**  vaults  are  thoroughly  maintained ;  and  it  is  thus  they  are 
**  preserved  intact  to  our  day  ".  In  Poitou,  and  part  of  the 
West  and  South,  another  system  obtained.  The  side  aisles 
were  raised  to  the  height  of  the  nave,  and  the  small  ribbed 
or  barrel  vaults  of  these  aisles  supported  the  central  vault. 
The  Abbey  Church  of  Saint-Savin  near  Poitiers  is  con- 
structed on  this  plan. 

Yet  another  difference  should  be  remarked  between  the 
Northern  and  the  Southern  styles.  In  the  Churches  of 
Auvergne  and  the  South  the  vaults  entirely  supersede  the 
use  of  timber-work — the  roof  of  tiles  or  stone  resting  upon 
them.  While  in  the  North,  in  Normandy,  He  de  France, 
Picardy,  Champagne,  and  Burgundy,  both  systems  are  used. 
Where  the  basihca  is  vaulted,  the  timber-work  remains, 
bearing  the  roof  of  tiles,  slates  or  lead.  For  in  the  cold  and 
damp  northern  climate,  roofs  resting  directly  on  the  vaulting 
were  quickly  destroyed.  And  the  space  between,  not  only 
preserved  the  vaultings,  but  allowed  of  frequent  inspection. 

When  the  Romanesque  builders  began  to  vault  their 
naves,  the  necessity  for  buttresses  was  immediately  felt. 
The  pilaster  strip,  which  hitherto  had  been  httle  more  than 
ornamental,  or  at  most  served  to  stiffen  the  wall,  was  not 
enough  to  bear  the  increased  pressure  put  on  the  walls  by 


1100-1600.     ARCHITECTURE  BEFORE  THE  RENAISSANCE.  21 

the  vaultings.  It  gradually  grew  into  a  true  buttress.  And 
the  expedients  used  to  augment  the  power  of  resistance  of 
this  clerestory  buttress  eventually  developed  the  idea  of  the 
flying-buttress.  **In  the  Abbaye  aux  Hommes  at  Caen  the 
**  forms  of  the  vaults— which  date  from  the  early  part  of  the 
**  12th  century  and  are  among  the  earliest  that  were  con- 
**  structed  over  a  nave— were  such  as  to  exert  powerful 
*'  thrusts.  That  is  to  say,  the  arches  of  their  groins  were 
**  curves  of  low  sweep,  such  as  the  Romanesque  builders  had 
*'  derived  from  Roman  intersecting  vaults,  and  consequently 
'*  of  enormous  push.  To  stay  these  vaults,  the  expedient 
*' was  adopted  of  constructing  demi-barrel  vaults,  springing 
**  from  the  top  of  the  aisle  walls,  and  abutting  against  the 
*'  wall  of  the  nave  under  the  aisle  roofs.  These  demi-vaults 
**  were  in  reahty  concealed  continuous  flying-buttresses.*' ' 

With  this  development  of  the  buttress — with  the  use, 
which  soon  followed,  of  independent  arches  or  ribs  along 
the  groins,  serving  in  some  degree  to  support  the  vaults — 
and  with  the  introduction  of  a  separate  *' support  for  each 
"  rib  or  arch  to  be  carried,  which  constitutes  the  functional 
"  grouping  of  supports — we  complete  the  list  of  those 
**  structural  improvements  devised  by  Romanesque  builders  **. 
•  In  them  we  find  some  of  the  rudiments  of  Gothic  Archi- 
tecture, which  was  to  develop  with  such  amazing  rapidity 
into  a  system  of  triumphant  and  unsurpassed  beauty,  because 
it  was  the  expression  of  a  purely  national  Art,  and  responded 
to  the  genius  and  the  needs  of  the  race  who  produced  it. 

As  with  the  national  political  development,  so  the  national 
art  emanates  from  the  heart  of  France — the  Royal  Domain 
— rile  de  France.  At  the  end  of  the  11th  and  beginning  of 
the  12th  centuries,  it  was  in  the  Domaine  RoycU,  with  portions 
of  the  neighbouring  provinces.  Champagne,  Burgundy, 
Picardy,  Orl^anais,  and  Berry,  that  Gothic  Architecture 
took  its  birth ;  and  its  earliest  perfect  example  is  the 
glorious  church  of  Saint  Denis.  The  principles  of  Gothic 
construction  are  to  some  extent  to  be  found  in  the  Abbey 
Church  of  Morienval,     For  as  I  have  endeavoured  to  show,  it 

1  C.  H.  Moore. 


22  A  HISTORY  OF  FRENCH  ART.  Ch.  II. 

was  suggested  long  before  it  came  into  being.  It  is  not 
only  derived  from  Bomanesque,  by  a  logical  evolution ;  it 
'*  is  Bomanesque  re-created.  Every  constructive  member  of 
**  a  Gothic  building  exists,  in  rudimentary  form,  in  a  vaulted 
'*  Norman  building."  But  the  flying-buttress  and  the  pointed 
arch  in  the  ribs  of  the  vault  render  the  Gothic  system  possible 
— that  highly  organized  skeleton,  which,  when  its  guiding 
constructive  principle  is  once  recognized  and  adhered  to, 
may  be  varied  in  details  of  arrangement  and  decoration, 
internal  and  external,  to  a  bewildering  extent. 

I  cannot  do  better  than  quote  Professor  C.  H.  Moore's 
masterly  summing  up  of  VioUet-le-Duc  upon  Gothic  Architec- 
ture, which  he  says  '*  came  into  being  as  the  result  of  the 
**  development  of  a  new  constructive  system  of  building.     A^ 
**  system  which  was  a  gradual  evolution  out  of  the  Boman— 
'*  esque  ;   and  one  whose  distinctive   characteristic   is   thafc 
**  the  whole  character  of  the  building  is  determined  by,  and 
**  its  whole  strength  made  to  reside  in,  a  finely  organized, 
"and  frankly  confessed,  framework,  rather  than  in  walls - 
'*  This  framework,  made  up  of  piers,  arches,  and  buttresses, 
*'  is  freed  from  every  unnecessary  encumbrance  of  wall,  and 
**  is  rendered  as  light  in  all  its  parts  as  is  compatible  withi. 
'*  strength  in  a  system  whose  stability  depends  not  upon  anj.'" 
"  inert  massiveness,  but  upon  a  logical  adjustment  of  active 
*'  parts  whose  opposing  forces  produce  a  perfect  equilibrium. 
'*  It  is  thus  a  system  of  balanced  thrusts,  as  opposed  to  the 
**  former  system  of  inert  stability.      Gothic  Architecture  is 
"  indeed  much  more  than  such  a  constructive  system,  but  it 
**  is  this  primarily  and  always." 

For  it  must  be  remembered — a  fact  which  has  too  often 
been  ignored  or  misunderstood — that  the  difference  between 
Gothic  and  Bomanesque  Architecture  is  far  more  fundamen- 
tal than  between  the  use  of  pointed  as  against  round  arches, 
or  of  one  system  of  decoration  as  against  another;  thougb 
both  these  differences  exist,  and  are  of  extreme  interest  and 
importance.  Gothic  Architecture  is  a  living  being.  In  its 
constructive  system,  in  its  decorative  system,  it  is  instinct 
with  life.    It  is  to  nature  that  it  goes  for  its  decorative  systeiu- 


1100-1500.     ARCHITECTURE  BEFORE  THE  RENAISSANCE.  23 

It  is  to  the  profoundest  principles  of  mechanical  science 
that  it  goes  for  its  constructive  system.  And  thus  the  pure 
Gothic  building  rises  from  the  earth  like  the  tree  in  the  forest 
— its  living  beauty  co-existent  with  absolute  obedience  to 
architectural  laws. 

The  three-quarters  of  a  century  from  1150  to  1225,  was  a 
period  unequalled  in  history  for  the  number  and  extraordinary 
beauty  of  Ecclesiastical  edifices  which  were  built  in  the  He 
de  France.  The  charming  legend  at  Laon  which  tells  how 
the  oxen  harnessed  themselves  to  the  carts  to  transport  stone 
for  the  Cathedral  up  the  precipitous  rock  on  which  it  stands, 
is  but  t3rpical  of  the  fervent  religious  enthusiasm  which  pos- 
sessed the  whole  population,  and  the  zeal  with  which  they 
voluntarily  gave  themselves  over  to  the  building  of  innu- 
merable Churches  and  Cathedrals.  It  is  impossible  in  a 
hmited  space  to  enter  fully  into  the  Gothic  renaissance.  A 
mere  list  of  Churches  and  Cathedrals  would  fill  many  chapters. 
For  besides  the  great  Cathedrals,  Abbey  Churches  such  as 
St.  Germain  des  Prh,  St.  Leu  d'Esserant,  St.  Remi  de  Reims, 
sprang  up  all  over  the  face  of  the  land.  It  is  however  to 
Saint  Denis  that  we  must  turn  for  the  earliest  example  of 
the  pure  Gothic  system  of  construction.  Senlis  and  Noyon 
follow  Saint  Denis  about  the  middle  of  the  12th  century. 
And  the  last  years  of  the  12th  and  beginning  of  the 
13th  centuries  witness  the  building  of  Notre  Dame  de  Paris, 
Notre  Dame  de  Chartres,  and  the  Cathedrals  of  Bourges, 
Laon,  Soissons,  Meaiix,  Rouen,  Cambrai,  Arras,  Tours,  Bayeux, 
Coutances,  Amiens,  Rheims,  Chalons,  Troyes,  Auxerre,  Nevers  and 
Lyons. 

SCULPTURE. 

Sculpture  first  serves  merely  to  enhance  the  beauty  of 
architectural  lines.  And  as  it  is  used  chiefly  for  religious 
purposes  so  we  find  it  Byzantine  in  its  ideal,  until  the 
accession  of  Louis  le  Gros,  1108. 

'*  The  Art  of  Sculpture,''  says  VioUet-le-Duc,  ''  among 
**  all  the  peoples  who  have  attained  a  high  degree  of  civiliza- 
'*  tion,  divides  itself  into  three  periods  : — 


24  A  HISTORY  OF  FRENCH  ART.  Ch.  U. 

**  1.  Imitation  of  nature  following  a  more  or  less  delicate 
**  and  intelligent  interpretation. 

**  2.  The  Archaic  epoch,  during  which  the  endeavour  is 
**  made  to  fix  the  types. 

**  3.  The  epoch  of  emancipation  and  search  for  truth  in 
**  the  detail,  and  the  perfecting  of  means  of  observation  and 
**  execution." 

All  nations  do  not  carry  out  this  whole  programme. 
While  some  work  through  the  three  periods,  others  only 
accomplish  the  two  first  and  never  get  beyond  the  hieratic 
period.  This  has  been  the  case  with  most  Oriental  peoples 
— the  ancient  Egyptians  and  the  Byzantines.  But  in  high 
civilizations — with  sculptural  instincts — a  curious  analogy 
IS  seen  between  the  productions  of  these  three  periods. 
**  Thus  the  archaic  epoch  of  the  Greeks  shows  the  most 
**  intimate  relation  to  the  archaic  epoch  of  the  12th  century 
"in  France.  Certain  statues  in  the  Eoyal  doorway  of 
**  Chartres  placed  beside  certain  figures  of  the  archaic  period 
**  in  Greece,  reveal  remarkable  affinities  in  their  manner  of 
''interpreting  nature,  in  their  conception  of  types,  and  in 
**  their  execution."  And  the  same  analogies  might  be  found 
in  sculptures  of  the  period  of  emancipation,  between  Greek 
Art  after  Phidias,  and  French  Art  after  the  13th  and  14th 
centuries. 

French  Sculpture,  I  have  said,  is  at  first  Byzantine  in  its 
ideal.  But  at  the  beginning  of  the  12th  century  we  get  the 
first  suggestion  of  the  period  of  emancipation — of  the  evolu- 
tion of  natural  as  against  hieratic  Art — a  suggestion  very 
faint  as  yet,  but  of  deep  significance ;  and  strangely  enough 
an  indication  already  of  the  national  character  of  French 
Art.  For  it  is  the  leaf  of  a  French  plant — the  French  Arum 
of  the  marshes,  that  appears  in  the  ornamentation  of  capitals, 
as  we  may  see  at  Morienval,  Saint-Etienne  de  Beauvais,  Belle- 
fontaine,  Camhronne,  Other  plants  are  then  added  by  degrees 
— all  within  the  limits  of  the  school  of  I'lle  de  France. 

In  1150,  we  perceive  the  same  evolution  beginning  in  the 
treatment  of  figures.  Again  natural  begins  to  take  the  place 
of  hieratic  Art,  as  we  may  see  in  the   figures  at  Botmjes 


1100-1500.    ARCHITECTURE  BEFORE  THE  RENAISSANCE.  25 

Bud  Chartres,  ^  Indeed,  it  is  with  the  Doorway  of  Chartres 
that  Modern  French  Sculpture  may  be  said  to  begin. 

With  the  reign  of  Philippe-Auguste  and  the  13th  century 
comes  the  great  expansion  of  sculptural  Art.  King  and 
Church,  as  I  have  shown,  now  turn  to  the  laity  for  the 
3rection  of  the  great  Cathedrals.  And  they  find  that  Gothic 
sculpture,  in  the  hands  of  four  great  provincial  schools — 
Champagne — Picardy — Burgundy — He  de  France — is  fully 
equipped  for  the  enormous  programme,  and  the  astounding  de- 
mands made  upon  it.  The  sculptors  of  the  13th  century  no 
.onger  go  for  their  inspiration  to  an  effete  Byzantine  ideal, 
which  has  ceased  to  express  the  genius  of  the  nation,  but 
bo  nature  and  truth;  creating  a  living  and  truly  national 
Mrt  which  is  one  of  the  glories  of  the  Middle  Ages.  And 
Sculpture,  hke  Architecture  begins  to  express  the  climate — 
the  habits — the  social  conditions — and  the  race  itself.  We 
Qow  find  a  period  of  idealization  of  nature — an  expres- 
sion of  moral  sentiments.  The  figures  are  human  beings 
such  as  the  sculptors  have  seen  and  known — but  withal 
superhuman,  the  embodiment  of  moral  and  religious  senti- 
ments. As  for  instance  the  noble  warrior  in  coat-of-mail, 
reverently  receiving  the  sacrament  from  the  priest — at 
Rheims.  Or  the  wonderful  woman's  head  —  also  at 
Rheims — which  brings  to  one's  mind  Leonardo's  Monna 
Lisa, 

With  the  14th  century.  Sculpture  changes  its  character. 
Religious  enthusiasm  has  lost  its  fire.  Architecture,  no 
3iiger  tentative,  is  becoming  an  exact  science,  not  an 
repression  of  feehng  or  sentiment.  Sculpture,  like  paint- 
tig,  is  turning  by  degrees  towards  a  closer  expression  of 
eality.  Art  as  a  whole  is  tending  to  Naturalism.  Of  this 
v-e  see  signs  in  the  Apostles  of  the  Sainte  Chapelle,  Paris ;  The 
^ast  Jvdgment,  facade  of  Bourges ;  South  Transept^  Notre  Dame, 
^aris ;  The  two  transepts,  Cathedral  of  Rouen,  Detail  is  taking 
^lae  place  of  synthetic  breadth  in  the  modelling  of  the 
flesh.  **  Folds  of  drapery  begin  to  break.  Attitudes  lose 
**  their  noble  simplicity  and  become  angular.  But  on 
"the  other  hand,   a  more  intense   truth  emphasises    the 


26  A  HISTORY  OF  FRENCH  ART.  Ch. 

**  faces — the    general    type    has    given   place   to    the   indi 
"vidual."^ 

It  is  on  funeral  monuments  that  this  Naturalist  evolutio 
is  chiefly  shown  ;  and  these  become  of  supreme  interest 
Hitherto,  on  the  tombs  of  the  Eomanesque  and  pure  Gothi 
periods,  the  efligies  have  been  absolutely  impersonal,  excep 
as  to  the  costume  and  the  attributes  of  their  social  rank^ 
The  type  of  woman,  especially,  is  charming.  But  the  typ^ 
of  Madonnas,  and  of  Constance  d*Arles  at  St.  Denis,  oir" 
Sainte  Ozanne  in  the  Crypt  of  Jouarre  are  all  one.  Now, 
however,  we  begin  to  perceive  "Tinquietude  du  portrait"- 
Accessories  become  portraits  too.  And  towards  the  middle 
of  the  14th  century,  even  such  figures  as  those  of  Christ^ 
and  the  Virgin — hitherto  purely  ideal — are  subjected  to  wha'fc 
has  by  this  time  become  a  universal  law — that  of  Naturalism.- 


We  must  now  turn  to  the  actual  schools  of  Sculpture  in. 
France,  and  the  best  examples  from  which  they  can  h& 
studied. 

Sculpture  must  not  be  looked  upon  as  uniform  in  its 
endeavour  throughout  the  whole  of  France.  As  I  hav^ 
shown  in  the  Introductory  Chapter,  each  province  of  France 
has  its  own  racial  and  geographic  characteristics.  And  th^ 
Architecture  and  Sculpture  of  each  province  displays  a  char- 
acter of  its  own,  corresponding  in  many  particulars  with  th^ 
local  spirit.  In  the  11th  and  12th  centuries  no  less  thai3 
eleven  different  schools  of  Sculpture  can  be  distinctly 
traced,  namely : — 

He  de  France. 

Burgundy. 

Languedoc. 

Poitou  and  Saintonge. 

Provence. 

Normandy. 

Picardy. 

Champagne. 

Auvergne. 

Perigord. 

^  Louis  Gonse. 


^.1500.     ARCHITECTURE  BEFORE  THE  RENAISSANCE.  27 

The  school  of  Provence,  we  find — as  was  to  be  expected 
om  its  long  occupation  by  the  Romans — strongly  affected 
^  Gallo-Roman  influence.  The  ornament  is  composed  of 
Dwds  of  iconic  figures,  deeply  cut ;  of  conventional  leaves 
d  flowers;  or  monsters  like  those  of  Norse  sculpture, 
lich  in  turn  are  of  Byzantine  origin.  Of  this  Gallo- 
>man  influence,  the  best  examples  are  at  Saint'Trnphyme, 
les ;  The  Abbey  of  Montmajour ;  Saint  Gilles,  Gard ;  Sainte- 
irthSj  Tarascon ;  Cathedral^  NimeS ;  Maisan  Rofnaine,  Ntmes ; 
\inte-Marie,  Bauches  du  Rhone ;  Saint-Patil'trois-Chuteaiix, 
^6me  ;  Saint-Pierre  de  Magicelonne ;  Saint-Sauveur,  Aix,  Bmiches 
'  Rhone  ;  Eglise  de  Cavaillon,  Vaiicluse. 

The  school  of  Languedoc  had  its  centre  at  Toulouse.  But 
I  influence  extended  north  to  Mendes  and  Rodez,  east  to  the 
nks  of  the  H^ranlty  south  as  far  as  Arragon,  west  to  Bay- 
le.  From  the  11th  century  this  powerful  school  showed 
ginal  tendencies.  In  the  11th  century  it  was  distinctly 
der  Byzantine  influence.  But  **  it  utilized  without  ser- 
"ihty  all  that  came  to  it  from  the  Levant  ".  Examples  of 
8  period  are  Saint-Servin,  Toulouse ;  Saint-Nazaire,  Carcas- 
ine ;  where  the  vigorous  composition  of  the  capitals  should 

noted.  But  in  the  12th  century,  it  produced  "original 
vorks  in  which  the  sentiment  of  nature  appears,  and 
reated  compositions  of  a  grandeur  of  style  and  arrange- 
nent  among  which  the  porch  of  the  Church  of  Moissac 
nust  be  mentioned  in  the  front  rank ''} 

The  Schools  of  Saintonge  and  Poitou,  though  unHke 
2hitecturally,  must  be  treated  together,  as  in  sculpture  they 
>8ely  resemble  each  other.  In  both  the  Gallo-Roman  and 
^zantine  influences  are  felt.  But  a  new  note  is  struck — 
e  influence  of  Saxon  Art  from  the  North.  The  school  of 
tintonge  passes  to  the  north  of  the  Charente — from  La 
^chelle  to  Civray,  Rochechouart,  Angouleme,  Montmoreau,  cross- 
g  the  riviere  de  Tlsle,  the  Dordogne,  the  Garonne,  and 
i-king  in  Medoc.  The  school  of  Poitou  extends — West  and 
forth  to  Nantes,  Cholet,  Tours,  Salins.  East  to  Nevers,  St. 
^^nmx,  and  Montlu^on,      South  to  Ussel,  Tulle,  and  Brives. 

^  A.  de  Baudot. 


28  A  HISTORY  OF  FRENCH  ART.  Ch.  IL 

The  Cathedral  at  Angouleme  and  Notre  Dame  la  Grandty 
Poitiers,  are  good  examples  of  these  schools — the  former  of 
Saintonge,  the  latter  of  Poitou. 

The  School  of  Auvergne  extends  North  to  Never s,  East  to 
the  Bhone,  South  to  Toulouse,  West  to  Ageriy  Ussel,  Neris  and 
Bourbon  VArchambault,  **  In  this  province  Architecture  as- 
"  sumes  a  truly  monumental  character.  But  its  sculpture, 
"  in  spite  of  a  certain  originality  and  great  imagination, 
**  especially  in  the  composition  of  the  Capitals,  has  no  special 
**  value  from  the  plastic  point  of  view."  ^  The  best  examples 
are  the  churches  of  Notre  Danie  du  Port,  at  Clemuynt-Ferrafid  ; 
of  Brioude,  Issoire,  Saint- Nectaire,  Saint-Etienne  de  Nevers, 
Chdtel'Montagne,  Cathedral  du  Puy,  apse  of  Saint  Martin  dt 
Brives,  and  certain  churches  in  the  Correze. 

The  School  of  Burgundy  extended  its  influence  North  to 
Sens,  East  to  Epinal,  Besangon,  Lausanne,  Geneva  and  Cham- 
h4ry,  and  from  Joigny  West  and  South  to  Cosne,  Nevers, 
Boanne,  Belley,  and  Lyons,  In  the  forceful  JBurgundian  school 
as  in  that  of  Languedoc,  we  see  that  the  sculptors  endeavoured 
to  free  themselves  from  a  mere  imitation  of  the  past  by  turn- 
ing to  Nature;  thus  giving  Sculpture  a  new  impulse  and 
direction.  The  composition  of  the  capitals  at  Autun  show 
how  superior  already  this  young,  healthy  art  was  to  that 
of  Provence.  And  it  was  destined  to  progress  steadily, 
and  to  do  much  towards  the  development  of  the  splendid 
epoque  of  the  13th  century  in  the  Eastern  provinces.  The 
best  examples  of  Burgundian  Sculpture  of  the  11th  and 
12th  centuries  are  to  be  found  in  the  Churches  of  Vezelay 
and  Avallon  ;  Saint  PhUibert,  Dijon ;  Sens  and  Lausanne, 

The  School  of  Tile  de  France  at  the  end  of  the  12th  cen- 
tury was  the  most  powerful  of  all  the  schools  of  France — 
not  only  by  reason  of  the  great  number  of  its  edifices — but 
because  it  was,  as  became  the  Eoyal  Domain,  the  most 
advanced  centre  in  Art.  It  follows  the  course  of  the  Eure 
from  Chartres  to  Pont  de  VArche.  Thence  to  Dieppe,  Beauvais, 
Saint  Quentin,  Laon,  Chateau  Thierry,  Provins,  Nogent-sur-Seine, 
Sejis,  Montargis,  Orleans,  and  makes  its  influence  felt  as  far  as 

^  A.  de  Baudot. 


1100-1500.     ARCHITECTURE  BEFORE  THE  RENAISSANCE.  29 

Bourges,  Troyes,  and  Nogent-le-Botrou.  The  best  examples  of 
this  earlier  period  are — Saint-Germain  des  Prh,  Paris,  Saint- 
Martin  dcs  Champs,  Paris.  Saint-Julien  le  Pauvre,  Paris. 
Saint'Loup  de  Naud.  Saint-Denis.  Tlie  church  of  Poissy. 
Saint-Quinace  de  Provins.    Church  of  Moret.    Saint  Leu  d'Esserant. 

The  School  of  Normandy,  dming  the  Eomanesque  period 
of  which  I  have  spoken  from  the  architectmral  stand- 
point, has  little  to  show  in  Sculpture.  Before  the  13th 
century  its  ornament  is  mostly  in  geometric  forms — which 
cannot  be  considered  of  importance  in  sculpture.  The  finest 
examples  of  this  period  are — VAhhaye  aux  Dames,  Caen, 
VAhbaye  aux  Hommss  (part),  Caen,  Saint-Gilles,  Caen,  Lower 
part  of  the  Cathedral,  Bayeux,  Sainte-Marie  aux  Anglais  (nave), 
Mont  St  Michel,  Part  of  the  Cathedral,  Seez.  Saint  Georges  de 
BocJiemUle,     Buins  of  the  Abbey  of  Jumiiges, 

The  Schools  of  Picardy  and  Champagne  have  also  no  very 
special  characteristics  before  the  13th  century. 

With  the  end  of  the  12th  and  beginning  of  the  13th  cen- 
tury, during  the  reign  of  Philippe-Auguste,  the  vigorous  for- 
ward movement  I  have  already  indicated  takes  place.  And 
four  great  Schools  of  Sculpture  detach  themselves. 

1.  Champagne,  which  is  distinguished  by  force  of  expres- 
sion, richness  of  idea,  originahty  of  style.  Examples  :  Warrior 
and  priest,  interior  of  Portal;  Birds,  flowers,  fruit,  on 
Capitals  ;  Woman's  head,  central  Doorway ;  Man's  head — 
Cathedral,  Rheims. 

2.  Picardy,  less  brilliant,  less  expressive  than  Champagne, 
is  more  architectural,  understanding  better  the  composi- 
tion of  masses.  Examples :  Cathedral  of  Amiens.  Frieze 
of  principal  doorway,  Notre  Dame  de  Noyon.  Virgin  over 
the  door  of  the  South  Transept,  Amiens. 

3.  Burgundy,  powerful  and  energetic  in  character,  with 
a  generous  chisel,  is  enamoured  of  life  and  truth,  and  superior 
to  the  other  two  schools  in  execution  of  detail.  Examples  : 
Ornaments  on  facade  of  Notre  Dame  de  Dijon.  Church  of 
Semur. 

4.  L'lle  de  France,  unites  the  qualities  of  the  other 
three  schools,  while  it  surpasses  them  in  purity  of  form  and 


30  A  HISTORY  OF  FRENCH  ART.  Ch.  tZ  ^ 

elevation  of  taste,  in  elegance  and  delicacy  of  execution, 
sculptors  show  the  fullest  spirit  of  observation  and  inventio 
as  well  as  the  greatest  experience. 

**  In  their  works  we  find  methodical  composition — a  kee; 
**  sentiment  of  scale,  a  skilful  comprehension  of  the  distri 
**  bution  of  motives,  and  above  all  an  astonishing  purity  o 
**  line  and  form ;  one  is  amazed  at  the  novelty,  the  fertilit 
**  which  is  evidenced  in  conception,  as  well  as  the  flexibiht^ii— 
**and  certainty  of  execution.'*^  Examples:  Saints  o 
Sainte-Chapelle.     Idealized  and  beautiful  portraits. 

France  happily  still  possesses  five  perfect  cycles, 
from  the  destruction  wrought  by  hmnan  folly  and  vandalism 
in  which  the  sculpture  of  this  period  may  be  studied  as  £ 
whole.  The  Facade  of  Notre  Dame,  Paris.  The  Fa9ade  o 
Cathedral,  Kheims.  The  Facade  of  Cathedral,  Bourges- 
The  lateral  doorways,  Chartres.  The  facade  and  Port« 
doree,  Amiens.     The  latter  is  the  best  preserved  of  all. 

This,  it  should  be  remembered,  was  what  France  wai 
doing  nearly  200  years  before  Donatello  hved.     Therefore  i 
Sculpture,  as  well   as  in  Architecture,   France  may  fairl 
claim  to  have  led  the  way  for  all  Europe. 

The  sculptures  in  ivory  of  the  late  13th  and  early  14tk:^=3 
centuries  are  far  in  advance  of  those  of  any  other  country  - 
P'or  though  only  a  few  inches  high,  such  a  statuette  as  th 
Vierge  de  la  Saintc  Chapelle,  in  the  Louvre,  is  as  absolutel 
perfect  in  proportion  and  beauty  as  the  marble  statues  o  ^ 
150  years  later  in  Italy.  The  Louvre  and  the  Soutt"^ 
Kensington  Museum  contain  many  exquisite  examples  o 
French  ivories  of  this  period. 

The  four  great  schools  of  sculpture  hold  their  own  throug 
the  13th  and  14th  centuries.  The  beginning  of  the  14th  centurj?^ 
however,  not  only  brings  a  change,  such  as  I  have  indicate<J^ 
above,   in   the   spirit  of    sculpture,   but  Art  is    no    longerr 
anonymous.     **  L'inquietude  du  portrait,"  is  accompanied  by" 
the  appearance  of  the  individual  artist.     Works  are  signed. 
The  name  of  each  sculptor  of  note,  and  his  influence  on  his 
school  of  disciples,  becomes  known.     For  a  while  Art  would 

^  A.  de  Baudot. 


UOO-lSOO.    ARCHITECTURE  BEFORE  THE  RENAISSANCE.  31 

seem  to  depend  more  on  the  man  than  on  territorial  impulse. 
The  evolution  of  this  14th  century  art,  this  reahstic  portrai- 
ture, shows  itself  simultaneously  in  the  North  and  in  the 
South — ^in  the  Cathedral  of  Bordeaux,  and  in  the  Portail  des 
liibraires  at  Rouen,  which  both  belong  to  the  first  years  of 
the  14th  century.  In  the  latter  we  find  a  surprising  example 
of  the  new  sculpture.  In  the  lovely  statues  of  Saints  there 
is  not  a  trace  of  hieratic  art.  They  are  young  and  graceful 
French  women,  of  a  purely  French  type  of  beauty. 

The  principal  examples  of  14th  century  sculpture  are : — 
Champagne.     Church  of  St.  Urhain,  Troyes. 
Normandy.     Transepts ^  Cathedral  and  church  of  Saint  Ouen, 
^ouen.     Parts  of  the  Cathedral^  Evreux,     Church  of  St.  Jacques, 
^i^jype. 

Limousin.     Parts  of  Cathedral,  Limoges. 
Languedoc.     Apse   of  Saint   Nazaire^    Carcassonne.     Saint 
-^"n^r^^  Bordeaux, 

Dauphin^.     Saint  Maurice,  Vienn^i  (doonoay). 
Lyonnais.     Cathedral,  Lyons  (dooncay  and  chapel). 
Anjou.     Church  of  Evron,  choir  and  trayise2)ts. 
Auvergne.     Parts  of  Cathedral,  Clermont-Ferrand. 
At  the  end  of  the  14th  century  the  autonomy  of  the 
schools    of    Sculpture    is    for    awhile    efifaced.      From    the 
l^^ginning  of  the  15th  century  to  the  close  of  the  Gothic 
Period,  we  find  but  two  schools  in  France.     The  Burgundian 
■"-^now  permeated   by   Flemish  influences.     And   the   vast 
school  of  the  North  of  France — the  actual  French  Royal 
school,  with  but  slight  provincial  nuances.     For  communi- 
cation grows  easier;  and  we  see  a  constant  movement  of 
Artists,    and    consequent    interchange    of    ideas,    between 
Toulouse,  Lyons,  Tours,  Dijon,  Nantes,  Paris,  Eouen  and 
^landers.     And  another  factor  comes  into  hne.     Domestic 
*tid  state  architecture  begins  jbo  occupy  princes  and  nobles 
a-like.     The  Chateau  is  no  longer  merely  a  fortress,  a  strong- 
hold— but  a  dweUing-place  to  be  beautified  as  well.     Much 
of  the  art  that  hitherto  has  been  lavished  exclusively  on 
Ecclesiastical  buildings — on  Churches  and  Abbeys — is  now 
Wught  to  bear  on  the  royal  and  noble  castles.     And  among 


32  A  HISTORY  OF  FRENCH  ART.  Ch.  IH 

the  principal  examples  of  the  15th  century,  it  is  necessary  f cm 
the  first  time  to  mention  a  number  of  the  Chateaux  an 
Palaces,  which,  under  the  Kenaissance,  were  to  form  th^ 
chief  glory  of  Architecture  in  France. 

He  de  France.  In  Paris,  remains  of  Chateau  Gaillon,  a^ 
the  hcole  des  Beaux  Arts.  Bemains  of  Hotel  d^  la  Trinumille  ^ 
Parts  of  the  Sainte  Chapelle  du  Palais,  Bemains  of  Hotel  dc 
Sens,  Hotel  de  Cluny,  Chateau  de  la  Ferte'-Milon,  Chateatd^ 
de  Chateaudun. 

Berry.     Hotel  Jacqiies  Caur,  Bourges, 

Poitou.     Palais  des  Comtes,  Poitiers. 

Picardy.  Tower  of  CJwir,  and  Stalls,  Cathedral  of  Amiens^ 
Saint  Biquier  {Somme).     Saint  Wulfran,  Abbeville. 

Languedoc.  Stalls,  Cathedral  of  Auch,  Stalls,  CathedrcLl 
of  Albi 

Champagne.     Church  of  Notre  Dame  de  VEpine, 

Burgundy.  Palace  of  the  Dukes  of  Burgundy,  Dijon.  Parts 
of  the  Cathedral,  Never s. 

Normandy.  Parts  of  Church  of  St,  Pierre,  Caen,  Churches 
of  Saint'Lo  and  Vitre.  Parts  of  the  Church  of  Saint  Ouen,  Palais 
de  Justice,  Church  of  Saint  Maclou,  Bouen, 

In  the  16th  century,  which  belongs  to  our  next  chapter, 
three  distinct  schools  again  declare  themselves.  He  de 
France — Burgundy — and  Languedoc,  "which  have  each 
"  produced  works  of  true  originality  and  incontestable 
**  value  ".  This  then  was  the  condition  of  French  Sculpture 
and  Architecture  at  the  beginning  of  the  French  Eenaissance. 

FRENCH  SCULPTORS  AND  THEIR  WORKS. 

Until  the  end  of  the  13th  century,  French  Sculpture,  as 
I  have  said,  is  anonymous.  The  first  sculptor  of  any  note 
whose  name  we  know  is 

Jean  d'Arras.  To  him  w§  owe  the  first  Eoyal  statue  in 
marble — that  of  Philippe  le  Hardi  at  St.  Denis,  begun  in 
1298  or  1299,  finished  in  1307.  This  statue  is  of  consider- 
able  importance,  as  it  begins  the  series  of  authentic  effigies 
of  the  Kings  of  France.     It  is  simple  and  vigorous  in  style. 

Pepin  de  Huy — a  **  bourgeois  de  Paris,**  and  **  tombier  a 


30-1500.    ARCHITECTURE  BEFORE  THE  RENAISSANCE.  33 

comtesse  Mahaut " — was  one  of  the  most  popular  and 
•osperous  artists  of  the  first  part  of  the  14th  century.  His 
lOst  important  works  are  the  efl&gies  of 

^  Margtierite  d'Artois,  1311,  St.  Denis. 

Robert  d'Artais,  1317,  St.  Denis. 

Comte  d'Etampes,  1336,  St.  Denis. 

Comte  Haymon,  Saint  Spire,  Corbeil. 

The  so-called  Blanche  de  Bretagne,  1341,  Louvre. 

And  the  so-called  Marie  d'Avesnes^  Louvre. 

The  English  invasion  caused  a  break  for  a  quarter  of 
century  in  the  steady  development  of  sculpture.     But  we 
nd  it  flourishing  with  increasing  vigour  and  life  with 

Andre  Beauneveu,  of  Valenciennes,  1360.  He  was 
culptor,  painter,  miniaturist  and  decorator.  And  his  name 
5  one  of  the  most  illustrious  among  the  early  sculptors  who 
Qoulded  the  tendencies  of  French  Art.  The  first  mention 
if  Beauneveu's  name  is  by  Froissart,  who  speaks  with 
.dmiration  of  his  work  at  the  Castle  of  Mehun-sur-Yevre. 
Summoned  to  Paris  from  the  northern  provinces  by  Charles 
I,  in  1364,  he  was  made  "Imagier  en  titre,"  and  com- 
oissioned  to  erect  the  king's  tomb,  (during  his  hfetime  after 
he  fashion  of  the  day),  and  those  of  his  predecessors,  Jean 
I.  and  Philippe  de  Valois.  His  realism  shows  a  certain 
hick  set,  solid,  Flemish  heaviness,  but  also  a  frankness  and 
.uthority  which  give  it  singular  importance.  And  his  in- 
luence,  together  with  that  of  his  great  contemporary  Claux 
Jluter,  was  decisive  in  shaping  the  course  of  Franco-Flemish 
,rt.     His  authentic  works  are 

diaries  F.,  St.  Denis. 

Jean  II.,  St.  Denis. 

Philippe  VI.,  St.  Denis. 

Philippe  YI.,  Louvre. 

Charles  VI.,  Chimney-piece  in  the  Palace,  Poitiers. 

Ste.  Catherine,  Notre  Dame,  Courtrai. 

Three  other  works,  in  all  probabihty  his,  are 

*  This  is  a  very  beautiful  and  remarkable  work.  The  nobility  of  ex- 
ression  is  only  equalled  by  the  extreme  beauty  and  repose  of  the  lines  and 
race  of  the  draperies. 

3 


34  A  HISTORY  OF  FRENCH  ART.  Ch.   I 

Marie  d*Espagne,  St.  Denis. 

Jean  de  Dormans,  Louvre. 

Three  Statues  of  Prophets,  Musee  de  Bourges. 

Jean  de  Lifege,  who  had  died  before  1382,  and  Jean  de 
Saint-Eomain  are  both  described  as  **Imagiers  de  Paris," 
but  no  authentic  works  of  theirs  are  known. 

To  Gui  de  Dammartin,  Premier  Architecte-Imagier  to 
Jean  due  'de  Berry,  the  three  great  iconic  statues  of  the 
chimneypiece  in  the  Palace  of  Poitiers  are  attributed. 

Eobert  Loisel,  a  pupil  of  Pepin  de  Huy,  is  known  by  the 
Bertrand  du  Guesclin,  St.  Denis,  executed  between  1389  and 
1397. 

Jean  ?de  Cambrai  was  the  favourite  pupil  of  Beau- 
neveu ;  and  after  his  'master's  death  he  succeeded  to  his 
place  in  the  favour  of  that  great  patron  of  art,  Jean  due  de 
Berry.  He  was  a  magnificent  artist,  and  one  of  the  strongest 
individuahties  in  early  French  Sculpture.  His  most  im- 
portant works  are  all  to  be  found  at  Bourges.  M.  de 
Champeaux  attributes  to  him  the  famous  group  in  painted 
stone — now  in  the  Cathedral,  of  Jean  due  de  Berry  and  Jeanne 
de  Boulogtie  his  wife.  Also  the  statue  known  as  Notre  Dame 
la  Blanche,  from  the  altar  of  the  Sainte  Chapelle,  now  in  the 
Musee  Cujas;  and  the  funeral  statues  at  Souvigmj.  His 
Virgin  of  the  Celestins  de  Marcoussis,  now  in  the  Parish  Church 
of  that  Commune,  isi  extremely  interesting  as  a  realistic 
portrait  of  a  Berrichonne.  But  his  greatest  work  is  the 
celebrated  Mausoleinn  of  Jean  due  de  Berry,  in  the  cr^^pt  of  the 
Cathedral.  This  the  duke  planned  during  his  lifetime  in 
imitation  of  the  cenotaph  his  brother,  Philippe  le  Hardi, 
Duke  of  Burgundy,  was  erecting  to  himself  in  the  Chartreuse 
of  Dijon. ^  Jean  de  Cambrai  was  charged  with  the  work, 
which  was  not  finished  till  1457,  after  the  Duke's  death. 
The  ^' pletirants,''  or  mourning  figures  round  the  tomb, 
are  exceedingly  fine.  But  the  interest  culminates  in  the 
magnificent  recumbent  figure  of  the  Duke,  with  a  sleepy, 
muzzled  bear  at  his  feet.  **L*ourson  est  delicieux  d'esprii 
**  et  d*intimite  '*  says  Gonse. 

» See  Claux  Sluter, 


110O-15OO.     ARCHITECTURE  BEFORE  THE  RENAISSANCE."  35 

Claux  Sluter,  though  a  Fleming  or  Hollander  by  birth, 
must  be  regarded  as  a  Bxirgundian  sculptor,  for  all  his  work 
centres  at  Dijon.  The  date  of  this  great  artist's  birth  is 
unknown.  He  died  1404.  Here  at  Dijon,  Philippe  le  Hardi 
(1342-1404),  the  first  dxike  of  the  second  line  of  dukes  of 
Burgundy,  gathered  about  him  a  group  of  great  artists, 
wishing  to  rival  what  his  brothers  of  Anjou  and  Berry  were 
doing  in  Paris  and  at  Bourges.  Among  these  the  painter 
Broederlam  of  Ypres,  and  the  architect  Andre  de  Dammartin, 
were  charged  with  the  construction  and  decoration  of  the 
great  cenotaph  of  the  Duke  of  Burgundy  in  the  Chartreuse  of 
Champmol  at  Dijon  ;  while  to  Claux  Sluter  was  entrusted 
the  sculpture.  The  Tomb  is  now  in  the  Palace  of  the 
Dukes  of  Burgimdy.  Besides  this,  Claux  Sluter  was  charged 
with  the  sculpture  of  the  Calvary  in  the  Chartreuse,  now 
known  as  the  Puits  de  Moise,  and  the  doorway  of  the  Chapel. 
Of  the  Calvary  only  the  great  hexagonal  pedestal  or  cistern 
remains,  with  the  noble  statues  of  Moses,  David,  Jeremiah, 
Zachariah,  Daniel  and  Isaiah — the  first  three  sculptured 
by  Claux  Sluter,  the  others  by  his  nephew,  Claux  de  Werwe. 
But  fine  as  all  these  are,  Claux  Sinter's  work  reaches  its 
highest  excellence  in  the  kneeling  figures  in  the  doorway  of 
the  Chartreuse — duke  Philippe — his  duchess  Marguerite  de 
Fkndre — St.  John  and  Ste.  Catherine.  The  superb  kneeling 
figure  of  the  duke  can  only  be  compared,  it  is  said,  to  the 
CoUeone  of  Verrocchio,  the  Birague  of  Germain  Pilon,  the 
Voltaire  of  Houdon,  the  Monge  of  Eude. 

It  is  interesting  to  remember  that  Claux  Sluter  produced 
these  great  works  of  art  when  Donatello  was  but  just  born,, 
Mid  a  hundred  years  before  Michael  Angelo.  **  The  study 
"  of  the  Classic  Antique  could  not  add  anything  to  this  force 
"and  strength,  which  from  the  point  of  view  of  the  portrait 
"—the  rendering  of  the  inner  life  as  well  as  the  physical 
"structure — ^had  attained  a  level  which  could  not  be  sur- 
"  passed."  1 

Claux  Sluter  died  in  1404.  But  in  1398,  he  had  sum- 
moned to  aid  him  in  his  great  work  at  Dijon,  his  nephew, 

^  Gonse. 


36  A  HISTORY  OF  FRENCH  ART.  Ch. 

Claux  de  Werwe,  of  Hattem.  The  ''pleurants  '*  on  the  to 
of  the  Duke  of  Burgundy  are  all  by  de  Werwe,  with 
exception  of  two  by  Claux  Sluter.  Claux  de  Werwe  i 
appears  to  have  been  the  sculptor  of  the  Zacharias,  Dan 
and  Isaiah,  on  the  Putts  de  Moise,  He  was  the  authoi 
the  tomb  of  Jean  Sans  Peur  (1371-1419),  son  and  successoi 
Duke  Philippe  le  Hardi.  He  also  worked  at  Setnur,  Polii 
Saint  B^nigne  de  Dijon,  Baume  les  Messieurs.  These  f 
sculptors  —  Beauneveu,  Jean  de  Cambrai,  Claux  Slu 
Claux  de  Werwe — were,  it  should  be  remembered,  all  north 
men.     And  they  mark  a  great  turning-point  in  French  Ai 

Jacques  Morel  of  Lyons,  died  1459.  He  worked  first 
the  tomb,  destroyed  in  1562,  of  CardinaX  de  Saluces,  Lye 
Then  at  Toulouse,  Rodez,  Beziers,  Avignon,  Montpellier, 
was  called  to  Souvigny  to  erect  the  tombs  of  Charles 
and  his  wife  Agnes  de  Bourgogne.  The  statues  in  wl 
Salins  alabaster  still  exist;  as  do  two  other  statues  of 
in  the  Chapelle  Vieille  de  Souvigny,  It  is  also  thought  that 
was  the  author  of  the  memorial  Statue  of  Agnes  Sorel,  Loci 
This  was  made  during  her  hfetime,  between  1440  and  14 

Antoine  le  Moiturier  of  Avignon  was  a  pupil  of  Jacq 
Morel.  In  1469  he  completed  the  tomb  of  Jean  San^  Pi 
Dijon,  begun  by  Claux  de  Werwe.  And  it  is  suggested  t 
he  was  the  sculptor  of  the  retable  of  the  Tarasque,  Sa: 
Sauvem:,  Aix-en-Provence. 


I 


CHAPTEE  III. 

1  THE  RENAISSANCE  IN  FRANCE. 

1476—1689. 

The  Renaissance  of  Art  in  France  is  often  regarded  as  some 
clearly-defined,  sudden  outburst  of  Classic  Art. — As  a  move- 
ment due  to  the  invasion  of  Italian  artists  and  workmen — 
to  the  influx  of  classical  ideas  and  models — at  a  given 
moment.  It  has  been  commonly  said  that  art  in  France  had 
reached  a  period  of  senility.     And  that  if  it  had  not  been 

J  for  the  timely  infusion  of  new  blood  from  Italy,  the  worn- 
out  French  artistic  genius  would  have  wholly  disappeared. 
But  those  who,  free  from  prejudice  and  the  trammels  of 
tradition,  have  studied  the  period  with  the  most  complete  in- 
sight and  honesty, — those  who  have  not  allowed  themselves 
to  be  bUnded  by  trite,  cut-and-dried  assertions,  which  from 

\J^  constant  repetition  come  at  last  to  be  accepted  as  fact, — those 
who  have  learnt  to  appreciate  the  inherent  and  persistent 
vitality  of  the  national  genius  of  France — recognise  that  the 
Renaissance  of  the  16th  century  had  its  beginnings  long  before 
ever  an  Itahan  artist  or  workman  set  foot  in  France. 

Throughout  the  Gothic  period  of  the  Middle  Ages,  such  a 
Renaissance — an  afflatus  of  new  ideas,  aims,  motives — an 
awakening  to  new  Hfe — a  desire  to  make  life  more  beautiful, 
Daore  perfect — had  taken  place  more  than  once  in  France. 
Boccaccio  had  come  to  French  Fabliaux  for  outlines  of  his 
stories.  Dante  attributed  the  origin  of  Miniature  painting 
to  Paris.     And  the  end  of  the  12th  and  beginning  of  the  13th 

I    centuries  witnessed  the  great  outburst  of  chivalry  and  the 

/    doctrines  of  romantic  love  in  Provence — prompting  the  rough, 

strong  middle  age  **  to  seek  after  the  springs  of  perfect  sweet- 

"ness  in  the  Hellenic  world  ". 

(37) 


38  A  HISTORY  OF  FRENCH  ART.  Ch 

Thus  the  later  Benaissance  of  the  15th  and  16th  centr 
is  not,  to  quote  Mr.  Pater,  **  so  much  the  introduction 
"  wholly  new  taste  ready-made  from  Italy,  but  rather 
"  finest  and  subtlest  phase  of  the  middle  age  itself,  its 
"  fleeting  splendour  and  temperate  St.  Martin's  summer 

"For  us  the  Benaissance  is  the  name  of  a  many-side< 
**  xmited  movement,  in  which  the  love  of  things  of  the  i 
**  lect  and  the  imagination  for  their  own  sake,  the  desir 
**  a  more  Uberal  and  comely  way  of  conceiving  life,  r 
**  themselves  felt,  urging  those  who  experience  this  desii 
"  search  out  first  one  and  then  another  means  of  intellet 
**  or  imaginative  enjoyment,  and  directing  them  not  on 
"  the  discovery  of  old  and  forgotten  sources  of  this  ei 
"  ment,  but  to  the  divination  of  fresh  sources  thereof— 
**  experiences,  new  subjects  of  poetry,  new  forms  of  a 

It  is  towards  the  end  of  Louis  XL's  reign  about  ] 
that  we  arrive  at  the  psychologic  moment,  when  the  gr( 
has  been  sufficiently  prepared,  and  the  Court  of  Fran< 
ready  to  acknowledge  Italy  as  arbiter  of  taste.  Th 
the  actual  beginning  of  the  period  commonly  know: 
the  Benaissance  of  Art  in  France — of  that  great  wa\ 
Italian  taste  and  influence  which  swept  over  the  cou: 
there  to  be  arrested  and  transmuted  by  French  ger 
sweetening  and  modifying  the  harshness  and  ruggec 
of  Franco-Flemish  Art,  without  in  any  degree  destrc 
the  national  character,  the  true  French  ideal,  which  welcc 
the  invading  influence  then,  as  it  has  so  often  done  before 
since,  and  bent  it  to  its  own  uses. 

This  Benaissance  of  Art  embraces  two  distinct  perio 

The  first,  as  I  have  said,  begins  at  the  end  of  the  rei{ 
Louis  XL,  about  1475.  And  ends  with  the  death  of  Frai 
L,  1547. 

The  second  begins  with  the  accession  of  Henri  11. 
ends  with  the  assassination  of  Henri  III.,  in  1589. 

The  first  period  covers  the  reigns  of  Louis  XL  (j 
Charles  VIII. ,  Louis  XIL,  Fran9ois  I.  The  second  p 
those  of  Henri  11. ,  Charles  IX.,  Henri  III. 

1  Pater. 


^^751589.  THE  RENAISSANCE  IN  FRANCE.  39 

The  movement  reaches  its  high-water  mark  daring  the 
reign  of  Fran9oi8  I.     And  gradually  ebbs,  after  the  brilliant 
epoch  under  Henri  11.,  until  it  dies  out  at  the  accession  of 
Eenri  IV.,  giving  place  to  new  ideals,  new  aims,  new  methods. 
And  here  let  us  at  once  note  a  misapprehension  which  has 
obtained  the  widest  belief.     Francois  I.  is  generally  looked 
upon  as,  if  not  the  actual  originator  of  the  Benaissance,  at 
all  events  its  strongest  patron,  on  whom  it  absolutely  de- 
pended  for  existence.       Frederick    the   Great   wrote    that 
Francois  I.  **  created  Art  in  France  "  !     Many  others  have 
made  assertions  almost  as  loose  and  incorrect.     But  the  fact 
is  that   Art    had    naturally   reached    a    culminating    point. 
Francois  I.  merely  had  the  rare  good  fortune  to  be  reigning 
at  that  moment,  and  to  possess  the  taste  and  the  power  to 
encourage   the   art   of    the   day,   without   either   initiating, 
guiding,  or  controlling  it. 

Many  causes  had  prepared  the  way  for  this  remarkable 
movement.  For  nearly  a  century  France  had  been  gradually 
becoming  better  acquainted  with  her  transalpine  neighbour. 
Intercourse  between  the  countries  of  Europe  was  growing 
easier.  Ties  had  been  strengthened,  and  curiosity  awakened 
by  Arts  of  War  and  Arts  of  Peace.  Among  these  combining 
causes,  were  the  conquests  of  the  House  of  Anjou.  The 
residence  of  the  Popes  at  Avignon.     The  Due 

lations  with  Italy.     The  marriage  of  Louis  d'Orleans  and 
Valentme  Visconti,  etc.,  etc. 

But  four  causes  more  especially  contributed  to  bring 
Italy  and  Italian  Art  closer  to  the  knowledge  of  French 
artists. 

1.  The  first  and  chief  of  these  was  Jean  Foucquet*s  jour- 
ney to  Italy,  1440-1445. 

2.  The  embassy  to  Borne  of  Etienne  Chevalier,  Argentier 
to  Charles  VH. 

3.  The  embassy  of  De  Commines  to  Florence. 

4.  The  ephemeral  reign  of  King  Bene  de  Provence,  in 
Italy. 

Jean  Foucquet's  journey  is  one  of  the  most  important 
^*tes  in  the  history  of  French  Art.    Foucquet,  at  that  time  not 


40  A  HISTORY  OF  FRENCH  ART.  Ch.  UL 

thirty  years  old,  but  already  chief  of  the  school  of  Tours,  was 
summoned  to  Rome  to  paint  the  portrait  of  Pope  Eugene  IV. 
And  the  influence  of  his  sojourn  there,  upon  his  own  mind 
and  those  of  his  contemporaries,  proved  to  be  immense ;  as 
he  returned  to  his  native  country  wholly  captivated  by  the 
Art  and  life  of  Italy.  King  Rene  carried  his  love  of  things 
Italian  still  further.  For  he  was  ahnost  the  first  to  encourage 
the  importation  of  Italian  artists  into  France.  He  was  in 
close  relations  with  the  Delia  Robbias ;  and  attached  the 
sculptor  Francesco  Laurana  to  his  person.  And  here  we 
find  a  curious  evidence  of  the  vigour  and  individuality  of  the 
French  spirit.  While  Foucquet  endeavours,  but  in  vain — 
for  he  remains  French  to  the  end — to  Italianize  himself, 
Laurana  is  strongly  influenced  by  French  forms ;  as  may 
be  seen  in  the  cenotaph  to  King  Rene's  brother,  the  Comte 
de  Maine,  at  Le  Mans. 

The  work  thus  begun,  was  completed  by  Charles  VIII.'s 
Italian  campaign.  The  Court  was  now  fascinated  and  en- 
chanted by  Italian  luxury — by  the  riches,  the  art,  the 
elegance  and  refinement  of  living  they  found  in  Florence, 
Milan,  Rome,  Naples.  Charles  VIII.  summoned  a  crowd 
of  sculptors  and  decorators  from  Italy — Guido  Manzoni  of 
Modena  among  them ;  and  Jerome  de  Fiesole,  who  de- 
corated Amboise  which  became  a  sumptuous  museum  of 
Italian  Art. 

Under  Louis  XII.  the  Italian  influence  grows  stronger. 
The  King  orders  at  Genoa  the  splendid  tomb  for  St.  Denis, 
in  memory  of  Louis  d'Orleans  and  Valentine  Visconti.     The 
nobles  follow  suit.     Raoul  de  Launoy,  Governor  of  Genoa, 
orders  from  Delia  Porta,  the  sumptuous  tomb  now  in  the 
Church  of  Folleville  (Somme).     Bri9onnet  has  Italians  to 
decorate  his  Hotel  d'Alluye  at  Blois.      So  has  Lallemand 
at  Bourges.     And   when   Georges   d'Amboise,   the   famous 
minister  of  Louis  XII.,  builds  Chateau  Gaillon,  he  engages 
"  ornemantistes  italiens  "   to   work  under  the   direction  of 
his  French  architect,  Pierre  Fain. 

The  continual  and  increasing  intercourse  between  France 
and  Italy  is  now  not  merely  that  of  individuals.     The  whole 


1475-1589.  THE  RENAISSANCE  IN  FRANCE.  41 

army  and  noblesse  of  France  under  Charles  Vm.,  Louis  XEL, 
and  FranQois  I.,  overflow  Italy ;  and  come  back  laden  not  only 
with  material  spoils,  bat  wnth  those  far  more  precious  spoils 
of  the  intelligence — with  ItaUan  ideas  and  examples  of  life 
and  Uving,  which  respond  to  the  growing  desires  of  the  French 
for  a  fuller,  more  refined,  more  beautiful  conduct  of  existence. 
Italy  looked  on  Ufe  as  a  work  of  art.  To  the  natural 
gifts  of  the  country,  adored  by  the  Classics,  light,  space, 
shade,  water,  flowers,  she  now  added  the  splendours  of 
modem  civiUzation — riches,  luxury — the  pleasures  of  a  re- 
fined and  highly  cultivated  society.  And  in  this  gracious 
setting  she  placed  **  the  complete  man ".  His  body,  no 
longer  despised  as  in  the  gloomier  Middle  Ages,  when  the 
human  frame  was  contemned — fit  only  for  constant  morti- 
fication, to  be  kept  under  as  a  thing  vile,  hateful,  and  of  no 
account — but  now  trained  with  deliberate  intention  to  the 
utmost  perfection  of  form  and  strength.  His  soul  and  his 
mind  perfected  also  in  their  fullest  development — enriched 
by  the  experience  of  all  possible  sides  of  existence.  Man, 
with  rights  to  realize  his  own  ideals  and  ends — the  right  to 
be  and  to  enjoy,  in  the  highest  attainable  degree.  Man,  ex- 
panding into  a  richness  of  being  in  his  three  supreme  powers 
—action,  understanding,  feeling. 

In  France  this  perfected  ideal  of  life  was  eagerly  assimi- 
lated.    And  it  quickly  showed  its  results  in  Architecture, 
Sculpture,  Painting,  as  well  as  literature.     A  natural  dainti- 
ness of  hand — *' nettet^  d'ex^cution'' — has   always   been    a 
characteristic  of  French  Art.     And  as  Mr.  Pater  has  pointed 
out,  we  find  this  exemplified  to  the  full  in  the  works  of  the 
Renaissance.     In  the  silvery  colour  and  clearness  of  expres- 
sion  in  Clouet's  paintings,  as  distinct  from  the  greater  solidity 
of  the  great  Flemings,  Memling  and  the  Van  Eycks.     In 
Dillon's  poetry,  and  the  Hours  of  Anne  of  Brittany.      In 
the   beauty    of    carvings    and    traceries    with    which    the 
strong,    even    heavy    Gothic    forms    were    now    overlaid. 
In  the    Chateau    de    Gaillon  —  **  a    Gothic    donjon    veiled 
"faintly  by  a   surface   of  delicate   Italian   traceries"^   we 

1  Pater. 


42  A  HISTORY  OF  FRENCH  ART.  Ch.  III. 

find  a  key  to  the  whole  matter.  The  ponderous  mass  is 
softened  and  beautified  by  the  exquisite  taste  of  those  who 
now  demanded  what  was  refined,  what  was  graceful. 

Through  the  Middle  Ages,  France  had  been  broken  up 
into  many  states — Kingdoms  within  the  Kingdom — of  which 
the  powerful  princes  and  nobles  had  been  almost — in  some 
cases  completely — independent  sovereigns,  only  owing  fealty 
to  the  King,  as  vassals  to  the  Suzerain.    Art,  as  I  have  shown , 
was  in  a  parallel  condition,  consisting  of  many  independenti 
and   indigenous   schools.      But  by  degrees  these   separate 
states  politic,  and  separate  schools  artistic,  had  been  slowly 
welded   together,   and   centralized  after  the   fashion   of    all 
things   French.     **  The   King   was   at   last   King,    and    his 
**  Court  took  the  initiative  both  in  politics  and  art,"  as  Lady 
Dilke  admirably  says.     It  is  therefore  to  the  Court  that  w^ 
must  look  henceforth,  as  the  centre  of  artistic  movement. 
During  the  reigns  of  Louis  XI.,  Charles  VIII.,  and  Louis 
Xn.,  the  Court  was  not  in  Paris,  but  at  Tours.     And  thas 
Touraine  and  the  course  of  the  Loire  becomes  the  head- 
quarters of  the  early  Renaissance  and  the  Italian  movement  - 
With  Francois  I.  the  Court  is  transferred  to  Paris.     An<3. 
the  centre  of  artistic  activity  moves  with  it. 

It  is  in  Touraine,  under  the  pressure  of  Itahan  influenced  » 
that  we  find  an  artistic  phenomenon  of  the  highest  impoxr  — 
tance.  M.  Courajod  has  happily  defined  this,  as  **  la  detent 
**  du  style  Franco-Flamand  ".  **  To  the  ruggedness,  tha. 
**  harshness  of  the  Burgundian  School,  in  which  all  tt». 
**  endeavours  of  the  14th  century  are  summed  up,  a  sort 
"  tender  languor  succeeds — a  milder,  amended  interpretatio 
**  of  nature,  a  kind  of  sobriety,  of  calm  and  discreet  emotiot^*- 
**  a  pre-occupation  with  elegance  and  distinction  which  a 
"  to  be  the  mark  of  the  period."  ^ 

Two  men  stand  pre-eminent  in  influence  in  the  impute^ 
now  given  to  French  Art.    Jean  Perr^al  and  Michel  Colombo- 
Jean  Perr^al  of  Lyons  was  the  principal  instrument  of  tb^ 
vogue  for  things  Italian — **  the  chief,  who  at  the  head  of  the 
**  men  of  the  south,  led  the  assault  on  French  liberties  with 

*  Gonse. 


1475-1589.  THE  RENAISSANCE  IN  FRANCE.  43 

*  the  greatest  ardour ".  He  was  one  of  those  universal 
geniuses,  **  Thomme  a  tout  faire,  Thomme  a  la  mode,*'  who 
i  ahuost  as  disconcerting  to  posterity  as  Jean  Cousin.  For 
ke  Jean  Cousin,  he  left  an  immense  reputation,  without  any 
ne  typical  work  surviving  which  justifies  his  fame.  He 
as  in  turn  painter,  sculptor,  architect,  poet,  decorator, 
liniaturist,  or  verrier.  As  hardly  more  than  a  youth,  we  find 
im  indispensable  to  the  City  of  Lyons  in  organising  the 
>lendid  receptions  and  pubhc  entries  of  Cardinal,  King,  or 
ueen.  And  from  1494  he  entered  the  Koyal  service,  ac- 
>inpanying  successive  Kings  in  their  Italian  campaigns, 
id  bringing  back  to  Tours  and  to  Paris  fresh  inspirations 
•r  every  branch  of  Art. 

While  the  restless,  clever,  ambitious  Perr^al — **  7iostre 
cond  Zeusis  ou  Apelles  enpainture  "—closely  attached  to  the 
ourt,  was  bringing  all  his  powers  to  bear  on  the  introduc- 
on  of  Italian  ideas,  a  remarkable  development  in  sculpture 
as  taking  place  in  Touraine.  During  the  reign  of  Charles 
Til.  Italian  influence  is  shown  simultaneously  in  the 
julpture  of  Poitou,  Gascony,  Forez,  the  Lyonnais,  Bur- 
undy,  etc.  But  under  Louis  XII.,  these  isolated  efforts  are 
ominated  by  the  school  of  Tours.  And  Michel  Colombe*s 
ifluence  makes  itself  felt  all  through  French  Sculpture. 
?he  school  of  Tours  under  Michel  Colombe  is  the  result 
i  the  fusion  of  North  and  South.  It  was  the  school  of 
7ours  which  established  the  formulas  of  the  new  ideal, 
uid  the  works  of  Michel  Colombe  are  its  most  charming 
nd  most  significant  manifestation. 

Michel  Colombe  is  one  of  the  great  figures  of  France, 
^orn  in  Brittany,  his  origin  and  his  education  were  Gothic. 
Q  his  youth  he  travelled,  and  studied  the  works  of  the  great 
l^mish-Burgundians.  Penetrated  with  memories  of  Jean  de 
^nubrai,  Claux  Sluter,  De  Werwe,  Le  Moiturier,  and  Jacques 
forel  he  returned  to  Tours.  And  in  the  very  centre  of 
^^lian  influence,  he  set  to  work  to  apply  what  he  had  learnt 
'^tn  the  strong  and  rugged  old  masters.  The  result  is  a 
u^gularly  beautiful  and  interesting  one.  In  his  work  we  see 
he  loftiest  and  strongest  qualities  of  Gothic  work,  combined 


44  A  HISTORY  OF  FRENCH  ART.  Ch.  IU. 

with  the  new  sensations  supplied  by  the  Renaissance.  In 
the  prodigious  group — the  Saint  Sepulcre,  in  the  Church  of 
Solesmes,  we  are  instantly  reminded  of  Sluter,  of  Jean  de 
Cambrai,  of  Beauneveu.  While  at  the  same  moment  delicate 
arabesques  speak  to  us  of  Italy.  The  famous  Saint-George 
from  Chateau  Gaillon,  (now  in  the  Louvre)  is  perhaps  the  most 
perfect  example  of  this  fusion.  Saint  George  alone  is  ItaUan. 
All  the  rest  is  purely  French — the  landscape,  the  trees,  the 
Princesse  Lydie,  who  is  a  young  French  girl  in  dress  and 
type.  While  the  Dragon  is  the  Tarasque  of  the  Cathedral  of 
Aix.^ 

In  these  works  of  Michel  Colombe's — and  still  more  when 
the  Renaissance  has  full  sway  under  Fran9ois  I. — we  find 
that  the  innovators,  such  as  Jean  Perreal,  bring  all  their 
forces  to  bear  on  ornament ;  while  statuary  remains  almost 
untouched   by  Italian  feeling.     In  the   first  period   of   th^ 
Renaissance,  architectural  forms  remain  French,  while  th^ 
decoration  **  s'enguirlande  a  I'ltalienne  ".     For  the  first  agents 
of  transmission  of  Itahan  Art  throughout  Europe,  is  orna- 
ment borrowed  from  the  antique,  and  introduced  through- 
the  commerce  of  furniture,  dress  and  personal  adornments^ 
The   base   of   the   structure   remains   solidly   Gothic.     Th< 
clothing  of  the  structure,  by  means  of  classic  arabesque,  aloni 
becomes  Italian.     This  is  to  be  seen  in  all  the  buildings  oi 
the  time  of  Louis  XII.  and  Fran9ois  I.,  at  Blois,  Orleans^:- 
Chambord,  Azay  le  Rideau,  St.  Germain,  Chateau  de  Madrid--- 
etc.    Gothic  ornament,  elaborated  by  the  genius  of  the  Frenct= 
race  **with  such  marvellous  intuition,  such  logical  perfection 
**  such   entire   originality,"  is   alone  attacked  by  the  grea^ 
current  of  Italian  influence.     Statuary,  whose  object  is  th^^ 
human   figure,  especially   statuary  of   an   iconic   character^!:: 
remains  almost  untouched  by  foreign  ideals.      One  of   th^ 
most  remarkable  instances  of  this  is  the  monument  of 
Commines    (now    in    the    Louvre).      Here    the    efligies 
purely  French.     The   ornaments  are  distinctly  Italian — ^i 

^  A  letter  to  Perreal,  1511,  shows  that  Michel  Colombe  was  horn  ahoi 
1480.     Besides  the  works  mentioned,  he  was  author  of  the  famous  tomb 
FranQois  U.  of  Brittany  at  Nantes. 


1475-1589.  THE  RENAISSANCE  IN  FRANCE.  45 

the  style  of  those  by  Jerome  de  Fiesole  at  Solesmes,  and  the 
tomb  of  the  Children  of  Charles  VIII.  at  Tours. 

After  Michel  Colombe's  death  in  1512,  there  was  a  pause 
in  French  Sculpture.  The  Franco-Flemish  tendencies  were 
completely  exhausted.  Sculpture  under  Fran<?ois  I.  became 
essentially  architectural  and  ornamental.  ''  Of  the  ideas, 
**  sentiments,  methods,  of  the  sublime  Middle  Ages,  still  ahve 
**  at  the  death  of  Michel  Colombe,  nothing  remains  but  vague 
"  reminiscence.  The  spirit  of  antiquity  triumphs  without 
**  hindrance.*' ^  The  evolution  of  the  Italian  and  classical 
ideal,  begun  under  Charles  VIII.,  touches  its  apogee. 
France  was  now  overrun  by  an  army  of  Italian  artists, 
who,  with  Andrea  del  Sarto,  found  profitable  as  well  as 
appreciative  patronage 

**  In  that  humane  great  monarch's  golden  look 
"  One  finger  in  his  beard  or  twisted  curl 
**  Over  his  mouth's  good  mark  that  made  the  smile, 
"  One  arm  about  my  shoulder,  round  my  neck, 
*'  The  jingle  of  his  gold  chain  in  my  ear, 
"  I  painting  proudly  with  his  breath  on  me, 
"  All  his  Court  round  him,  seeing  with  his  eyes, 
"  Such  frank  French  eyes,  and  such  a  fire  of  souls 
**  Profuse,  my  hand  kept  plying  by  those  hearts." 

The  great  Leonardo  da  Vinci  was  getting  his  700 
crowns  at  Tours.  Primaticcio  and  Eosso  were  painting  at 
Fontainebleau.  And  that  delightful  swashbuckler  of  genius, 
Benvenuto  Cellini,  was  making  his  immortal  silver  and 
bronze  statuettes,  his  golden  bowls  and  salt  cellars,  in  the 
Petit  Nesle  for  his  Sacred  Majesty — abusing  the  architec- 
ture of  the  door  at  Fontainebleau,  **in  their  vicious  French 
"  style  "  ;  and  designing  the  great  fountain  which  makes  the 
King  exclaim  in  a  strong  voice,  **  Verily,  I  have  found  a  man 
"  here  after  my  own  heart ". 

Under  the  tremendous  pressure  of  this  wave  of  foreign 
and  classic  influence,  we  ask,  will  it  be  possible  for  France 
to  discover  the  elements  of  a  new,  expressive,  homogeneous 
Art — to  give  proof  once  more  of  her  ever-fertile,  living, 
national  spirit.     This  is  the  noble  task  to  which  the  great 

*  Gonse. 


46  A  HISTORY  OF  FRENCH  ART.  Ch.  HI- 

artists  of  the  reign  of  Henri  II.  are  about  to  apply  themselves. 
We  now  see  how  the  national  genius  once  more  asserts  itself. 
How  the  permanent  instincts  of  the  French  race  triumph 
over  formulas  which  seemed  destined  to  crush  them  for  ever. 
How  in  painting,  sculpture,  and  architecture,  French  Art,  as 
I  have  said,  merely  takes  what  suits  its  own  genius  from  the 
foreign  invaders,  and  remains  absolutely  true  to  its  own 
ideals. 

Of  painting  of  the  Benaissance,  I  must  speak  in  another 
chapter. 

It  is  in  portraiture  that  French  Sculpture  found  its  safe- 
guard against  the  most  violent  attacks  of  ultramontanism. 
In  portraiture  the  French  genius  has  always  taken  refuge,  and 
has  found  strength,  counsel,  and  inspiration.  And  portraits  of 
the  Renaissance  remain  in  essence  absolutely  French,  even 
when  they  endeavour  to  be  Italian.  The  bust  of  Dordet  de 
Montal  (Louvre) — the  effigy  of  Guillaume  de  Bochefort  (Beaux 
Arts) — and  many  more  anonymous  portrait  busts,  tell  us 
that  the  French  spirit  was  not  dead.  It  was  but  pausing. 
Feeling  its  way.  Preparing  for  some  fresh  effort.  When 
the  time  is  ripe,  the  new  ideal  springs  into  life  in 
strange  perfection.  One  of  the  most  brilliant  epoques  of 
French  sculpture  now  dawns.  And  its  most  absolute  ex- 
pression is  found  in  the  works  of  Jean  Goujon. 

The  sculptor  of  the  16th  century  was  still,  as  he  had  been 
in  the  Middle  Ages,  a  workman,  taking  orders  from  his 
employer  the  architect.  And  at  first  w^e  find  Goujon 
employed  at  Bouen  Cathedral  and  Saint-Maclou,  for  designs 
of  the  doors  and  fountain.  Then,  leaving  Bouen,  he  joins  the 
band  of  distinguished  men  who  were  restoring  St.  Germain 
TAuxerrois  in  Paris,  under  the  direction  of  Pierre  Lescot. 
But  he  soon  ceased  to  work  for  the  Church.  For  it  was 
the  Court  which  now  occupied  the  position,  so  long  and  so 
splendidly  filled  by  the  Church,  as  patron  of  art.  **  The 
"  development  of  secular  magnificence  eclipsed  the  brilliance 
**  of  ecclesiastical  splendour."  ^  Instead  of  churches,  palaces 
were  now  built.     And  every  resource  of  Art  was  brought  to 

1  Lady  Dilke. 


f 


^^''5-1589.  THE  RENAISSANCE  IN  FRANCE.  47 

Wr  on  these  superb  dwellings,  by  an  army  of  artists — 


sculptors,  painters,  verriers,  enamellers,  tapestry  and  metal 
workers,  under  the  supreme  direction  of  such  architects  as 
fiastien  Frangois,  Le  Nepveu,  Philibert  de  TOrme,  BuUant, 
and  Pierre  Lescot,  aided  by  such  sculptors  as  Goujon,  Ger- 
main Pilon,  Barthelemy  Prieur,  etc. 

During  the  second  period  of  the  Benaissance,  from  the 
death  of  Fran9ois  I.  to  that  of  Henri  III.,  the  Gothic  form  of 
Architecture  gradually  disappears,  with  the  last  semblance  of 
defence  in  the  Chateaux.  We  see  in  its  place,  the  perfecting 
of  that  singular  adaptation  of  classical  styles  to  the  require- 
ments of  the  country,  from  which  the  great  architects  of  the 
16th  century  evolved  such  conceptions  as  Chambord  and 
Azay  le  Rideau,  Anet  and  Ecouen,  the  Louvre  and  the 
Tuileries. 

Society  is  now  growing  more  complex  and  more  luxurious. 

The  Chateau  is  no   longer  the  Chateau-fort — the  place   of 

defence  :  but  the  splendid  country-house  or  palace,  in  which 

each  great  noble  gathers  a  little  court  about  him,  as  does  the 

King  with  a  larger  court.     A  palace  in  which  there  must  be 

space  and  room,  and  rooms  in  which  each  can  live  their  own 

iife,  as  well  as  the  life  of  society — in  which  they  can  surround 

themselves  with  precious   possessions,  with  works  of   art, 

tKX)ks,   pictures,  costly  hangings  and  ornaments.     And   in 

these  palaces  each  princely  personage — Duke  or  Cardinal — 

Count   or  Constable — has   his   own  lesser   train   of   poets, 

t>ainter8,  sculptors,  architects,  attached  to  his  person,  as  has 

the  King  on  a  larger  scale.     This  period,  therefore,  sees  the 

Ciomplete  transition  from  the  Maison  forte,  to  the  Maison  de 

2^laisance,     The  indications  of  this  transition  can  be  traced 

f  :roin  the  middle  of  the  15th  century.     At  Langeais,  Lady 

XDilke  has  pointed  out  that  in  a  fortress  of  the  Middle  Ages 

"Vve  find  the  first  sign  of  the  coming  change.     The  interior 

battlements  of  the  court  are  replaced  by  a  cornice.     While 

€tt  Chenonceau,  Azay  le  Rideau,  Blois,  Chambord,  the  cornice 

^replaces  the  outside  battlements ;  and  **  its  bold  projecting 

**  lines  encircle  each  building  with  a  crown  ''} 

» Lady  Dilke. 


\ 


48  A  HISTORY  OF  FRENCH  ART.  Ch. 

The  French  instinct  for  hne  and  order  now  asserts  itse/j 
afresh.  The  dormers  are  grouped  symmetrically.  The  crois^es 
are  arranged  one  above  the  other.  **  Not  only  do  ali 
**  openings  at  irregular  intervals  disappear  before  the  growing 
**  exigencies  of  an  instinct  which  marshals  even  the  smallest 
"  details  into  fitting  place  within  an  ordained  framework  of 
**  well-considered  lines,  but  gradually  all  these  openings  are 
**  so  placed  as  to  give  the  perpendicular  lines  of  the  general 
**  design."  ^ 

At  Chenonceau,  in  the  first  year  of  the  reign  of  Fran9oi8 
I.,  we  get  the  earlier  form  of  the  Chateau.  The  idea  of 
defence  is  not  yet  wholly  abandoned.  But  the  walls  and 
moats  are  a  mere  pretence,  enclosing  nothing  but  gardens 
and  courts.  Ten  years  later  at  Chamhord,  the  Gothic  form  is 
still  maintained  in  the  structure.  **  Late  Gothic  caprice  and 
"  fantastic  love  of  the  unforeseen  rule  trimnphant."  But  the 
ornament  belongs  to  the  Kenaissance.  And  in  the  interior, 
galleries,  passages,  numbers  of  smaller  rooms  as  well  as  halls 
of  state,  testify  to  the  complete  change  of  architectural  arrange- 
ment, to  meet  the  exigencies  of  this  complex  and  pleasure- 
loving  society.  At  Azay  le  Bideau,  all  pretence  of  defence  has 
been  abandoned.  The  entrance  is  a  lofty  portal  richly  carved, 
as  is  the  superb  staircase  it  supports.  Fran9ois  I.*s  sala- 
mander, and  Claude  of  Brittany's  ermine,  decorate  the 
frieze ;  and  the  arcade  which  connects  the  ground  floor  and 
upper  storeys,  is  exquisite  with  arabesques  of  the  highest 
beauty. 

At  the  Chateau  de  Longchamps,  or  Madrid,  in  the  Bois 
de  Boulogne,  of  which  nothing  alas  !  remains  but 
drawings  and  plans,  as  it  was  completely  destroyed  at  the 
Revolution — we  find  the  actual  Maison  de  plaisance.  Its 
covered  galleries,  its  secret  chambers,  its  great  garde  robes 
for  armour,  and  weapons,  and  jewels,  and  the  thirty  suits 
that  every  self-respecting  courtier  must  possess,  its  enamelled 
tiles,  friezes,  medallions,  by  no  less  an  artist  than  Girolamo 
della  Robbia — all  fitted  solely  for  the  gay  luxury  of  Francois  I. 
and  his  Court.     Though  built  by  Italian  workmen,  Madrid 

1  Lady  Dilke. 


U75.1689.  THE  RENAISSANCE  IN  FRANCE.  49 

18  an  example  of  the  **  controlling  force  of  French  taste  ". 
It  is  not,  as  might  naturally  have  been  expected,  an  Italian 
Palace,  but  a  French  summer  country-house.  And  it  shows 
in  a  noteworthy  manner  how  France  seized  upon  Italian  ideas, 
transmuted  them  by  the  inherent  nationality  of  her  art,  and 
produced  a  purely  French  result. 

With  Ecouen  and  Anet,  the  Tuileries  and  the  Loicvre,  we 
reach  the  full  expression  of  the  second  period  of  the  French 
Renaissance.      At  6couen,  Jean  BuUant,  in  building  it  for 
ihe  Connetable   Anne  de  Montmorency,  has   given  us  an 
bistorical  document  of  the  highest  interest.     For  it  shows 
more  than  any  other  French  Chateau,  the  final  departure 
from  the  Gothic  traditions.     The  deep  fosse  on  three  sides 
is  a  reminiscence  it  is  true,  of  defence.     But  that  is  merely  a 
fanciful  detail,  a  complimentary  allusion  to  the  profession  of 
the  rough  and  violent  Constable,  and  is  not  maintained  by 
the  rest  of  the  building.    The  lavish  use  of  pillar  and  pilaster 
—the  portal  covered  with  rich  decoration,  with  Doric  and 
Ionic  columns  and  arcades,  all  crowned  by  the  great  statue 
of   the   Constable  riding   aloft   above   the  entrance — **  the 
"  exuberant   profusion   of  creeping  ornament   which  over- 
"  flows  the  bordering  lines  of  every  frieze,"  ^  all  show  us  that 
a  new  era  has  dawned.     While  at  Anet  we  find  the  supreme 
example  of  the  French  Summer  Palace.     The  Chateau  was 
Wit  by  PhiUbert  de  TOrme  for  Diane  de  Poitiers.     She 
Was  able  easily  to  pay  for  it  out  of  the  '*  paulette,**  ^  which 
bad  been  presented  to  her  by  Henri  II.  on  his  accession  ; 
and  the  work  was  pushed  forward  and  finished  in  an  in- 
credibly short  time.     It  occupied  three  sides  of  a  square, 
the  fourth   being   filled  by  the  elaborate  gateway  and  its 
accessories,  with  Acteon  and  his  hounds  above  it.     Colon- 
nades, galleries,  and  a  terrace  give  dignity  to  the  elevation. 
And  round  about,  enclosed  in  walls,  are  immense  gardens 
and  courts,  in  one  of  which,  high  above  the  waters  of  a 
fountain,  Diana  herself  in  the  guise  of  the  goddess  her  name- 

1  Lady  Dilke. 

*  The  yearly  tax  for  the  renewal  of  their  patents,  paid  hy  the  officers  of 
Jostioe  and  Finance  into  the  Boyal  Exchequer. 

4 


50  A  HISTORY  OF  FRENCH  ART.  Ch.  irX. 

sake,  reposes  with  her  stag  and  her  dogs,  immortahsed  by 
the  chisel  of  Jean  Goujon. 

The  Court  having  been  transferred  from  Touraine  to 
Paris,  the  later  years  of  Fran9ois  I.  and  the  reign  of  Henri 
II.,  show  increased  activity  and  occupation  with  regard  to 
the  Royal  residences  of  the  capital.  Besides  building  the 
Chateau  de  Longchamps,  Fran9ois  I.  put  Fontainebleau  into 
the  hands  of  Eosso  and  Primaticcio.  And  in  1546  he 
appointed  Pierre  Lescot  as  director  of  the  works  at  the 
Louvre. 

**  In  the  Louvre  Lescot  shaped  and  perfected  the  Palace 
of  the  town." 

**  II  sut  marquer  de  Tempreinte  de  son  genie  les  inspira- 
*'  tions  de  I'architecture  classique,  par  Theureuse  harmonic 
**  et  la  proportion  sagement  equilibree  des  ordres  corinthien 
**  et  composite  superposes,  par  la  saillie  des  avant-corps  qui 
**  rompent  la  monotonie  des  lignes,  par  la  creation  au-dessus 
'*  de  Tattique.d'une  cr^te  ornee  de  festons  du  milieu  desquels 
**  s*elancent  des  pots  a  fleur.  L'attique  avec  ses  frontons 
**  semi-circulaires  et  ses  fen^tres  accompagnees  de  trophees 
**  superbes,  etait  peut-^tre  trop  riche,  et  decore  de  figures  trop 
**  grandes  ;  mais  telle  qu*elle  existe  encore,  entre  le  Pavilion 
**  de  I'Horloge  et  le  corps  de  logis  meridional,  la  fa9ade  de 
**  Pierre  Lescot,  aprfes  avoir  perdu  quelques-uns  des  orne- 
**  ments  superflus  de  son  couronnement,  est  a  coup  sAr  uxi 
**  des  chefs-d'oeuvres  de  I'art  franyais."  ^  The  west  win^ 
with  the  square  block  at  the  S.W.  angle — the  only  bit 
remaining  of  the  old  Louvre  of  Philippe-Auguste — wa9 
finished,  and  the  south  wing  was  begun,  before  the  death, 
of  Henri  II.  And  in  spite  of  additions,  extensions,  and 
alterations  in  after  times,  each  succeeding  architect  has  been 
obliged  to  conform  more  or  less  to  the  splendid  plan  which- 
Lescot  conceived,  while  his  own  portion  remains  unrivalled- 
in  its  beauty  and  originahty. 

In  1564  another  great  palace  close  by  the  Louvre  wad 
begun.  The  Queen-Mother,  Catherine  de  Medicis,  recalled 
Philibert  de  TOrme,  the  builder  of  Anet,  who  for  five  years 

'  Babeau. 


H75.1589.  THE  RENAISSANCE  IN  FRANCE.  51 

had  been  in  disgrace.  And  in  May  the  foundations  were  laid 
rf  the  Palace  of  the  Tuileries.  De  TOrme  must  have  been 
considerably  hampered  in  this  work.  For  Catherine,  who 
irided  herself  on  her  knowledge  of  Architecture,  not  only 
losely  superintended  the  work,  but  made  working  drawings 
)r  the  building.  In  the  original  plans  of  the  Tuileries,  the 
^lonnade,  which  supports  a  terrace  on  a  level  with  the  first 
iorey,  recalls  the  elevation  of  Anet.  These  show  not  only 
le  single  hne  of  building,  but  a  large  group,  with  minor 
Durts  round  a  central  court.  The  central  pavilion,  remark- 
ble  for  an  enchanting  spiral  staircase,  and  its  wings,  were 
lone  finished  in  de  FOrme's  lifetime.  And  in  spite  of  the 
stravagances  of  ornament  which  Catherine  endeavoured  to 
3rce  on  her  architect,  the  building  has  the  dignity  we  find  in 
U  good  Renaissance  work.  The  Palace,  however,  was  un- 
ortunate  from  the  beginning.  At  de  TOrme's  death  in 
.570,  BuUant  succeeded  to  his  various  appointments,  and 
carried  on  the  work  at  the  Tuileries.  He  added  the  two 
mvilions  on  the  North  and  South,  and  broke  up  the  front 
mih  numberless  columns,  deep  cut  niches,  and  a  wealth  of 
elaborate  detail  of  ornament  in  every  possible  place.  And 
vlthough  de  TOrme's  central  pavilion  and  its  wings  were 
-ompletely  re-fashioned  under  Louis  XIV.,  and  the  spiral 
Jtaircase  destroyed,  Bullant's  pavilions  remained  almost  un- 
touched in  all  their  beauty,  until  the  Commune  of  1871. 

With  the  Tuileries  and  the  Louvre  we  near  the  end  of  the 
Renaissance.  The  great  wave  that  had  flooded  France  with 
love  of  the  beautiful,  with  the  desire  for  a  comely  and  liberal 
Daanner  of  Uving,  with  enthusiasm  for  things  of  the  intellect,, 
tad  spent  its  force.  When  Lescot  died  in  1578,  the  spirit  of 
tile  Renaissance  was  dying  too.  But  in  the  hundred  years 
that  spirit  held  sway  in  the  fair  land  of  France,  it  had  ac- 
compUshed  its  work.  The  teaching  of  the  Humanists  had 
changed  the  aspect  of  hfe  for  all  and  each.  Modem  civih- 
zation  was  an  estabhshed  fact. 


CHAPTEE  IV. 

ARCHITECTS  OF  THE  RENAISSANCE. 

When  within  the  space  of  comparatively  few  years,  a 
change  takes  place  in  the  art  of  a  nation — an  appi 
cleavage  wide  and  deep — experience  teaches  us  that 
change  is  not  as  rapid  as  it  seems,  but  has  come  aboi 
degrees  from  many  causes.  Patient  and  temperate  obs 
tion  shows  us  links  that  maintain  the  reasonable  conti] 
of  thought.  We  discover  that  the  chain  is  never  brok 
the  gulf  always  bridged.  Humanity  sweeps  onward  c 
lessly  along  the  road  that  leads  now  to  some  more  pe: 
more  gracious  halting  place,  now  through  some  arid  w 
now  into  a  confused  and  misty  valley,  now  to  the  puritj 
severity  of  lofty  heights.  But  onwards  it  sweeps  ah 
The  transition  is  gradual.  The  gardens  of  the  house-be 
ful  merge  gradually  into  the  waste.  The  waste  sinks  g 
into  the  misty  valley  with  its  manifold  purpose.  The  v 
rises  by  slow  and  imperceptible  degrees  to  the  lofty  he 
There  is  no  sharp  cut,  arbitrary  line  that  divides  the 
from  the  other.  If  we  will  but  search  patiently,  we 
certain  to  find  the  bridge  that  leads  from  one  appar 
clear  cut  group  or  impulse  to  the  next. 

No  two  ideals  in  art  could  seem  farther  apart — sepa: 
by  a  more  absolute  cleavage — than  Gothic  and  Eenaisg 
Architecture.  Yet  one  of  the  most  deeply  interesting  pi 
mena  I  know,  is  the  connecting  link  between  the  two  pei 
supplied  by  the  Architecture  of  the  reign  of  Louis 
Three  examples  will  suffice  to  show  how  perfectly  it  u 
the  spirit  and  genius  of  both — ^how  closely  the  two  are 
together  by  this  transition  period. 

The  first  example  is  the  Fagade  of  the  Chateati  of  . 

built  in  1501.     Here,  in  the  great  13th  century  Hall,  w< 

(52) 


1475-1589.  ARCHITECTS  OF  THE  RENAISSANCE.  53 

an  example  of  pure  and  stately  Gothic.  And  in  the  magni- 
ficent north  wing  of  Francois  I.  an  unsurpassed  example 
of  the  richest  Kenaissance.  The  Fa9ade  of  the  Eastern 
Wing,  by  which  the  Chateau  is  entered,  only  faintly  suggests 
he  coming  change  by  its  square-headed  windows  under 
rocketted  and  pinnacled  Gothic  domiers.  On  the  inner  face 
f  the  wing,  the  Renaissance  is  more  clearly  shown.  The 
rcade  through  which  the  courtyard  is  entered  is  composed 
f  round  pillars  encrusted  with  Jteur-de-lys  and  ermines'  tails 
1  a  stone  network,  alternating  with  others  of  four  Renais- 
ance  panels  set  on  cornerwise — not  four  square — supporting 
lattened  arches  of  the  familiar  **  anse  de  panier  '*  type  of  the 
»eriod.  It  takes  but  a  moment's  thought  to  see  that  this 
.rcade  is  the  hnk  between  the  Gothic  dormers  of  the  Fa9ade, 
aid  all  the  marvels  of  the  Northern  Wing. 

The  second  example  is  the  north-west  tower  of  the  Cathe- 
ird  of  Chartres,  Begun  in  1506  by  Jean  Texier  under  the 
patronage  of  Louis  XII.,  who  contributed  largely  to  the  ex- 
pense, it  was  finished  in  1513.  At  first  sight  it  seems  of 
purely  Gothic  type,  with  pointed  windows,  crocketted  pin- 
aacles,  flying  buttresses,  and  rich  Gothic  niches  with  trefoil- 
lieaded  canopies  and  bases,  supported  perhaps  by  a  dehcate 
pilaster  with  simple  early  Gothic  capital  and  square  abacus. 
Then  suddenly  one  comes  upon  a  little  balcony  on  an 
exterior  stairway,  panelled  with  superb  Renaissance  sculp- 
toe  in  vigorous  low  rehef — a  Classic  patch,  so  to  speak, 
imong  the  mass  of  Gothic  work,  that  would  not  be  out  of 
place  in  Venice  or  even  in  Rome.  There  is  nothing  that  jars 
in  this  great  tower  and  spire.  The  transition  is  so  natural 
*nd  gradual  that  it  harmonizes  absolutely  with  that  triumph 
3f  pure  12th  century  Gothic — the  six-storeyed  south-west 
tower  with  its  imbricated  stone  steeple,  and  with  the 
wonderful  body  of  the  noble  13th  century  building. 

The  third  example  is  the  Palais  de  Justice  at  Rouen, 
Built  under  Louis  XII.,  it  is  a  most  interesting  specimen  of 
the  richest  late  Gothic  architecture,  with  its  carved  square- 
headed  windows,  its  huge  gargoyles  at  the  roof  line,  its  rich 
pinnacled  balustrade  with  panels  of  roses,  crocketted  arches 


54  A  HISTORY  OF  FRENCH  ART.  Ch. 

and  fine  detached  figures.  The  lofty  dormers  against  ihe 
high-pitched  roofs  are  set  in  a  lacework  of  stone — pinnacles, 
niches,  fleur-cle-lys,  with  figures  everywhere,  in  the  tympa- 
num of  the  windows,  in  niches  on  the  pinnacles ;  and  among 
all  the  Gothic  wealth  of  ornament,  the  coming  change  that 
foimd  voice  a  few  years  later  in  the  sculptures  of  the  Hotel 
Bourgtheroulde  hard  by,  is  suggested  by  these  dainty  figures 
on  each  side  of  the  dormers,  that  remind  one  of  the  little 
loves  on  the  dormers  and  chimneys  of  Chambord,  and  by  the 
rose  panels  of  the  balustrade. 

Far  on  into  the  16th  century,  into  the  very  heart  of  the  Ee- 
naissance,  this  persistence  of  the  Gothic  type  is  still  found- 
chiefly,  it  is  true,  in  ecclesiastical  buildings.  The  Church  of 
Saint-Eustache,  in  Paris,  begun  in  1532,  a  Gothic  Church 
with  classical  details,  is  an  example.  So  is  Saint-Etienne 
du  Mont,  Paris.  And  the  Choir  Screen  at  Chartres,  begun 
by  Jean  Texier  in  1514,  and  finished  in  the  17th  century. 

But  with  regard  to  domestic  architecture,  the  new  ideals 
of  the  Eenaissance  had  full  sway  with  the  accession  of 
Francois  I.  in  1515." 

In  all  the  buildings  of  the  Eenaissance  three  portions 
claim  special  attention.  The  roof,  the  staircase,  the  chimney- 
pieces.  The  rest  of  the  building  may  be  plain,  almost  stern 
inside.  But  on  the  roof  without — the  staircase  and  monu- 
mental mantelpieces  within — the  architect  seems  to  concen- 
trate all  his  efforts.  He  lavishes  on  them  not  only  a  wealth 
of  ornament,  but  allows  his  imagination  to  run  riot  in  the 
most  original  and  fantastic  arrangement.  Of  the  roof  of 
Chambord,  I  will  speak  in  its  own  place.  But  the  marvel  of 
the  Chateau  is  its  famous  double  spiral  staircase,  connected 
at  each  floor  with  the  four  great  Salles  des  Gardes,  and 
crovmed  outside  by  the  superb  lantern.  At  Blois,  the 
magnificence  of  the  celebrated  outside  staircase  surpasses 
all  else  in  that  most  beautiful  of  royal  Chateaux.  At 
Amboise,  the  spiral  staircases  are  put  to  a  most  original 
use.  They  are  huge,  brick-paved  stairways,  mounting  by  •» 
gentle  slope  inside  two  immense  round  towers ;  enabling  th© 
King  and  his  guests  to  ride  their  horses  from  the  entrance  on 


^*''5-l589.  ARCHITECTS  OF  THE  RENAISSANCE.  55 

the  river  level  to  the  living  rooms  of  the  palace  on  the  top  of 
the  cliflf. 

At  Chenonceaux,  we  get  one  of  the  first  of  the  straight 
staircases  in  the  wall  with  a  waggon  roof,  of  the  same  tjrpe 
as  the  Escalier  Henri  11.  of  the  Louvre,  medallions  at  the 
crossing  of  the  ribs  bearing  portrait  heads.  The  same  plan 
is  followed  at  Azay  le  Eideau  :  but  the  ornament  is  infinitely 
richer.  Here  pendants  hang  at  the  intersection  of  the  ribs, 
while  the  spaces  between  are  filled  with  medallions  and 
portraits,  ermines,  salamanders  and  little  loves.  These 
straight,  waggon-roofed  staircases  may  be  best  described 
as  passages  of  steps — narrow  for  their  height — mounting  in 
two  straight  flights,  with  a  landing  between  each  floor.  The 
open  Escalier  d'Honneur  of  Louis  XIII.  and  Louis  XTV. 
was  then  practically  unknown. 

The  magnificent  mantelpieces  are  a  most  important  fea- 
ture of  Renaissance  buildings.  That  of  the  Salle  de  Diane  de 
Poitiers  at  Chenonceaux,  is  a  perfect  specimen  of  the  earUer 
period  of  the  Eenaissance.  So  are  one  or  two  at  Blois. 
The  well-known  Cheminee  de  Villeroy,  by  Germain  Pilon, 
in  the  Louvre — of  which  the  South  Kensington  Museum  ^ 
possesses  a  fine  cast,  is  an  example  of  the  later  half  of  the 
Renaissance.  So  are  two  by  Hugues  Lallemant,  now  at 
Cluny — with  pillars  or  carj^atides  on  either  side  of  the  fire- 
place, and  fine  bas-reliefs  above  surrounded  by  genii  sup- 
porting trophies  of  arms,  Cupids,  dolphins,  etc.  But  every 
Chateau  and  Palace  of  the  period  affords  many  splendid 
specimens,  elaborations  of  the  earlier  plain  Gothic  t3rpe. 

Pierre  le  Nepveu,  dit  Trinqueau  (6.  Amboise;  d.  1538), 
^builder  of  Chambord  and  Chenonceaux,  was  a  proprietor  in 
Amboise  in  1490,  and  was  still  living  there  in  1508,  when  it  is 
supposed  that  he  worked  on  the  Chateau  under  the  orders  of 
Kerre  Martin.  Louis  XII.  employed  him  at  Blois.  And  it 
bas  been  commonly  supposed  that  he  built  the  Chapel  and 
the  Fa9ade.     The  difference  of  style,  however,  between  this 

^The  South  Kensington  Museum  also  has  other  specimens  of  mantel- 
pieces of  the  same  period. 


66  A  HISTORY  OF  FRENCH  ART.  Ch.  IV. 

fa9ade  and  thai  of  Chambord  and  Chenonceaux  is  so  great, 
that  as  M.  Bauchal  points  out  it  is  difficult  to  attribute  the 
work  to  him. 

In  1513  he  was  entrusted  by  Thomas  Bohier  and  his  wife 
Catherine  Briyonnet,  with  the  building  of  Chenonceaux,  upon 
which  he  worked  till  1525.  And  in  1526  Fran9oi8  I.  confided 
to  him,  and  to  Anthoine  de  Troyes,  the  reconstruction  of 
Chambord,  which  until  then  was  merely  a  Chateau-fort  in  the 
flat  country.  The  first  plans  for  this  magnificent  Chateau 
were  made  by  Domenico  da  Cortona,  who  received  **900 
**  livres  toumois  de  gratification  "  from  the  King,  for  work  done, 
and  **  patterns  and  models  in  wood,  as  much  for  the  cities 
**  and  chateaux  of  Toumai  and  Andres  as  for  the  Chateau 
**  of  Chambord  ".^  To  Le  Nepveu,  however,  the  central 
staircase — the  most  original  and  decorative  portion  of  the 
building — is  certainly  due.  It  does  not  appear  in  Domenico's 
model,  which  was  to  be  seen  at  Blois  in  F^libien's  time.  In 
1536  Anthoine  de  Troyes  became  contractor  for  the  work 
of  the  pavilions  and  square  towers ;  Le  Nepveu  remaining 
sole  master  of  the  building.  He  is  spoken  of  in  this  year  as 
**  honneste  homme  Pierre  Nepveu  dit  Trinqueau,  maistre  de 
**rceuvre  de  Ma9onnerie  du  batiment  du  Ch4tel  de  Cham- 
**bord  ".  He  died  in  1538.  And  was  succeeded  by  Jacques 
Coqueau  or  Coquereau. 

In  Chambord,  despite  the  fantastic  exuberance  of  detail 
which  at  first  is  absolutely  bewildering,  a  little  study  soon 
shows  an  underljdng  unity  of  purpose,  which  could  only  have 
come  from  one  mind,  and  that  the  mind  of  a  master.  The 
towers  and  pavihons  of  this  well-known  Chateau  are  round. 
It  is  in  fact  a  massive  Gothic  castle.  The  original  plan  was 
the  central  mass  with  four  towers,  measuring  220  feet 
each  way,  on  the  north  side  of  an  enormous  square  court 
surrounded  by  buildings.  This  court  was  to  have  four 
huge  round  towers,  the  outside  measurement  being  520  feet 
by  390.  Two  of  them  are  standing,  and  form  parts  of  the 
wing  of  Fran9ois  I.  and  that  of  Henri  II.,  which  are  joined 
by  galleries  to  the  central  mass.     On  the  south  side  of  the 

^  Gompte  des  Batiments  du  Roi. 


1475-1589.  ARCHITECTS  OF  THE  RENAISSANCE.  57 

court,  rebuilt  by  Louis  XIV.,  the  bases  only  of  the  two 
comer  towers  exist,  finished  by  a  platform  and  connected 
by  a  long  range  of  one-storey  buildings.  On  the  body  of 
the  building  the  Eenaissance  is  shown  by  square  pilasters 
of  the  Corinthian  c«:der,  slightly  raised  from  the  surface,  with 
capitals  in  low  rehef,  dividing  the  whole  into  an  infinite  num- 
ber of  equal  panels.  Some  of  these  are  filled  with  lofty  win- 
dows. Others  are  left  plain.  The  string  courses  that  divide 
the  three  storeys  are  so  subdued  as  hardly  to  break  the  surface 
of  the  central  mass.  But  the  moment  we  reach  the  cornice, 
the  wealth  of  ornament  and  fantastic  caprice  begins.  Carved 
brackets  support  a  frieze  of  shell  pattern  and  deep  mouldings, 
surmounted  by  the  balustrade  which  forms  a  wide  gallery 
round  the  whole  central  building.  Behind  the  balustrade  a 
flat  stone  wall  runs  up  some  ten  feet.  And  from  this  rise  the 
great  grey  slate  roofs.  Double-storeyed  dormers  break  up 
through  the  wall  at  intervals  ;  and  superb  two-storeyed  chim- 
neys hanging  out  on  rich  and  beautiful  corbels,  shoot  high  aloft, 
the  white  stone  of  the  upper  part — above  pilasters,  and  shell- 
headed  niches  and  a  wealth  of  carved  flambeaux — ornamented 
'vv^th  rounds,  lozenges,  or  zigzags  of  black  marble  or  slate. 

The  roof  rises  over  each  of  the  four  great  towers  in  a  cone 
svirmounted  by  a  cupola  ;  and  in  square  pyramidal  masses 
^^x^er  the  rest.  While  the  crowning  marvel  of  the  whole  is  the 
lantern  "  in  the  centre,  over  the  great  central  staircase.  This 
l^*ntem  is  almost  entirely  open-work — tier  upon  tier  of  arches, 
l^iUars,  flying  buttresses  with  enormous  cartouches  of  the 
^«damander,  domed  cupolas  one  upon  the  other  supported 
t>y  light  and  graceful  pillars,  each  one  growing  lighter  and 
^^^Oore  airy,  tiU  the  last  is  crowned  by  the  huge  six-foot  stone 
^eur-de-lys  against  the  sky. 

Besides  the  lofty  two-storeyed  dormers,  and  the  bewilder- 
^^g  forest  of  chimneys,  **  which  are  more  ornamented  and 
more   ornamental   than    in    any    building   erected    either 
before  or  since,**  ^   the  roofs   are  still  further  broken  by 
giraceful  tourelles  which  spring  from  the  side  of  the  masses 
Nearest  the  lantern,  each  finished  with  a  cupola  surmounted 

1  FergusBon. 


58  A  HISTORY  OF  FRENCH  ART.  Ce 

by  a  lovely  little  figure  on  a  high  pedestal.  The  chim 
and  dormers  are  crested  with  fleurs-de-lys,  like  foam  < 
breaking  wave.  While  in  the  wing  of  Fran9oi8  I.  armi< 
little  loves  replace  the  fleur-de-lys,  on  the  crest  of  the  don 
and  chimneys  of  the  gallery  joining  the  wing  to  the  cei 
building.  And  the  dome  of  the  Escalier  Fran9ois  I.  (oi 
fifty-two  staircases  in  the  Chateau)  in  the  angle  of  the  c< 
yard,  is  surrounded  with  a  perfect  garland  of  fleurs-de-lys 
salamanders,  vsdth  caryatides  below. 

Chenonceaux — also  the  work  of  Le  Nepveu — is  on  a 
different  scale.  Here  we  find  the  exquisite  Maison  de 
sance.  Built  by  a  woman,  Catherine  Bric^onnet,  while 
husband,  Thomas  Bohier,  gMral  des  Finances^  was  sup< 
tending  the  King's  finances  during  the  Italian  campaig 
Chenonceaux  has  been  a  favourite  residence  of  distingui 
women,  of  Queens,  and  royal  favourites.  Diane  de  Poi 
and  Catherine  de  Medicis,  Queen  Louise,  Gabrielle  d'Est 
the  Duchesse  de  Mercceur,  were  in  possession  of  this  co\ 
Chateau  in  rapid  succession.  While  in  the  18th  cen 
Mme.  Dupin  gave  it  fresh  fame  by  the  brilliant  societj 
gathered  about  her  ;  and  Kousseau's  **  Devin  du  Villa 
was  performed  for  the  first  time  in  the  long  gallery  ac 
the  Cher. 

The  first  impression  of  Chenonceaux  is  one  of  disapp( 
ment.  The  whole  thing  is  so  small ;  and  the  effect  is  s 
on  approaching  the  entrance,  by  the  great  isolated  r( 
tower,  built  in  the  15th  century  by  Jean  Marques  on 
river's  bank  beside  his  mill.  This  not  only  dwarfs 
building,  but  is  confusing  at  first  to  the  spectator.  £ 
however,  from  the  glowing  garden  on  the  riverside,  we 
that  the  building  is  really  a  tiny  square  Chateau,  built  ] 
out  into  the  river  on  the  foundations  of  the  ancient 
whose  piles  were  driven  into  the  solid  rock,  and  joine 
the  farther  bank  of  the  Cher  by  a  five-arched  bridge,  bes 
Philibert  de  TOrme's  three-storeyed  gallery.  The  Cha 
actually  blocks  the  river,  which  runs  through  the  five  ai 
of  the  bridge,  and  the  great  water  arch  under  the  Cha 
proper  in  which  the  mill  wheel  was  placed,  besides  the 


1475-1589.  ARCHITECTS  OF  THE  RENAISSANCE.  59 

smaller  ones  of  the  drawbridges,  which  served  to  break  the 
force  of  the  current.  The  little  Chateau  has  four  tourelles  at 
the  comers  with  extinguisher  tops,  finished  with  lofty  and 
delicate  lead  ornaments.  It  is  three  windows  wide  on  each 
side ;  and  two  storeys  high  to  the  cornice,  which,  instead  of 
forming  a  balcony  is  an  attic  of  flat  pilasters,  in  relief,  but  not 
detached  from  the  wall,  with  richly  carved  leaf  brackets  and 
cartouches  below.  With  the  roof  come  three  dormers — the 
centre  one  being  two-storeyed,  with  candelabra  ornaments 
tossed  high  aloft.  The  gallery  is  the  least  interesting  part  of 
the  building.  And  it  is  now  disfigured  inside  with  decora- 
tions in  the  worst  taste,  carried  out  during  the  possession 
of  Mme.  Pelouze  and  her  brother  M.  Daniel  Wilson. 

I  have  described  these  Chateaux  at  some  length,  because 
it  is  important  to  get  a  tolerably  distinct  idea  of  the  com- 
plete change  that  had  come  over  the  dwelling-places  of 
France  with  the  beginning  of  the  16th  centmy. 

Pierre  Lescot  {b.  1515?  d.  1578), — builder  of  the  Louvre, 
was  a  gentleman  born.  His  family  were  "  gens  de  robe  '*.  And 
he  himself  was  Seigneur  de  Clagny,  near  Versailles;  by  which 
title  he  is  generally  spoken  of.  Ronsard  in  apostrophising 
**  Toy,  L'Ecot,  dont  le  nom  jusques  aux  astres  vole,"  says  : — 

"  Car  bien  que  tu  sois  noble  et  de  cceur  et  de  race 
**  Bien  que  des  le  berceau  I'abondance  te  face 

**  Sans  en  chercher  ailleurs 

**  .  .  .  tes  premiers  r^gens  n'ont  jamais  pu  distraire 
**  Ton  ccBur  et  ton  instinct  pour  suivre  le  contraire." 

It  is  known  that  he  travelled  in  Italy.  But  until  1541 
we  do  not  find  his  name  mentioned  as  the  author  of  any 
special  work.  In  this  year  he  first  comes  into  public  notice. 
The  Church  of  St.  Germain  I'Auxerrois  in  Paris  was  being 
restored.  Lescot  furnished  designs  for  the  Jube  or  Screen, 
and  undertook  its  construction ;  Jean  Goujon  executing  the 
sculptures  upon  it,  of  which  some  are  now  in  the  Louvre. 

In  1546  Lescot  was  taken  into  royal  service.  Fran(;ois 
I.  "Taima  par  dessus  tout,'*  says  Eonsard;  and  now  pre- 
ferred him  to  the  Italian  Serlio,  who  arrived  in  France  in 
1541,  and  even  to  Bullant  and  de  I'Orme.     The  King,  not 


60  A  HISTORY  OF  FRENCH  ART.  Ch.  I 

content  with  his  favourite  Palace  of  Fontainebleau,  and  h.  ^^ 
Chateaux  of   Chambord,   and   of    Madrid  in   the  Bois  ^B-^ 
Boulogne,  now   determined   to  outdo   the   magnificence  ^^^ 
jfecouen  by  a  palace  in  Paris.     During  the  absence  of  tt^*-® 
Court  at  Tours,  under  Charles  VIII.  and  Louis  XII.,  tl^*-^ 
Louvre  had  been  almost  deserted,  or  used  under  the  latt^^^ 
King   as   an   Arsenal.      In   1527   Francjois   I.   had   alre€kd      7 
begun    operations    by   destrojdng    the    great   tower   of    thv^^ 

Louvre,   which   was   too   Gothic   and   too   sombre   for   th. ^ 

dainty  spirits  of  the  Eenaissance.  But,  occupied  as  he 
with  other  projects,  little  was  accomplished  beyond 
necessary  repairs,  until  Charles  V.*s  visit  in  1540;  whe: 
the  old  fortress  was  made  gorgeous  for  a  time  with  hanging 
and  decorations,  and  its  extreme  unsuitability  to  model 
requirements  became  evident.  At  last,  however,  the  momei 
arrived  for  its  reconstruction.  And  on  Aug.  2, 1546,  the  Kin  -i 
gave  orders  to  Pierre  Lescot  for  **  un  grand  corps  d'hostel  '*  o"  — i 
the  spot  where  '*  la  grande  salle  '*  then  was,  after  plans  whic  -=1 
the  architect  had  drawn  up.  Thus  began  the  "  old  **  Louve^m^ 
which  we  know.  For  though  the  building  has  taken  3(EIID 
years  to  finish,  it  has  virtually  been  carried  out  on  tho^^s 
compelling  hues  laid  down  by  Lescot  in  1546.  After  ttrm 
death  of  Fran9ois  I.  in  1547,  Lescot's  post  as  Director  of  tt=^ 
works  at  the  Louvre  was  confirmed  by  Henri  II.  And  ttr  ^ 
facade  which  has  served  as  model  for  the  rest  of  the  buildii 
was  completed  in  two  years.  This  is  the  south-west  angle 
the  court,  round  the  spot  on  which  the  great  tower  hi 
stood.  Not  only  was  the  exterior  rebuilt.  The  interior  hi 
now  to  be  remodelled  to  meet  the  requirements  of  State  occi 
sions.  The  whole  of  the  west  wing  was  devoted  to  a  sing. 
State  room  on  the  first  and  second  floors.  The  lower  one 
the  well-known  Salle  de  Cariatides,  The  upper  one  is  no' 
occupied  by  the  De  Caze  collection,  but  has  been  much  altere 
For  thirty-two  years,  until  his  death  in  1578,  Lescot  continu^^^ 

his  work  upon  the  Louvre ;  and  apart  from  his  own  geniu ^' 

it  was  his  great  good  fortune  to  have  for  associate  and  friei^  ^ 
the  greatest  sculptor  of  the  day,  Jean  Goujon.  To  Goujon  ^^ 
chisel  the  building  owes  the  decorations  of  the  fa9ade — thot 


1415-1589.  ARCHITECTS  OF  THE  RENAISSANCE.  61 

exquisite  bas-reliefs  which  are  its  glory — the  four  great 
figures  from  which  the  Salle  des  Cariatides  takes  its  name — 
*Dd  possibly  the  sculptures  of  the  Escalier  Henri  11., — though 
^8  is  extremely  doubtful.  They  are,  however,  certainly 
from  his  atelier. 

Honours  came  fast  on  Lescot  under  the  succeeding 
deigns.  In  1554  he  was  made  a  Canon  of  Notre  Dame. 
But  as  Canons  were  obliged  to  shave  at  least  once  in  every 
three  weeks,  Lescot  insisted  on  an  exception  being  made  in 
his  favour ;  and  only  accepted  the  canonry  on  condition  he 
should  be  allowed  to  keep  his  beard.  In  1556  he  was  styled 
"  Abb^  de  Clermont,  conseiller  et  ausmonier  ordinaire  du  Eoy  ". 
In  1559,  on  de  TOrme's  disgrace,  Lescot  was  given  his  office. 
And  in  1578  he  died  in  his  Canonry  of  Notre  Dame. 

His  contemporaries  speak  of  him  as  an  excellent  painter. 
But  no  picture  has  survived. 

All  that  remains  of  his  work  are — fragments  of  the  Jub6  of 
Saint  Germain  TAuxerrois,  now  in  the  Louvre  ;  the  Fontaine 
des  Innocents,  Marche  des  Innocents ;  the  Hotel  Camavalet, 
Rue  de  Sevigne;  Architecture  of  the  Tomb  of  Henri  II.,  St. 
Denis ;  and  his  chief  and  greatest  work,  the  south-west  angle 
of  the  old  Court  of  the  Louvre  from  the  Pavilion  de  I'Horloge. 
Philibert  de  L'Orme  {b.  Lyons,  1515;  d.  1570), — builder 
of  Anet  and  the  Tuileries,  was  the  first  of  the  new  type  of 
architect.    No  longer  the  maltre  magon  :  but  a  man  of  learning, 
accomphshments,  acquirements,  a  courtier  and  polished  gentle- 
man of  the  world.    Without  the  original  genius  of  Bullant,  his 
learning  and  power  of  adaptation  almost  counterbalanced  his 
"^ant  **  of  sensitive  feehng  and  original  resource.     His  talent, 
made  up  chiefly  of  reason  and  science,  well  personified  the 
second  period  of  the  Eenaissance.*'^      De  I'Orme  knew 
l>€tter  than  most  men  how  to  make  the  best  use  of   his 
kiiowledge.     His  two  published  works,   Nouvelles  inventions 
I>our  bien  batir,  and  Livre  d'Architecture,  are  full  of  personal 
details.     So  is  the  MS.   Memoir  of  himself  written  about 
1660,  and  discovered  in  the  Bibliothfeque  National  in  1860. 
He  always  contrived  to  attract  attention ;  and  tells  us  how 

1  Lady  Dilke. 


<c 


62  A  HISTORY  OF  FRENCH  ART.  Ch.  IV. 

in  Borne  he  measured  the  Triumphal  Arch  of  Sta.  Maria 
Novella,  **  just  when  several  Cardinals  and  nobles  "  happened 
to  be  passing. 

At  the  age  of  fourteen  he  went  to  Italy,  where  the  precocious 
youth  seems  to  have  made  himself  heard  of  to  some  purpose. 
For  he  says,  in  his  Memoirs  :  "  J'ay  servi  papes,  roys,  et 
plusieurs  cardinaux,  et  feu  Monsieur  de  Langes,  Guillaume 
du  Bellay,  et  Monsieur  le  Cardinal  son  frfere  me  debauchai- 
rent  du  service  du  pape  PauUe  a  Eome,  oil  j'estoys  et  avop 
une  belle  charge  a  St.  Martin  dello  Bosco  alia  Callabre". 
Four  years  later  he  left  Eome  and  returned  to  Lyons.  A 
house  there,  in  the  Eue  de  la  Juiverie  still  shows  an  extra- 
ordinarily skilful  addition  by  his  hand — solving  the  problem 
of  how  to  connect  two  parts  of  the  house  with  a  gallery 
by  means  of  two  **  voutes  a  trompe  **.  The  portal  of  the 
Church  of  St.  Nizier  at  Lyons — still  unfinished — is  also  by 
de  rOrme. 

He  was  first  employed  near  Paris  by  Cardinal  du  Bellay, 
on  his  Chateau  of  Saint-Maur-les-Fossez,  afterwards  the 
property  of  Queen  Catherine  de  Medicis.  It  is,  however, 
with  Henri  II. 's  accession  that  de  TOrme's  known  activity 
begins.  By  letters  patent  dated  April,  1547,  he  is  made 
"  Conseiller  et  ausmonier  ordinaire  et  Architecte  du  roy,''  to 
superintend  the  works  of  Saint-Germain-en-Laye,  Fontaine- 
bleau,  Villers-Cotterets,  etc.  Next  year  he  is  created  Abbe 
of  Ivry.  The  year  after.  Inspector  of  the  Eoyal  works.  But 
this  year,  1549,  is  of  much  greater  importance.  For  in  it  he 
begins  the  building  of  Anet,  for  Diane  de  Poitiers,  Duchesse 
de  Valentinois.  The  King  on  his  accession,  had  presented 
her,  as  I  have  said,  with  "  la  paulette,"  the  yearly  patent 
tax.  And  out  of  this  immense  revenue  of  public  money  she 
built  Anet  with  extraordinary  rapidity.  De  TOrme,  besides 
various  small  works,  also  built  for  the  beautiful  favourite  the 
bridge  across  the  Cher  at  Chenonceaux,^  which,  though  it 
adds  a  singular  and  picturesque  touch,  destroys  the  unity 
of  design  of  the  gem  that  we  owe  to  Pierre  le  Nepveu. 
In  1550  he  designed  the  Chapelle  aux  Orf^vres.     And  also 

^  See  Le  Nepveu. 


^^"^^iSSg.  ARCHITECTS  OF  THE  RENAISSANCE.  63 

^^Bigned  the  famous  monument  of  Fran9oi8  I.  at  St.  Denis 

^ which  is  mentioned  imder  the  head  of  Sculpture. 

In  1559  disgrace  came  upon  de  TOrme  at  the  hand  of 

^he  Queen-Mother — mainly  owing  to  his  works  for  Diane 

de  Poitiers.     In  vain  he  appeals  to  Catherine  in  his  Memoir, 

&nd  recapitulates   all   his   services  to  herself  and  **  le  feu 

roy".     She  remains  obdurate.     And  will   not  even   allow 

him  to  exercise  his  profession.      So  he  is  forced  to  amuse 

himself  by  lawsuits  with   the  monks  of  St.   Barthelemy- 

lea-Noyon ;   and  in  writing  his  Nouvelles  Inventions,     After 

5ve   yecuiB,  however,  the   Queen-Mother  relented — needing 

xim  for  her  new  project,  the  Palace  of  the  Tuileries,  close 

io    the   King's  Palace  of   the   Louvre  which   Lescot  was 

itill  building.     Here  de  I'Orme  had  to  contend  with  many 

lifficulties.     Catherine  herself  had  made  the  plans.     And  de 

'Orme  was  further  hampered  by  having  for  official  coadjutor, 

Nf  adame  du  Perron,  one  of   the  Queen's  ladies,  who  was 

bppointed  one  of  the  **  Surintendants  des  bastiments  du  roy  '*. 

Vj^et,  therefore,  where  he  worked  untranmielled  by  advice 

fcnd  pressure  of  other  minds,  is  the  best  example  of  his  talent. 

He  was  also  given  the  building  of  the  Tour,  or  Tombeau 

ies  Valois,  adjoining  St.  Denis,  destroyed  by  order  of  the 

Regent  in  the  name  of  Louis  XV.  in  1719,  on  account  of 

its  bad  condition.      The  exterior   was   composed  of   Doric 

and  Ionic  colmnns,  surmounted  by  a  third  Composite  order, 

with   a   cupola   and    pierced    lantern.       Beneath    this    lay 

Grermain  Pilon's  superb  figures  of  Henri  II.  and  Catherine. 

Like  Lescot,  a  Canon  of  Notre  Dame,  Philibert  de  TOrme 

died  in  the  Cloisters  of  the  Cathedral  in  1570.     Eich,  famous, 

wid  successful,  he   had  plenty  of  enemies.     Eonsard  was 

jealous  of  him,  and  made  game  of  him  in  sonnets.     And 

Palissy  in  his  book  Eaicx  et  Fontaines,  attacked  his  system 

of  waterworks,  as  well  as  his  great  wealth.     But  the  fact 

remains  that  his  books  may  still  be  read  with  profit.     His 

Nouvelles  Inventions  are  valuable  on  accoimt  of  precepts  upon 

catting  and  preparing  stone,  jointings  of  masonry,  and  other 

details  of  actual  building.      In  these  matters  his  knowledge 

and  skill  was  immense.     And  he  trained  his  master-masons 


64  A  HISTORY  OF  FRENCH  ART.  Ch.  IY. 

himself  with  infinite  care.  He  also  revolutionized  the  system 
of  timber  work  hitherto  in  use  :  **  And  gave  his  name  to  the 
**  method  which  is  still  called  *  couverture  a  la  PhiUbert  de 
**  rOnne '  ".^  In  1783  Legrand  and  Molinos  used  the  actual 
plans  which  de  I'Orme  published  in  1561  for  the  dome  of 
the  Halle  Neuve  in  Paris. 

All  that  remains  of  his  work  is — 

Unfinished  portal,  St.  Nizier,  Lyons. 

House  in  the  Eue  de  la  Juiverie,  Lyons. 

Kuins  of  Anet. 

Fac^ade  of  Anet,  ificole  des  Beaux  Arts,  Paris. 

Gallery  across  the  Cher,  Chenonceaux. 

Touches  at  Chambord  and  Chaumont. 

Tribune  of  Chapel  of  St.  Satumin,  Fontainebleau. 

Ceiling  and  Chimney-piece,  Galerie  Henri  II.,  Fon- 
tainebleau. 
His  fine  staircase  in  the  Cour  du  Cheval  Blanc  at  Fon- 
tainebleau was  replaced  in  the  17th  century  by  an  erection  of 
Jacques   Lemercier's.      The   Tuileries   are   now   destroyed. 
The  Chateau  of  Villers-Cotter^ts  still  exists  in  part. 

Jean  Bullant  (b.  1510-15;  d.  1578), — builder  of  ifecouen. 
— Bullant  mav  be  said  to  stand  half- way  between  the  master- 
masons  of  the  early  days  of  the  Renaissance,  when  the  archi- 
tect was  but  a  superior  workman  who  lived  on  the  scaffolding; 
and  the  architects  who  built  the  Louvre  and  the  Tuileries.  He 
had  spent  much  time  in  Italy.  But  he  was  **  devoid  of  that 
"  tincture  of  letters  and  grace  of  various  accomplishments 
"  w^hich  specially  distinguished  the  more  typical  men  of  the 
**  time  '*.*-  This  perhaps  made  him  all  the  more  acceptable 
to  the  violent  Constable,  Anne  de  Montmorency,  who  would 
have  found  Lescot  and  de  I'Orme  too  polished  and  courtly  to 
suit  his  rough  humour.  And  in  1540  he  l)egan  what  was  to  be 
the  absorbing  work  of  his  life,  when  Anne  de  Montmorency 
commissioned  him  to  carry  on  the  building  of  his  Chateau 
of  6couen,  begun  some  few  years  earlier. 

Henri  II.  in  1557  appointed  him  by  letters  patent  **  Con- 
troleur  des  bastiments  de  la  Couronne  *'.     But  three  years 

1  Lady  Dilke.  >  Ibid. 


L475-1589.  ARCHITECTS  OF  THE  RENAISSANCE.  65 

Later  he  was  replaced  by  Francois  Sannat,  supposed  to  be  a 

protege  of  the  Queen-Mother.     At  the  age  of  fifty-five  he  was 

taken  into  favour  again  on  the  death  of  de  TOrme,  and  recalled 

to  Paris  to  carry  on  the  unfinished  buildings  of  the  Tuileries  ; 

and  also  to  superintend  the  works  at  Catherine's  Chateau  of 

Saint-Maur-les-Fossez.     In  1571  he  was  completely  restored 

to  favour — the  Queen-Mother  appointing  him  her  architect 

to  the  **  Thulleries  *\      Two  years  later  we  find  he  receives 

532   livres  as  "  ordonnateur  de  la  sepulture  "  of  Henri  II. 

And   in  1575  is  **  Controleur  des   bastiments   du  roi  "   and 

architect  for  the  Tomb  of  the  Valois.    He  also  built  the  Hotel 

de  Soissons  for  Catherine. 

But  in  spite  of  all  these  royal  works  and  important  posts, 
he  remains  the  architect  of  the  Montmorencys.  The  two 
Chateaux  he  built  for  the  Constable,  ^ficouen  and  the  Petit 
Chateau  of  Chantilly,  still  survive  to  attest  to  his  genius. 
Ecouen  was  his  home.  At  Ecouen  the  greater  part  of  his 
Ufe  was  spent.  At  Ecouen  he  died  in  1678.  Happily  this 
magnificent  specimen  of  the  later  Eenaissance  was  saved 
from  complete  destruction  at  the  Eevolution,  by  being  used 
as  a  military  Hospital.  It  is  now  the  School  of  the  Legion 
of  Honour.  And  though  little  but  the  mere  shell  remains,  it 
is  a  document  of  the  highest  interest  and  value — a  building 
begun  and  finished  by  a  skilful  and  highly  original  artist,  who 
worked  at  it  with  a  clearly-defined  purpose,  unfettered  by 
convention  or  interference. 

His  work  is  extremely  characteristic,  even  in  its  defects. 
At  Chantilly,  built  in  1559  soon  after  the  disgrace  of  the 
Constable — at  Ecouen — in  the  bridge-gallery  of  Fere-en- 
Tardenois — whatever  might  be  his  respect  for  antiquity,  Jean 
Bullant  was  quite  ready  to  introduce  innovations,  **  where 
"  arches  pierce  the  pediments,  where  windows  cut  through 
"  the  entablature,  where  classic  orders  rise  from  the  bottom 
"  of  one  storey  to  the  middle  of  the  upper  one  *\^  These 
defective  arrangements  became  extremely  popular,  thanks 
to  Bullant.  And  a  number  of  churches  in  the  Eenais- 
sance  style,   which  are  to   be    seen   in  the   district   round 

^  Palustre. 

•5 


66  A  HISTORY  OF  FRENCH  ART.  Ch.    T^ 

]fccouen,  if  they  are  not  actually  from  his  hand,  show  his 
influence. 

Examples  of  Bullant's  work : — 

A  few  fragments  of  Pilasters  and  Carvings  from  the 
Pavilion  de  Flore,  Tuileries. 

The  Doric  Column,  100  feet  high,  in  the  Halle  aux 
Bles.  This  is  all  that  remains  of  the  Hotel  de 
Soissons. 

The  Pont-Galerie  of  Fere-en-Tardenois. 

Facade  of  the  Church  of  Belloy. 

The  shell  of  Ecouen. 

The  Petit  Ch&teau,  Chantilly. 
Besides  the  four  celebrated  artists,  Le  Nepveu,  Lescot, 
de  rOrme,  BuUant,  and  the  host  of  anonymous  workers, 
other  architects  of  the  Renaissance  whose  names  have  couie 
down  to  us  in  connection  with  famous  buildings,  must  be 
mentioned. 

Jean  Texier  or  Letexier  (d,  Chartres,  1529), — known  as 
Jean  de  Beauce,  is  one  of  the  earliest  of  these.  Maitre  d'oeuvre 
and  sculptor,  he  hved  at  Vend6me,  and  worked  there  on  the 
Church  of  the  Trinity  until  1506.  He  signed  an  agreement 
in  that  year  with  the  Chapter  of  the  Cathedral  of  Chartre^ 
to  rebuild  the  Clocher,  the  north-west  tower  ^  which  had  beer^ 
destroyed  by  lightning.  This  bell-tower  and  spire  wa^ 
finished  in  1513.  In  1514  he  began  the  celebrated  screen 
round  the  Choir,  which  shows  he  was  not  only  an  architect 
but  a  sculptor  of  considerable  merit.  He  was  unable  to 
finish  it  before  his  death  ;  and  the  work,  carried  on  by 
Franijois  Marchand  and  others,  was  not  finished  imtil  the 
17th  century.  Texier  also  enlarged  the  Church  of  Saint- 
Aignan,  Chartres,  by  an  arch  of  fourteen  metres  across  the 
Eure,  supporting  the  sacristy,  etc. ;  a  w^ork  of  great  boldness 
of  conception.     He  died  in  1529. 

Bastien  FRANgois  and  Martin  Francois  of  Tours. — 
Bastien  Francois,  mattre  d'oeuvre  and  sculptor,  married  a 
daughter  of  Guillaume  Kegnault,  the  nephew  of  Michel 
Colombe.      In    1500   he    became    maitre    d'oeuvre    to    the 

^  See  p.  53. 


^475-1689.  ARCHITECTS  OF  THE  RENAISSANCE.  67 

Cathedral  of  Tours ;  and,  with  his  brother  Martin,  built  the 
iipper  part  of  the  Northern  tower.  This  belfrey  shows  an  ex- 
'femely  bold  and  original  design.  Founded  on  early  pointed 
i^ork,  it  is  surmounted  by  a  scaled  cupola ;  while  within  it,  a 
graceful,  spiral  staircase  rests  on  a  crown  of  open  groins 
>r  ribs.  The  inscription  in  the  dome  shows  this  tower  was 
inished  in  1507.  The  Southern  tower  resembles  that  of 
^ranc^^ois  in  general  appearance,  though  it  was  not  begun 
Xktil  1537,  and  finished  ten  years  later.  In  the  next  year, 
508,  Bastien  Francois  and  his  brother  began  the  exquisite 
'loltre  de  Saint-Martin,  at  Tours.  Of  this,  happily  for  the 
fcxident,  the  Eastern  wing  still  exists  in  the  playgroimd  of  a 
Convent  School.  And  the  kindly,  white-robed  sisters  are  most 
ailing  to  admit  visitors.  This  cloister  shows,  as  M.  Palustre 
oints  out,  with  what  rapidity  the  genius  of  Bastien  Franqois 
eveloped.  Following  so  soon  upon  the  somewhat  rugged, 
fciough  very  advanced  work  of  the  tower,  we  find  here  an 
xquisite  specimen  of  the  purest  Eenaissance.  A  line  of 
oxmd-headed  arches,  their  architraves  richly  but  delicately 
•rnamented,  and  medaUions  imitated  from  Italian  plaques 
n  the  spandrels,  is  surmounted  by  an  enchanting  frieze,  and 
3^  cornice.  The  ribs  under  the  roof,  form  more  round-headed 
arches  from  pillar  to  wall ;  and  at  the  intersections  are  round 
cartouches,  each  one  different.  This  cloister,  one  of  the 
gems  of  the  period,  was  finished  by  Pierre  Gadyer,  in  1519. 

The    brothers   now  erected    the    Fontaine   de   Beaune, 

^hich,  though  despoiled  of   its  basins,  is  still  a  beautiful 

specimen  of  their  work.     In  parts  of  it — the  lower  lines  of 

^ngs  and  claws — it  seems  possible  to  trace  not  only  the 

same  design,  but  the  same  hand,  as  in  part  of  the  tomb  of 

the  children  of  Charles  VIII.  in  the  Cathedral.     This  may 

well  be.     For  it  is  now  ascertained  beyond  doubt  ^  that  Guil- 

laume  Eegnault,  Bastien 's  father-in-law,  was  employed  on  the 

tomb  (1506)  with  Jer6me  de  Fiesole,  imder  the  direction  of 

Michel  Colombe.     Bastien  Francois  worked  with  these  two 

jcolptors,  under  his  great-imcle  Michel  Colombe's  direction, 

ipon  the  tomb  of  Francois  11.,  Due  de  Bretagne,  at  Nantes 

^  Palustre. 


68  A  HISTORY  OF  FRENCH  ART.  Ch.  IV. 

(1502-1506) ;  and  he  was  also  designated  by  Colombe  (1508) 
to  conduct  the  works  of  the  platforms  and  tombs  at  Brou.^ 
But  the  death  of  Colombe,  and  disgrace  of  Perreal  who 
had  furnished  the  first  designs,  stopped  the  work. 

In  1513  Bastien  was  appointed  maitre  d*oeuvres  to  the 
city  of  Tours  ;  and  in  1515  maitre  d'oeuvre  **  de  Macjonnerie  et 
de  Charpenterie  "  to  the  King,  in  Touraine,  his  brother  suc- 
ceeding to  his  post  at  the  Cathedral.  Bastien  Francois 
died  in  1523.  His  brother  Martin  died  in  1525,  and  was 
succeeded  by  several  generations  of  architects.  Of  these, 
Gatien  Franc^ois  I.  worked  at  Chenonceaux ;  the  Eglise  des 
Minimes  at  Plessis  les  Tours ;  at  Marmoutiers,  1531  : 
and  took  the  place  of  Pierre  Gadyer  at  the  Chateau  de 
Madrid. 

Pierre  Gadyer  or  Gaxdier, — a  Tourangeau  architect, 
seems  to  have  replaced  Martin  Francjois  as  maitre  d'ceuvre 
to  the  Cathedral  of  Tours,  about  1526.  The  lower  part  of 
the  Southern  tower  is  attributed  to  him.  His  other  serious 
claim  to  fame  is,  that  it  is  now  ascertained  that  it  was 
Gadyer  who  drew  up  the  plans  for  the  magnificent  Chateau 
de  Madrid,  built  by  Francois  I.  in  the  Bois  de  Boulogne.*^ 
The  oft-repeated  legend  of  its  Italian  origin  is  now  defini- 
tively destroyed.  And,  as  indeed  common-sense  might  have 
discovered  long  ago,  a  building  so  absolutely  French  in  its 
whole  conception,  is  now  known  to  have  been  the  work  of  a 
French  architect,  aided  by  Delia  Eobbia  and  other  Italians 
in  all  matters  of  ornament.  Gadyer  also  appears  to  have 
finished  the  Cloltre  de  St.  Martin,  at  Tom's,  begun  by  the 
brothers  Francjois. 

Colin  Biard  or  Byart  (6.  Amboise,  1460), — began  his 
known  career  by  work  on  the  Chateau  of  Amboise,  under 
Charles  VIII.  In  1499  he  was  chosen  with  three  other 
architects  to  superintend  the  rebuilding  of  the  Pont  Notre 
Dame  which  had  given  way.  Later  on,  Louis  XII.  entrusted 
him  wth  the  building  of  the  Chateau  of  Blois.  And  from  Blois, 
Cardinal  d* Amboise  summoned  him  to  Gaillon.  In  1505  he 
returned  twice  to  Gaillon  to  inspect  the  works.     In  the  next 

»  See  M.  Colombe.  «  See  p.  48. 


1475-1589.  ARCHITECTS  OF  THE  RENAISSANCE.  69 

year  he  made  another  journey  there  to  determine  the  founda- 
tions of  the  Chapel.  And  in  July  went  with  Guillaume 
Senault  to  Saint-Leu  to  choose  the  stone  for  the  Grand 
Maison.  It  is  evident,  therefore,  that  he  assisted  Pierre 
Fain  and  Pierre  Delorme  in  the  building  of  this  magnificent 
edifice.  A  drawing  on  vellum  of  the  decoration  for  the 
Chapel,  still  exists  among  the  archives  of  Gaillon,  signed 
with  a  B. 

In  Dec.,  1506,  Biard  was  summoned  to  Kouen  with  other 
lualtres  d'oeuvres,  to  decide  whether  the  Tour  de  Beurre,  just 
built,  should  be  completed  with  an  aiguille  or  "  terrasse  avec 
couronne  ".  In  1507  we  find  him  at  Bourges,  in  consultation 
about  measures  to  prevent  the  fall  of  the  Cathedral  tower.  It 
fell,  however,  on  the  30th  of  the  month.  And  in  1508  he 
furnished  plans  for  rebuilding  it.  He  is  mentioned  as  having 
been  from  his  youth  "  mele  et  entremis  du  faict  de  masson- 
erie  ".  The  date  of  his  death  is  not  known.  He  must 
not,  however,  be  confused  with  another  and  better  known 
Biard  (Pierre),  author  of  the  Jube  of  Saint  Etienne  du 
Mont,  etc.^ 

Pierre  Fain, — **  maltre  d'oeuvre  et  sculpteur  de  Eouen  **. 
In  1501  we  find  the  first  mention  of  Pierre  Fain.  He 
was  entrusted  with  work  upon  the  Archbishop's  palace  at 
Rouen,  by  Cardinal  Georges  d'Amboise.  And  later  at  the 
Manoir  Abbatial  de  Saint-Ouen,  for  the  Abbot,  [fitienne  Boyer, 
which  he  completed  in  1507. 

In  this  same  year  Cardinal  d'Amboise,  the  all-powerful 

minister  of  Louis  XII.,  summoned  him  to  Chateau  Gaillon. 

And  Pierre  Fain  agreed   with  other    maitres  d'oeuvres   for 

the  construction  of  the  Chapel  and  the  grand  staircase,  for  a 

sum  of  18,000  Uvres.     This  work  was  finished  in  Sep.,  1509, 

and  the  money  paid  to  Fain.      The  sculptors  for  this  famous 

Chateau  were  Michel  Colombe,  Antoine  Juste,  and  FrauQois 

Marchand.      The   ornamentation  was  by  the   best   Italian 

artists  then  in  France.     Paintings  were  by  Andrea  Solario. 

The  fiurchitects,  besides  Pierre  Fain,  who  was  the  chief  master 

at  the  moment,  were  Guillaume  Senault,  Pierre   Delorme, 

1  See  p.  ISO. 


70  A  HISTORY  OF  FRENCH  ART.  Ch.  IV. 

Eoland  Leroux,  and  Colin  Byard.  The  magnificent  building 
was  destroyed  at  the  Eevolution.  Only  the  entrance,  the 
Clock  tower,  and  the  Chapel  tower  are  now  standing ;  and 
form  part  of  the  great  Maison  Centrale  de  Detention,  a  mile 
or  so  from  the  station  of  Gaillon,  between  Paris  and  Rouen. 
The  stalls  of  the  Chapel  are  at  St.  Denis.  The  Fountain 
is  in  the  Louvre.  So  is  the  St.  George  and  the  Dragon. 
The  Facade  or  Portico  is  the  glory  of  the  court  at  the 
Ecole  des  Beaux  Arts.  That  court  also  contains  many  ex- 
quisite fragments  from  Gaillon  ;  and  an  arcade  of  two  or  three 
arches,  the  pillars  ornamented  with  exactly  the  same  curious 
network  pattern  enclosing  ermines'  tails  as  on  the  arcade  of 
Louis  XII.,  at  Blois.  This  would  point  to  both  being  the 
work  of  Colin  Byard.^  In  1508  for  further  sums,  Pierre 
Fain  and  his  associates  undertake  to  build  the  kitchens. 
And  Fain  alone,  agrees  to  build  two  half  croisees  and  a 
dormer,  for  3*24  livres  10  sols.  And  the  portico,  which  gave 
passage  from  the  fore-court  to  the  Cour  d*Honneur,  for  650 
livres.  This,  as  I  have  said,  is  now  at  the  Beaux  Arts. 
The  modern  inscription,  as  M.  FjUgene  Miintz  points  out, 
is  erroneous  ;  for  it  says,  **  Fa(,*ade  du  Chateau  de  Gaillon 
"  bati  en  1500  par  le  Cardinal  Georges  d'Amboise,"  instead 
of  giving  the  real  date,  1508.  It  occupies  the  place  once 
filled  by  the  glorious  St.  George  and  the  Dragon  of  Michel 
Colombe. 

Chateau  Gaillon,  as  built  by  Cardinal  d'Amboise,  will 
always  remain  one  of  the  marvels  of  the  early  Renaissance, 
and  a  chef-d'oeuvre  of  French  Architecture.  It  was  not  until 
the  end  of  the  16th  century  that  it  was  disfigured  by  the 
monstrous  ornamentation,  so  justly  condemned  by  Fergusson 
and  others. 

GiLLES  LE  Breton  (d.  1553?), — maitre  d'ceuvre  de  Paris. 
The  place  of  Gilles  Breton  in  the  history  of  French  Art,  has 
within  the  last  few  years  become  one  of  considerable  import- 
ance. For  he  is  now  proved  to  have  been  the  architect  of  the 
chief  works  at  Fontainebleau,  under  Frangois  I.  These  have 
hitherto   been   attributed  wholly  to   the    Italians.      Indeed 

1  See  p.  68. 


147i>.15S9.  ARCHITECTS  OF  THE  RENAISSANCE.  i  1 

we  are  commonly  told  that  Fontainebleau  hardly  count  3 
in  French  Art,  as  it  was  built  entirely  by  Italians,  from  the 
plans  of  Italians.  The  more  honest  and  careful  researches 
of  recent  authorities  have  completely  disproved  these  whole- 
sale assertions. 

In  1526  Gilles  le  Breton  was  working  at  Chambord  with 
Le  Nepveu.  The  next  year  he  was  appointed  **  maitre  gene- 
ral des  OBUvres  de  Maijonnerie  du  roi,  et  son  commis  voyer," 
a  post  6f  the  highest  importance.  It  was  in  1529  that 
Fran<;oi8  I.,  by  a  consenting  act,  took  back  certain  ground 
which  Saint-Louis  had  given  in  1259  to  the  Trinitaires, 
round  the  old  Chateau  of  Louis  VII.  at  Fontainebleau. 
The  king  at  once  began  remodelling  the  ancient  Chateau 
— the  chief  constructor  being  his  maltre-general,  Gilles 
le  Breton.  It  is  considered  more  than  probable  that  le 
Breton  was  the  architect  as  well.  For  none  of  the  other 
celebrated  architects  of  the  time  could  have  furnished  the 
plans.  Lescot  was  too  young.  So  was  Bullant.  So  was  de 
rOrme,  who  did  not  leave  Lyons  till  1539.  Le  Nepveu  was 
too  busy  at  Chambord,  and  Fontainebleau  does  not  bear  the 
slightest  trace  of  his  style.  While  Serlio,  to  whom  the 
Chateau  is  attributed,  did  not  arrive  in  France  until  1541. 
It  is  therefore  obvious  that  he  had  nothing  to  do  with  the 
plans  in  1528. 

On  April  28,  1528,  Le  Breton  signed  a  contract  to  **  pull 

**  down  the  old  entrance  and  build  another  with  a  square 

'*  tower,   besides    two   smaller  ones,   and   three   storeys   of 

"  little  galleries,  etc."     In  Aug.,  1531,  there  is  a  fresh  contract 

for  the  Chapel  of  St.  Saturnin,  and  the  alteration  of  a  staircase. 

In   March,  1540,  a  third   contract   for   the  great   staircase 

and  accessories,  for  18,000  li\Tes.     His  various  works  and 

his  accounts  at  Fontainebleau  were  verified  and  receipted  in 

this  year  by  Philbert  de  TOrme  and  others  :  **  Et  il  regut  d'eux 

**  un  satisfecit  complet  '\^     Thus  the  major  part  of  the  works 

at  Fontainebleau  were  finished  before  Serlio's  arrival  in  1541. 

M.  Palustre    attributes   to   Gilles    le    Breton  the   peristyle 

in  the  Cour  Oval.     And  it  must  be  evident  to  any  one  who 

^  Bauchal. 


72  A  HISTORY  OP  FRENCH  ART.  Ch.  IV. 

examines  the  remains  of  Fran9ois  I/s  buildings,  that  they 
are  the  work  of  a  French,  and  not  of  an  Italian  architect. 

Le  Breton  lived  at  Avon,  the  little  village  just  beyond  the 
Canal  and  the  Modern  Artillery  School,  Fontainebleau ;  and 
died  there  in  1553. 

Chambiges,  Pierre  I.,  {d.  1544), — son  of  Martin  Cham- 
biges  builder  of  the  Transept  at  Sens,  is  first  mentioned  while 
working  with  his  father  at  Troyes.  Then  at  Beauvais. 
In  1533-4  he  is  styled  **Ma!tre  d'oeuvres  de  Ma^onnerie 
et  pavement "  to  the  city  of  Paris.  He  superintended  the 
fortifications,  and  carried  out  the  building  of  the  Hotel  de 
Ville  under  Domenique  de  Cortone.  In  June,  1538,  he  was 
appointed  maltre  d'ceuvres  to  the  King,  at  Senlis.  And  in 
the  same  year  worked  at  Fontainebleau  under  the  orders  of 
Gilles  le  Breton. 

His  most  important  work,  however,  was  the  transfor- 
mation of  the  Chateau  of  Saint-Germain-on-Laye.  This  he 
began  in  1539,  in  which  year  he  made  a  contract  for  the 
terraces  of  the  Chateau,  which  were  executed  in  lias  by 
Guillaume  Guillain  and  Jean  Langeries.  In  April,  1540, 
Chambiges  received  70,174  livres  for  the  works  he  had  carried 
out  at  Fontainebleau  and  Saint-Germain.  In  1541  a  contract 
for  the  works  at  La  Muette  is  adjudged  to  him  :  but  he 
makes  it  over  the  same  day  to  his  son-in-law  Guillain,  and 
Langeries.  In  this  document  he  is  styled  *'  Maltre  d'oeuvres 
de  la  Ville  de  Paris  ".  Therefore  it  is  probable  that  he  gave 
the  first  plans  for  the  building  of  the  Chateau,  which  was 
carried  on  by  de  TOrme,  who  built  the  Chapel  in  1549,  three 
years  after  Chambiges'  death. 

It  is  interesting  to  trace  the  same  peculiarities  in  all 
Chambiges*  work — the  use  of  brick  for  ornament,  while  the 
massifs  of  the  wall  are  in  stucco  or  stone.  We  see  it  in  his 
portion  of  Fontainebleau,  the  cour  du  Cheval  Blanc— 
especially  in  the  fine  chimney  on  the  right  as  we  face  the 
Chateau,  with  its  huge  F  in  red  brick  on  the  white  ground. 
At  Saint-Germain,  it  is  used  not  only  on  the  exterior,  but  in 
the  interior.  The  walls  of  the  barrel-roofed  stairway  are 
ornamented  with  white  stucco  panels,  and  brick  pilasters  and 


1476-1689.  ARCHITECTS  OF  THE  RENAISSANCE.  73 

mouldings.     So  is  the  magnificent  three-storeyed  chimney- 
piece  in  the  great  Hall.     This  inversion  of  the  use  of  stone 
and   brick   is  a  mark  of  all    the  Chateaux  built  by  Cham- 
biges — Fontainebleau,  Saint-Germain,  La  Muette,  Challuau. 
This  Architect  must  not  be  confounded — as  has  often 
happened  —  with    Pierre    Chambiges    II.      M.    Bauchal 
says   he  must  have  been  a  grandson  or   great   nephew  of 
Pierre  I.     He  married  a  daughter  of  St.  Quentin,  one  of  the 
contractors  for  the  new  Louvre.     And  was  supposed  to  be 
the  builder  of  the  ''Petite  Galerie''  of  the  Louvre  in  1566. 
This  has  been  erroneously  ascribed  to  Pierre  I.,  who  died 
twenty  years  before  there  was  any  question  of  building  it. 


CHAPTER  V. 

SCULPTORS  OF  THE  RENAISSANCE. 

In  studjring  the  Sculptures  of  the  Renaissance  in  France,     it 
is  well  at  once  to  accept  the  fact  that  a  large  proportion    ^f 
these   works  of   art  are  anonymous.     Or,  if   they  are  ii-^^t 
absolutely  anonymous,  that   their   authorship   is   often  ©3t- 
tremely  doubtful.     It  is  necessary  to  bear  in  mind  that  tl3e 
artist  working  for  his  Art,  working  to  express  the  thoug'l^t 
wnthin   him,   and  imposing  that  thought  upon  the  public, 
was  non-existent  at   the    beginning  of    the    16th    century. 
The  artist,  as  such,  is  indeed  a  quite  modern  development. 
The  sculptor  or  the  painter  of  the  Renaissance  was  still    a 
workman.     He  regarded  himself,  and  was  regarded  by  his 
employers,   as   one  who  worked   for   wages,    and  who  was 
therefore  to  be  ready  to  turn  his  hand  to  anything  that  his 
patron  needed.     There  was  no  thought  as  yet  of  his  putting 
a  signature  to  his  work — chef-d'oeuvre  though  it  might  b^- 
Jean   Goujon's   masterpieces  are  only  known   by   his    con- 
tracts with  this  or  that  architect  or  patron.     His  absolutely 
authentic  works  are  few  and  unsigned.     Others  are  prov^^ 
to  be  his  by  conclusive  evidence.     Others  we  think  may  w^^ 
be  his  by  their  general  resemblance  to  his  work. 

But  what  is  of  real  importance,  after  all,  is  not  the  narO^ 
of  the  artist,  but  the  quality  of  the  work.  It  is,  of  courB^» 
deeply  interesting  to  know  the  name  of  the  creator  of  a  famoti^ 
work.  To  trace  the  development  of  his  style  and  pow^^' 
To  observe  the  effect  of  outside  influences  on  his  geniii^- 
Or  the  tendencies  of  the  school  in  which  he  has  been  train©<J  - 
But  this  interest  in  the  artist — this  demand,  which  is  gro*^^ 
ing  more  and  more  imperative  in  these  latter  days,  for  pex^^ 
sonal  details — is  too  apt  to  take  the  first  place.     The  wortt^ 

and    beauty  of   his   production  is  put  second.     And  man^y 

(74) 


1475-1589.  SCULPTORS  OF  THE  RENAISSANCE.  75 

people,  if  they  see  "  Artist  unknown  "  below  a  superb  work 
o(  Art,  will  pass  it  by  with  hardly  a  glance,  to  become  en- 
thusiastic over  some  quite  second-rate  production,  because 
it  is  attributed  to  some  one  whose  name  they  know. 

If  the  Diane  Chasseresse  was  one  of  these  many  anonymous 
sculptures,  would  it  be  less  beautiful — would  it  be  less  the  most 
perfect  and  exquisite  expression  of  a  great  artist's  genius  ? 
Do  we,  or  rather  should  we,  think  less  of  the  noble  statue 
of  Chabot,  because  we  are  now  almost  certain  that  it  is  not 
the  work  of  Jean  Cousin  ;  while  we  are  quite  certain  that  it 
is  not,  as  has  been  suggested,  the  work  of  Goujon,  with  whose 
niethod  it  has  no  relation  at  all  ?     Or  is  the  frieze  on  the 
tomb  of  Louis  de  Brez^  less  exquisite  because  we  cannot  be 
sure,  though  there  are  strong  probabilities  in  its  favour,  that 
It,  again,  is  from  the  hand  of  Goujon  ?     Jean  Goujon  and 
Germain  Pilon  have  become  names  to  conjure  with.     There- 
fore in  the  past,  the  most  unlikely  and  impossible  produc- 
tions  have    been    attributed   to   their  chisel ;    productions 
^hich,  thanks  to  a  more  enlightened  and  scientific  method  of 
**vt  criticism,  we  now  know  they  could  never  have  touched, 
-'^liis  intense  desire  on  the  part  of  the  public   for  a  name, 
'^    at  the  bottom  of  many  frauds.     To  satisfy  this  craze  for 
authenticity,**  thousands  of  pictures  and  statues  are  fur- 
^^shed  with  the  names  of  artists,  who  in  some  cases  were 
'^"ther  dead,  or  not  yet  born,  at  the  time  the  work  was  pro- 
"^Xaced. 

As  I  have  already  pointed  out,^  Sculpture  during  the 
'^rlier  part  of  the  Kenaissance,  save  for  tombs  and  portrait 
^Xists,  is  chiefly  ornamental.  This  is  natural,  and  easily  ex- 
plained, when  we  see  how  France  at  that  moment  became 
■covered  with  dwelling-places  of  extreme  beauty  and  luxury  ; 
-ither  new  creations,  or  old  Chateaux-forts  entirely  recon- 
^'^ructed  to  meet  the  wants  of  the  day.  These  Chateaux 
^nd  palaces — loaded  with  carvings  on  columns,  gateways, 
formers,  chimneys,  balustrades,  lines  of  pilasters  with  rich 
^^pitals,  exquisite  arcades,  cartouches  and  trophies  without ; 
^nd  elaborate  chimney-pieces,  staircases,  and  ceilings  within — 

'  Chap.  iii. 


76  A  HISTORY  OF  FRENCH  ART.  Ch.  V. 

made  enormous  demands  on  the  talent  of  the  most  accom- 
plished sculptors  of  the  day.  For  much  of  the  work  is  so 
perfect,  of  so  high  an  order,  that  it  could  only  have  come  from 
a  master's  hand.  A  hundred  instances  might  be  quoted.  I 
will  only  give  a  few. 

1.  The  little  amours  who  crest  the  dormers  and  chimneys 
of  the  Aile  Fran^'ois  I.  at  Chambord,  and  some  of  the  capi- 
tals of  pilasters. 

2.  Cartouches  and  pendants  on  the  staircase,  Azay  le 
Bideau. 

3.  Details  of  the  outside  staircase,  Blois. 

4.  Cartouches  of  Labours  of  Hercules  outside  north  wing. 
Chateau  de  Blois. 

5.  Chimney-piece,  dit  de  Jean  Goujon,  Chenonceaux. 

In  life  these  Humanists  now  desired  to  be  surrounded  by 
beautiful  details.  In  death  they  desired  their  memories  might 
be  perpetuated  by  magnificent  tombs.  These  were  often 
arranged,  and  sometimes  executed,  during  their  lifetime. 
And  with  a  proud  humihty,  not  content  with  being  repre- 
sented in  the  vigour  and  splendour  of  life,  they  were  fre- 
quently portrayed  on  the  same  tomb  in  death.  This  is  a 
singular  characteristic  of  many  of  the  finest  monuments  of 
the  period.  In  the  splendid  tombs  of  St.  Denis,  Louis  XII. 
and  Anne  de  Br&tagne,  Henri  II.  and  Catherine  de  Medicis, 
lie  as  gisants,  half  naked  in  all  the  pathetic  abandonment  and 
humiliation  of  the  death  that  is  common  to  all ;  while  above 
the  superb  canopies,  the  priants  kneel  in  regal  magnificence  of 
hfe  and  power.  A  more  extraordinary  contrast  it  is  impossible 
to  find  than  that  between  the  terrible  and  tragic  figure  of 
Louis  XII.  lying  nearly  naked  beside  Anne,  whose  head  is 
thrown  back  with  hair  flying  wild,  and  his  kneeling  statue 
above  with  hands  pressed  together,  upon  the  prie-dieu. 
For  serious  beauty  this  is  unsurpassed.  The  turn  of  the  i 
head  is  enchanting  in  its  calm  reverence  and  tenderness.  - 
This  arrangement  with  slight  variations  we  find  in  many"^ 
other  cases.  In  Germain  Pilon's  monument  of  Valentine^ 
Balbiani  (Louvre),  below  the  portrait  statue  of  the  "  grandi 
dame  "  with  high-bred  hands,  leaning  on  her  elbow,  with  h< 


147M589.  SCULPTORS  OF  THE  RENAISSANCE.  77 

little  dog  and  book  of  Hours,  a  bas-relief  shows  us  the  almost 
steJeton  old  woman  dead — horrible  and  pathetic. 

Sculpture  now,  however,  goes  a  step  further.     It  was  not 

until  the  later  period  of  the  Renaissance   movement   that 

statues   and   groups  of    sculpture   became  common.      The 

taste  was  doubtless  encouraged  by  the  influence  of  Italy, 

the   presence   at  Court  of  Primaticcio,    Benvenuto   CelUni 

and  others.     Cellini's  graphic  account  of  the  scene  in  the  long 

Gallery  at  Fontainebleau,  when  he  displays  his  Mars,  and 

Primaticcio  uncovers  his  bronze  casts  from  the  antique,  shows 

that  the  demand  for  statues  to  ornament  the  gardens  and 

courtyards  of  the  new  palaces,  had  begun  imder  Frangois  I. 

With  the  reign  of  Henri  II.  it  grows  rapidly.    The  **  Diane 

Chasseresse,"  and  that  lost  figure  of  a  nymph  that  formed 

a  pendant  to  it  at  Anet,  were  erected  soon  after  1550.     Ten 

years  later  Germain  Pilon  is  carving  wooden  figures  of  Mars, 

Minerva,  Juno,  Venus,  for  Queen  Catherine's  garden :  and 

a  year  or  two  after,  his  famous  **  Three  Graces,"  and  the 

wooden  group  of  Cardinal  Virtues.     While  under  Henri  IV., 

sculpture  has  regained  the  position  it  occupied  in  Greece 

and  Rome. 

Before  enumerating  the  known  artists  of  the  later  Re- 

i^iaissance,  it  may  be  well  to  mention  some  of  the  most  im- 

iXjrtant  anonymous  works,  or  those  of  doubtful  authenticity. 

Several  of  these  are  in  the  Salle  Michel  Colombe,  Louvre, 

^■:inong  them — 

Two  recumbent  figures  from  the  Church  of  Saint-Ger- 
^■^Ciain  TAuxerrois. 

1.  Pierre  Poncher,  Secretaire  du  roi,  d.  1521. 

2.  His  wife,  Boberte  Legendre,  1522. 

The  authorship  of  these  tombs  has  long  been  doubtful. 
"VVithin   the  last  few  months,   however,  it  has   been   dis- 
covered  that    they  are    the  work   of    Guillaume    Regnaut 
0450-1533)  and  Guillaume  Chaleveau,  both  of  the  School  of 
Touraine.     In  both  the  hands  are  remarkable  and  character- 
istic.    Roberte  Legendre's  is  a  live  and  noble  figure.     The 
folds  of  her  soft,  heavy  cloak  are  full  of  stately  repose. 

3.  Statue  of  Admiral  Chabot,  formerly  attributed  to  Jean 


78  A  HISTORY  OF  FRENCH  ART.  Ch. 

Cousin.  A  fine  cast  of  this  is  in  the  South  Kensingtx 
Museum.  Below  the  statue  is  a  lovely  despairing  little  figu 
of  Fortune,  flung  at  full  length  on  the  ground  with  a  broki 
wheel.  This  bears,  both  in  touch  and  general  treatmer 
a  strong  resemblance  to  the  work  of  Goujon.  It  is  certain 
not  by  the  same  hand  as  the  Admiral. 

4.  Statue  of  Magny,  Salle  Michel  Colombe. 

5.  Vierge  d'Ohvet,  attributed  to  Michel  Colombe,  Sa.1 

Michel  Colombe. 

6.  Virgin  and  child,  anonymous,  Salle  Michel  Colomt 

7.  Statue    of     Saint-Eloi    from    Dijon,    Salle     Mich 

Colombe. 

8.  Tomb  of  Cardinal  Bric^onnet,  Cathedral  of  Narbonn 

9.  Tomb  of  Guillaimie  du  Bellay,  Cathedral  of  Le  Mar 

10.  Tomb  of  Artus  Gouffier,  Oiron. 

11.  Tomb  of  Hugues  des  Hazards,  Blfenod-lez-Toul. 

12.  Statue  of  Marie  de  Bourbon,  Saint-Denis. 

13.  The  celebrated  tomb  of  the  two  Cardinals,  Georg" 
d'Amboise  and  his  nephew,  Cathedral  of  Rouen.     This 
said  to  be  the  work  of  Roland  Leroux,  architect,    and  tl 
sculptors  Pierre  Desobaulx,  Regnaud  Theroujm,  and  Andrfe 
Flament,  1520-25. 

14.  Tomb  of  Louis  de  Brez6,  Cathedral  of  Rouen. 

15.  French  Shepherd,  Mus^e  de  Cluny. 

SCULPTORS. 

FRANgois  Marchand  (b.  Orleans,  1500(?) ;  d.  1553(?)),- 
maltre  d'oeuvre  and  sculptor.  Francjois  Marchand  worked  fir" 
at  Chateau  Gaillon,  where  he  sculptured  nine  bas-reliefs  for  tl 
facade.  He  then  returned  to  Orleans  and  decorated  sever" 
houses,  notably  No.  22  Rue  Neuve,  and  one  facing  No.  4  R«. 
Pierre  Percee,  which  is  now  destroyed — only  the  chimney 
piece  remaining  in  the  Musee.  With  Bemardeau  he  co:» 
structed  the  Jube  in  the  Church  of  St.  Pierre,  Chartres,  J 
1540-43.  Of  this  four  bas-reliefs  are  preserved  in  the  Louvir 
And  in  1542  a  contract  shows  that  he  was  carrying  on  tir 
work  of  the  magnificent  Choir  Screen  in  the  Cathedral   < 


1475-1589.  SCULPTORS  OF  THE  RENAISSANCE.  79 

Chartres,  begun  by  Jean  de  Beauce.^  In  this  he  agrees  to 
execute  two  "  histoires  de  la  Purification  Nostre  Dame  et  des 
Innocens  '* ;  and  the  "  revestement  d'un  pilier  ".  Francois 
Marchand  also  assisted  Pierre  Bontemps  in  some  of  his  work 
on  the  bas-reliefs  and  the  recumbent  figures  of  the  Tomb  of 
Francois  I.  in  Saint-Denis. 

Jean  Goujon  (6.  about  1510;  d,  1564-8).— The  first 
mentions  of  this  great  artist's  name  are  in  the  Chapter 
accounts  of  the  Cathedral  of  Kouen  and  of  Saint-Maclou. 
In  1540  he  had  already  been  employed  to  make  "  les  portraiz  " 
or  designs  for  the  porch  and  fountain.  And  the  small  panels 
in  the  doors  of  St.  Maclou  show  his  work.  Though  injured 
by  whitewash,  which  has  been  carefully  scraped  off  by  the 
intelligent  Suisse  of  the  Church,  these  panels  are  of  great 
interest.  A  good  cast  of  the  door  is  in  the  South  Kensington 
Museum. 

It  was  about  1540-42  that  Goujon  left  Bouen  for  Paris, 
to  work  under  Pierre  Lescot  on  the  restorations  of  Saint- 
Germain  TAuxerrois.  The  bas-reliefs  of  the  Jube  were  his 
^vork.  Of  these,  a  superb  deposition,  and  the  four  evange- 
lists, are  preserved  in  the  Louvre.  The  draperies  already 
show  Goujon's  grace.  The  touch  is  firm,  strong,  and  grace- 
W.  Bullant  was  now  building  Ecouen  for  the  Constable 
Anne  de  Montmorency ;  and  Goujon  passed  two  years  in  his 
^rvice,  working  at  Ecouen,  where  he  was  associated  with 
f  alissy.  Fragments  of  work  of  this  sojourn,  collected  by  the 
excellent  Lenoir  at  the  Kevolution,  are  to  be  seen  in  the 
Ijouvre.  The  Victory,  the  Chimney-piece  of  the  Salle  des 
Gardes,  and  the  Altar  from  the  Chapel,  are  at  Chantilly.  At 
Ecouen,  Goujon  also  did  the  illustrations  to  Jean  Martin's 
**Vitruviu8  ". 

In  1544  -  46,  Lescot  was  building  a  Hotel  for  the  president 
ie  Ligneris,  now  knovs^  as  the  Hotel  Carnavalet.  Here 
Goujon,  who  seems  to  have  been  on  terms  of  intimate  friend- 
sWp  with  the  great  architect,  was  associated  with  him  again 
^  the  well-knovna  and  beautiful  ornamentation ;  and  a  tew 
years  later  began   work,   also   with  Lescot,  for   Henri  II. 

^  See  Texier. 


80  A  HISTORY  OF  FRENCH  ART.  Ch.  V. 

In  1647,  finally  Goujon  left  the  Constable's  service  for 
that  of  the  King,  and  began  his  work  for  Henri  II.  at  the 
Louvre.  Here  the  carvings  on  the  south-west  angle  of 
Lescot's  court  are  without  doubt  from  his  hand.  So  also 
are  the  figures  in  the  Salle  des  Cariatides.  Whether  the 
sculptures  of  the  Escalier  Henri  II.  are  his,  or  those  of  one 
of  his  school,  is  a  moot  point. 

In  1560  he  finished  the  exquisite  Fontaine  des  Innocents, 
for  which  Lescot  furnished  the  architecture.  Originally  it 
occupied  an  angle  formed  by  the  Kue  aux  Fers  and  the  Rue 
Saint-Denis,  and  consisted  of  three  instead  of  four  arcades. 
When  it  was  reconstructed  in  the  middle  of  the  square,  the 
fourth  side  with  arch  and  panels  were  added,  completely 
altering  the  original  conception. 

Later  in  the  year  1650  Goujon  went  to  Anet,  where  he 
carved  the  gateway  of  the  Chateau,  now  in  the  Court  of  the 
Beaux  Arts ;  and  the  smaller  gates,  removed  to  Beauvais. 
But  his  crowning  triumph  was  the  famous  statue,  raised 
high  above  the  great  fountain  in  one  of  the  garden  Courts 
— the  Diane  Chasseresse,  now  in  the  Louvre.  **The  wide 
"circle  of  the  basin  brimmed  with  sparkling  waters,  out 
"  of  which  rose  in  successive  tiers,  round  upon  round  of 
**  decoration,  ever  increasing  in  complicated  movement,  till 
**  the  final  wheel  was  crowned  by  the  graceful  figure  of 
**  Diana  and  her  dogs."  ^ 

This  is  probably  the  only  remaining  example  of  Goujon '&- 
work  in  the  round.  It  was  saved  from  destruction  by  the 
good  Lenoir.  But  not  until  the  poodle,  who  stands  behinc 
his  fair  mistress  showing  his  teeth,  had  been  broken  t^^ZD 
pieces  for  the  sake  of  the  metal  pipe  through  which  watesx 
ran  from  his  mouth.  The  group  is  too  well  known  to  ne^d 
description.  But  it  marks  a  point  of  such  importance  iri 
French  Art,  that  it  should  not  only  be  admired,  but  most  cs^f^!- 
fully  studied.  There  is  an  air  of  courtly  good-breeding  abo'U.t 
it,  which  is  typical  of  the  time  and  the  personage.  The  pro**^^ 
stag,  with  his  golden  antlers,  is  as  high-bred  as  Diane  hers^l^* 
The  chisel  is  so  free  and  lifelike  on  the  hairy  locks  of  'fcb-e 

1  Lady  Dilke. 


1- 


1475-1689.  SCULPTORS  OF  THE  RENAISSANCE.  81 

fierce  guardian  poodle.  So  firm  on  the  delicious  fur  of  the 
stag.  So  sharp  and  spirited  on  the  muscular,  hard-trained 
greyhound.  So  soft  and  caressing  on  the  exquisite  flesh  of 
Diane. 

If  his  chisel  had  neither  the  breadth  of  Greek  handling, 
nor  the  loose  and  yielding  softness  of  the  Florentine,  **  the 
**  touch    has   a   spirit   and   sharpness    of    accent    which   is 
'*  eminently  French,  swift  and  ready,  with  a  directness  in 
'*  attack  which  is  specially  serviceable  for  works  of  orna- 
"  ment."  ^     In  the  work  on  the  Louvre  it  is  easy  to  distinguish 
between  what  is  from  his  hand  and  what  is  of  his  invention. 
This  is  still  more  evident  in  the  Fontaine  des  Innocents. 
Except  in  the  Vitruvius,  Goujon  is  hardly  mentioned  by  his 
contemporaries.     A  curious  mystery  surrounds  his  life.     He 
lives  in  his  glorious  works.     Goujon  has  always  been  claimed 
as  a  Huguenot.     He  lived  much   with   Jean   Martin   and 
Bernard  Palissy.     And  various  theories  have  been  put  for- 
ward to  explain  his  sudden  disappearance  after  1562.     Some 
supposed  he  was  killed  in  one  of  the  massacres ;  others  that 
he  died  from  a  fall  off  the  scaffolding.     But  a  document 
lound  at  Modena,  and  pubhshed  by  M.  de  Montaiglon,^  has 
set  the  question  at  rest ;  for  it  proves  beyond  doubt  that  he 
escaped  to  Bologna,  where  he  died  between  1564  and  1568. 
Examples — Louvre  : — 

Carvings  of  Jub6  of  St.  Germain  TAuxerrois. 

Fragments  from  Ecouen. 

Diane  Chasseresse. 

Bust  of  Henry  II.  (?). 

Four  Nymphs,  Njmaph,  Satyr,  and  Cupids. 

Carvings  of  S.W.  Angle  of  Court  of  Louvre. 

Tribune  des  Cariatides,  Louvre. 

Escaher  Henri  II.  (?),  Louvre. 

Panels  from  Fontaine  des  Innocents,  Louvre. 

Fontaine  des  Innocents,  Marche  des  Innocents. 

Porte  de  Nazareth,  Hotel  Carnavalet. 

Lions,  Trophies,  Fame,  fa9ade  Hotel  Carnavalet. 

» Lady  Dilke. 

^  Gaz.  des  Beaux  Arts,  vol.  xxxi.,  2nd  period. 

G 


82  A  HISTORY  OF  FRENCH  ART.  Ch. 

Four  Seasons,  interior  Court,  Hotel  Cfitmavalet. 
Gateway  of  Anet,  Ecole  des  Beaux  Arts,  Court. 
Wooden  panels  from  Anet,   ificole  des  Beaux  Art 

Library. 
Smaller  gates  from  Anet,  Beauvais. 
Stone  Virgin  from  Chapel  of  Anet,  Ch.  of  Pacy-sui 

Eure. 
Fragments  incorporated  in  restored  Chateau,  Anet. 
Victory,  from  ^couen,  Chantilly. 
Chimney-piece  Salle  des  Gardes,  from  ^^couen,  Chan 

tilly. 
Altar  of  Chapel,  from  Ecouen,  Chantilly. 
Wooden  doors.  Church  of  Saint  Maclou,  Bouen. 
Marble  Venus  from  Hotel  de  la  Reine  (?),  Musee  d( 

Cluny. 
Illustrations  to  Jean  Martin's  Vitruvius. 

Germain  Pilon  (1535-1598). — Gennain  Pilon's  father  wa 
a  sculptor  of  Loue,  near  Le  Mans.  But  the  more  famou 
son  was  born,  it  is  now  ascertained,  in  Paris  in  153£ 
His  first  known  wdrk  is  the  route  or  canopy  of  the  Tom 
of  Frangois  I.,  on  which  he  worked  with  Bon  temps,  Frar 
<;ois  Marchand,  etc.,  under  the  direction  of  Philibert  d 
rOrme.  In  the  **  Compte  du  roi,**  1558,  he  is  mentioned  £ 
the  author  of  eight  allegorical  bronze  figures  in  low  relie 
"  jolies  figures  de  Fortunes'*.  These  were  melted  dowTi  i 
the  Eevolution.  And  only  the  low  reliefs  on  the  ceiling  ( 
the  canopy,  and  four  little  winged  figures  in  the  spandrel 
remain  of  his  work. 

From  1560  Pilon  was  employed  almost  exclusively  by  tl 
Court.  His  next  work  was  on  the  famous  Tour  des  Valoi 
and  the  Monument  of  Henri  H.  in  it,  designed  by  Lescot  ft 
Queen  Catherine.  On  this  he  worked  for  twenty  years.  H 
part  of  the  tomb  consists  in  the  two  kneeling  bronze  figur* 
above,  and  the  two  gisants  in  marble  beneath.  The  kneelii 
bronze  of  Henri  II.  is  as  fine  as  anything  of  the  period.  Tl 
outspread  hands  are  most  appealing.  To  Pilon  are  also  di 
the  magnificent  marble  recumbent  statues  of  Henri  II.  at 


^751689.  SCULPTORS  OF  THE  RENAISSANCE.  83 

'atherine — now  in  the  Chapel  of  St.  Eustache  at  St.  Denis. 
^hey  lie  on  bronze  mattresses,  covered  with  a  monogram  of 
t.  C.  and  Fleurs  de  Lys  entwined  in  a  beautiful  design  of 
lives.  The  extreme  magnificence  of  the  two  figures,  lying 
ath  open  eyes  in  calm  repose,  can  hardly  be  surpassed.  The 
eavy  folds  of  the  Koyal  robes  sober  the  usual  exuberance  of 
^ilon's  draperies  ;  and  leave  on  the  mind  a  sense  of  stately 
ignity  which  he  seldom  attains. 

In  1560  Pilon  also  made  carved  wooden  figures  of  Mars, 
'linerva,  Juno,  Venus,  for  Queen  Catherine's  garden. 

Two  years  later  he  produced  the  famous  group  of  Cathe- 
ine  and  two  of  her  ladies,  as  the  Three  Graces,  to  bear  the 
>ronze  vase  containing  Henri  II.  *s  heart.  This  group  of 
*  des  Graces  decentes  "  was  placed  in  the  Chapel  of  the  dues 
i'Orleans  in  the  Church  of  the  Celestins,  Paris.  It  stood 
beside  the  statue  of  Chabot,  and  the  Italian  tomb  of  Louis 
d'Orleans  (now  at  St.  Denis).  The  Three  Graces  show  that 
the  decadence  has  begun.  They  are  of  the  earth  earthy. 
The  whole  thing,  though  charming,  partakes  of  the  pretty, 
rather  than  of  the  great.  The  draperies  are  too  tortured, 
and  lack  beauty  of  line.  The  other  group  of  four  figures  in 
oak  (Louvre)  for  the  Chasse  de  Sainte-Genevieve,  which 
Rion  produced  about  this  time,  are  to  my  mind  superior. 
They  are  very  beautiful,  though  also  extremely  earthly ;  and 
more  free  than  his  work  in  marble. 

With  the  reign  of  Henri  III.  Pilon  gained  a  new  and 
powerful  patron  in  the  Chancellor  Een6  de  Birague.  He 
entrusted  him  with  the  erection  of  a  magnificent  monument 
in  Sainte-Catherine  du  Val  des  EcoUers  (Louvre),  to  his  wife 
Valentine  Balbiani,  whose  opportune  death  enabled  the  Chan- 
cellor to  take  orders  and  become  a  Cardinal.  Twelve  years 
later,  Pilon  erected  the  Cardinal's  own  tomb.  This  is  also 
in  the  Louvre — a  kneeling  figure  in  bronze.  The  lines  are 
superb ;  and  although,  as  it  is  Pilon's  work,  the  drapery  is 
exuberant,  the  folds  exaggerated,  it  is  here  in  keeping  with 
the  character.  The  Cardinal's  robes  were  originally  painjted 
^,  as  may  be  still  seen  by  careful  examination.  But  we 
owe  the  preservation  of   this   magnificent  work  of  art  to 


84  A  HISTORY  OF  FRENCH  ART.  Ch.  V 

Lenoir,  who  saved  it  from  destruction  in  '93  by  daubing  i 
with  whitewash  and  assuring  the  destroyers  that  it  wa, 
plaster  and  not  bronze. 

In  this  year  (1586)  the  Queen-Mother  ordered  a  statue  a 
the  Virgin  for  one  of  the  altars  in  the  Chapelle  des  Valois 
and  for  this  purpose  appropriated  a  block  of  marble  at  Si 
l^enis — writing  to  the  Grand  Prior  by  Pilon  to  give  it  uf 
On  the  back  of  the  letter  we  find  in  Pilon's  writing  :  **  Cejon 
**  d'hui  III.  jour  d'avril  1586  moy  Germain  Pilon  confess. 
**  avoir  pris  .  .  .  pour  faire  le  dit  ouvrage*'.  This  statue 
known  as  the  Vierge  de  Pitie,  is  now  in  the  Church  St.  Pau 
et  St.  Louis,  Rue  St.  Antoine.  The  maqiiMe  for  it  in  painta 
terra  cotta  is  in  the  Louvre.  Though  the  hands  and  th 
face  are  really  exquisite,  the  drapery  is  quite  distracting  in  it 
broken  and  tonnented  lines,  and  extreme  fulness. 

The  contrast  between  Goujon's  and  Pilon's  treatment  c 
drapery  is  most  marked.  In  the  Cheminee  du  Chateau  d 
Villeroy  (Louvre),  the  two  lively  nymphs  on  either  side,  i 
spite  of  abundant  drapery,  are  more  undressed  than  Goujon 
nude.  Goujon 's  draperies  are  always  full  of  grace.  Pilon 
nearly  always  wanting  in  dignity.  While  Goujon's  instinci 
were  truly  Greek,  Pilon  shows  a  w^ant  of  simphcity,  and 
strong  sympathy  with  the  artificial  aspects  of  hfe.  Whi 
he  saw,  he  mastered  and  reproduced  with  consummate  skil 
His  work  possesses  great  charm.  But  it  coincides  with  tl 
tone  and  taste  of  the  Court  of  Catherine  de  Medicis.  An« 
as  Lady  Dilke  points  out,  from  her  favourite  sculptor 
would  be  impossible  to  expect  an  expression  of  the  lofti* 
virtues. 

Pilon^s  portraits,  however,  are  of  extreme  value.  Tl 
bust  of  Henri  III.  (Louvre)  is  a  most  painful  and  remarkab 
human  document  —  the  close-shaved,  conical  head,  feeb 
mouth  and  retreating  chin.  So  is  the  bust  of  Charles  D^ 
with  its  weak,  cruel  boy's  face. 
Examples  : — 

The  Three  Graces  (cast  S.  K.  Mus.),  Louvre. 

The  Cardinal  Virtues  (oak),  Louvre. 

Cheminee  de  Villeroy  (cast  S.  K.  Mus.),  Louvre. 


1475-1589.  SCULPTORS  OF  THE  RENAISSANCE.  85 

Valentine  Balbiani,  Louvre. 

Cardinal  de  Birague,  Louvre. 

Vierge  de  Pitie  (terre  cuite),  Louvre. 

Bas-reliefs  from  Chaire  des  Grands  Augustins,  Louvre. 

La  Force  et  la  Foi  (bas-reliefs),  Lou\Te. 

Buste  d'enfant,  dit  Henri  IV.,  Louvre. 

Maquette  of  figure  of  Henri  H.,  St.  Denis,  Louvre. 

Christ  from  Altar  of  Chap,  des  Valois ;  and  Vierge  de 
Pitie,  Ch.  St.  Paul  et  St.  Louis. 

Statues  of  Henri  II.  and  Catherine  de  Medicis,  Chapelle 
de  St.  Eustache,  St.  Denis. 

Bronze  kneeling  figures  and  marble  (jisants.  Tomb  of 
Henri  II.  and  Catherine,  St.  Denis. 

Etc.,  etc. 
Pierre  Bontemps. — Nothing  certain  is  known  of  the 
history  of  this  great  artist,  save  that  he  was  living  and  at  the 
height  of  his  fame  in  1556.  His  name  appears  in  the 
accounts  for  the  Tomb  of  Francois  I.  at  St.  Denis,  and 
the  Funeral  urn  containing  the  King's  heart.  "  This  is 
"all;  it  is  suflScient,  however,  to  secure  immortality  for  his 
'•name.'i 

In  the  tomb  it  is  certain  that  he  had  the  general  direction 
of  the  Sculpture — the  whole  monument  being  designed  by 
Philibert  de  TOrme.^  The  recumbent  figures,  and  the  five 
kneeUng  ones  on  the  canopy  above,  are  pretty  certainly 
his  work,  helped  at  the  outset  by  Fran(,'ois  Marchand, 
who  probably  sculptured  some  of  them  from  Bontemps 
Queues,  Bontemps  is  further  the  undoubted  author  of 
the  forty-two  superb  bas-reliefs  of  the  stylobate.  These 
J^epresent  the  campaigns  of  Francois  I.  On  the  west  side 
the  battle  of  C^risolles  occupies  the  chief  panel,  and  is  of 
astounding  force  and  beauty.  The  figure  of  the  King, 
riding  alone,  is  most  noble.  And  a  remarkable  artistic 
effect  is  obtained  by  a  cannon  drawn  by  two  horses 
on  rising  ground,  standing  out  against  the  sky.  On  the 
^ast  side  the  campaign  ending  wth  the  battle  of  Marignan 
and  the  triumphal   entry  into   Milan,  is  portraj-ed.      The 

'  Louis  Gonse.  -  Chap,  iv.,  p.  G3. 


86  A  HISTORY  OF  FRENCH  ART.  Ch. 

forest  of  spears  above  the  cannons  of  the  Swiss  should  1  — >h 
specially  noted.     They  are  used  with  admirable  effect,  r- 
minding  one  of  the  lances  in  the  Burne-Jones  windows 
St.  James  Church,  Birmingham. 

The  Urn  containing  the  heart  of  Francjois  I.  is  whol       ly 

from  the  hand  of  Bontemps.     It  is  a  work  of  art  of  the  highe st 

order.  A  phnth,  sculptured  with  funereal  emblems,  skulls  ai-  _  id 
bones,  runs  round  the  base  of  the  pedestal.  Higher,  on  eac  rh 
of  the  four  faces,  supported  by  female  heads  crowned  wi= — th 
laurel,  is  a  round  medallion  in  low  relief.  The  subjects  ar— re 
Astronomy,  Music,  Song,  Poetry — this  last  being  of  espec^H*al 
beauty.  Four  tablets  beneath  the  cornice  bear  Latin  i  n- 
scriptions  in  verse  and  prose.  The  Urn  above,  carved  fro  ^i^ 
a  single  block  of  marble,  and  of  considerable  width  and  sizm^e, 
is  supported  on  four  lions'  feet.  The  arms  of  France,  sal^Ma- 
manders  in  flames,  crowned  initials,  lions'  heads,  masks  ai^^^d 
draperies,  cover  its  surface,  round  four  exquisite  bas-reh^^3fs 

worked  with  almost  the  delicacy  of  a  cameo.    These  represe^ nt 

Sculpture,  Drawing,  Architecture  and  Geometry — a  charmi^^Kg 
and  ingenious  compliment,  intended  to  unite  the  Arts  a^^od 
Sciences  round  the  heart  of  the  King  who  gloried  in  givir^g 
them  encouragement.     On  the  cover  of  the  Urn  two  delicic^  ~«s 
little  genii  with  reversed  torches  lean  against  classic  masks-  - 

Lenoir,  to  whom  we  owe  so  much,  saved  this  precio'us 
work  of  art — the  Urn  and  its  pedestal — from  the  hands  of 
the  Revolutionists  in  1793,  by  giving  a  load  of  wood  in 
exchange  for  it. 

LiGiER  Richer  (1500-6;  1567).— Before  leaving  the 
sculptors  of  the  Renaissance,  mention  must  be  made  of 
Ligier  Richer,  a  provincial  master,  the  chief  of  the  school  ^^ 
Lorraine.  For  his  works  exhibit  an  interesting  example  <^^ 
indigenous  art,  untouched  in  great  measure  by  the  schawls 
of  Tours  and  Paris.  He  was  the  most  illustrious  of  a  familJ 
of  sculptors.  His  father,  his  son,  his  two  brothers  SLn^^ 
several  of  their  descendants,  were  all  sculptors.  And  ma^i^^ 
of  their  works  have  been  attributed  to  Ligier. 

Ligier  Richer's  works  are  hke  an  echo  of  the  successi"^^ 
influences  which  had  reigned  in  the  north  ot  Europe.     li^^ 


^475-1589.  SCULPTORS  OF  THE  RENAISSANCE.  87 


f      orst  tendencies  belong  to  the  Middle  Ages.     His  last  style  to 
I       ^be  Eenaissance. 

f  His  first  work  is  the  retable  or  **  Calvary  "  of  Hatton- 

Chatel,  near  Saint-Mihiel.     It  is  something  in  the  style  of 

^he  St.  Sepulcre  of  Solesmes — the  naturalistic  spirit  of  the 

^liddle  Ages,  in  an  Italian  setting.     The  three  compartments 

are  divided  and  bordered  vnth  delicate  arabesques  on  pilasters 

and  friezes.     In  his  Pieta  of  Clermont  en  Argonne,  dramatic 

Sentiment  is  dominant.     Later  on  this  increases,  as  in  the 

effigy  of  PhiUppe  de  Gueldre.     And  his  funeral  statue  of 

Itene  de  Chalons,  known  as  "  La  Mort,"  is  repulsive  in  its 

extreme  reahsm.     What  mars  his  otherwise  very  remarkable 

talent  is  an  absence  of  simplicity  and  refinement. 

The  **  Enfant  a  la  Creche  "  of  the  Louvre — an  exquisite 
baby,  plump  and  seriously  content,  is  thought  by  M.  Cour- 
nault  to  be  by  one  of  his  descendants.  So  he  thinks,  is  a 
small  and  finely  carved  bas-relief  in  the  Louvre  of  the 
Jxigement  de  Suzanne.  In  any  case  the  proportions  are 
Bgdmirable,  and  the  two  babies  and  their  dogs  below  the 
judgment  seat  are  deUghtful.  Numbers  of  authentic  works 
by  Ligier  Richer  are  to  be  found  round  his  home. 

Like  many  other  esprits  litres  at  that  time,  he  became  a 
l?rotestant,  and  escaped  for  safety  to  Geneva,  where  he  died 
in  1567. 

Examples  : — 

Retable,  Hatton-Chatel,  prfes  St.  Mihiel. 
Fainting  of  the  Virgin,  Ch.  of  St.  Michel,  St.  Mihiel. 
Mise  au  tombeau,  Ch.  St.  fitienne,  St.  Mihiel. 
Pieta,  or  **  Bon  Dieu  de  la  Pitie,'*  Ch.  of  l^tain. 
Pieta,  terre  cuite,  Clermont  en  Argonne. 
Sainte  Madeleine,  fragment,  Chapel  Ste.  Anne,  Cler- 
mont en  Argonne. 
Effigy  of  Duchesse  Philippe  de  Gueldre,  Nancy. 
Funeral  Statue  of  Ren6  de  Chalons,  called  **  La  Mort,'' 

Ch.  of  St.  Pierre,  Bar  le  Due. 
Enfant  a  la  Creche,  Louvre. 
Jugement  de  Suzanne,  Louvre. 
t 


CHAPTER   VI. 

PAINTERS  OF  THE  RENAISSANCE. 

The  art  of  portraiture  is  a  comparatively  modem  one  in 
F'rance.  Its  birth  was  in  the  early  14th  century,  with 
the  first  authentic  portrait  statues  of  the  Kings  of  France. 
This  growing  preoccupation  with  the  portrait  was  con- 
fined for  more  than  a  centur\'  to  sculpture.  For  France, 
though  far  in  advance  of  Italy  in  sculpture  at  the  end  of  the 
18th  and  beginning  of  the  14th  centuries,  remained  well  be- 
hind Italian,  Flemish,  and  German  artists  in  painting.  It  is 
only  with  the  first  dawning  of  the  Renaissance,  with  the 
growth  of  interest  in  humanity,  with  the  influence  of 
Flemish  and  Italian  Art,  that  we  find  painted  portraits  be- 
coming at  all  general  in  France.  At  first  these  are  miniatures. 
The  eariiest  kno\\'n  French  portrait  is  that  of  Le  roi  Jean 
(1350-1864),  a  miniature  painted  on  a  figured  (gaufre)  gold 
background.  A  picture,  now  in  the  Sainte-Chapelle,  repre- 
sents King  Jean  and  the  Pope  seated,  and  receiving  a 
diptych,  also  on  gold,  from  the  hands  of  a  valet  de  chambre. 
Portraits  are  about  this  period  introduced  into  Manuscripts. 
In  the  celebrated  Book  of  Hours  of  the  Due  de  Berry,  son  of 
King  Jean  (Bib.  Nat.  MS.  Latin),  his  portrait  is  constantly 
introduced.  The  BibUotheque  National  possesses  a  remark- 
able water-colour  portrait  of  Louis  II.  of  Anjou,  King  of 
Sicily.  This  is  of  about  the  year  1415.  And  M.  Bouchot 
considers  it  of  the  highest  value  in  the  art  of  portraiture  in 
France. 

It  is  not,  however,  until  the  middle  of  the  15th  century,  that 
this  art  bursts  into  sudden  life  under  the  influence  of  that 
great  master,  Jean  Fouquet,  whose  journey  to  Italy  in  1440 
was  the  touchstone  of  the  French  Renaissance.     To  Jean 

Fouquet  we  must  always  look  as  the  first  purely  French  . 

(88) 


^^15.1689.  PAINTERS  OF  THE  RENAISSANCE.  89 

portrait  painter.     For,   however  great   his   admiration   for 
-^^alian  Art — however  strong  his  endeavour  to  conform  to 
^he  new  ideals  he  brought  back  with  him  from  Italy,  in  his 
portraits    he    remains   essentially   himself,   and    essentially 
French.     But  Fouquet  was  more  than  a  portrait  painter. 
-fo  his  miniature  work,  he  gives  an  extraordinary  impulse 
^o  the  art  of  painting.     In  that  miraculous  "  Josephus  "  of 
^ixe  Due  de  Berry  (Bib.  Nat.),  we  find  artistic  work  of  the 
-highest  order.     Both  colour,  composition,  and  drawing  are 
o£  the  most  impressive  as  well  as  exquisite  quality,  in  some 
t  these  wonderful  pages,  where  hundreds  of  figures  and  wide 
"tretching  landscapes  are  portrayed  in  the  space  of  a  few  inches. 
Under   Fouquet's   inspiration,   two    other   artists,   Jean 
ourdichon  and  Jean  Perr^al,  now  give  themselves  to  the 
ainting  of  miniatures  and  portraits.     King  Eene  of  Anjou 
l>aints  sacred  pictures  and  illuminates  his  famous  Book  of 
I3onrs.     While  a  host  of  nameless  painters  devote  them- 
«^elves  to  the  illuminating  of  the  manuscripts  which,  to  a 
KT^eat  extent,  represent  French  painting  at  the  end  of  the 
1  5th  century.    The  British  Museum  possesses  a  very  fine  col- 
lection of  French  MSS.  of  this  period — notably  the  numbers 
43,  44,  49,  50,  53,  54,  58,  60,  94,  95,  99,  ioi,  105,  106. 
In  several  of  these,  miniature  portraits  are  introduced ;  as 
^^  the  translation  of  Saint  Augustine  by  Kaoul  de  Praelles, 
^'here  the  translator  is  seen  presenting  the  book  to  King 
Charles  V.  of  France.— (B.  M.,  101). 

At  the  beginning  of  the  16th  century,  portraits  become  of 
diplomatic  importance.  They  are  used  as  authentic  docu- 
ments. Kings  and  princes  send  their  portraits  to  the  Court 
■^f  the  lady  they  \\dsh  to  marry ;  or  receive  hers,  painted  by 
^heir  ovm  portrait  painter,  sent  on  embassy  for  that  purpose. 
^  early  as  1445  this  had  been  the  usage  in  other  countries  ; 
^s,  for  instance,  in  the  famous  journey  of  Jean  Van  Eyck 
from  Flanders  to  Spain,  to  paint  the  portrait  of  Isabella  of 
I^ortugal,  for  Jean  le  Bon,  Duke  of  Burgundy. 

Each  king  and  great  noble  now  has  his  official  painter  or 
painters  attached  to  his  court  and  person.  The  painter, 
^s   the  sculptor,  was  a  paid  servant,  who  was  expected  to 


1)0  A  HISTORY  OF  FRENCH  ART.  Ch.  VI. 

turn  his  hand  to  anything.  Portrait  drawings,  such  as- 
those  of  the  Clouets  and  their  school,  were  produced  in- 
immense  quantities.  These  drawings  were  kept  in  books^ 
like  photographs  to-day ;  or  a  whole  book  of  portraits  wass 
given  as  a  present.  The  painter  was  in  fact  a  sort  ofl 
Photogi'apher  in  Ordinary.  He  continually  received  order& 
for  portraits  to  be  finished  as  quickly  as  possible ;  as  whenr 
Catherine  do  Medicis  wTites :  **  Que  ce  soit  un  crayon  pouia 
**  estre  plus  tot  fait  ".  Oil  paintings  by  the  Renaissance 
painters  were  few.  They  had  little  time  for  so  lengthy  ^ 
2)rocess.  These  rapid  pencil  or  chalk  sketches  from  the  life 
were  only  occasionally  used  later  on  for  a  miniature  or  e 
picture.  Once,  however,  having  made  the  sketch  from  the: 
life,  the  artist  was  ready  to  produce  any  number  of  repetitions 
and  often  entrusted  them  to  his  pupils  or  apprentices.  It  is 
thus  that  we  find  so  many  variants  of  the  same  subject. 

At  the  accession  of  Franc^ois  I.,  Perreal  and  Bourdichom 
are  **peintres  du  roi  et  varlets  de  chambre,"  with  Guyot  ancK 
Jamet  Clouet  (1516)  as  their  subordinates. 

This  is  the  first  authentic  mention  of  Clouet,  the  father^ 
and  the  great  line  of  portrait  painters  has  begun  in  France. 

Jean  Fouquet  (1415  circa  1480). — **  Digne  predecesseun 

**  de  Leonard  da  Vinci,  d'Holbein,  et  de  Raphael,  Fouquet 

**  prend  un  vol  si  eleve  qu'on  doit  lui  placer  parmi  ces  grands 

**  maltres  et  le  nommer  desormais  avec  eux."  ^   M.  de  Laborde 

considers  that  Fouquet  occupies  in  the  history  of  the  French 

School,  an  identical  position  with  that  held  by  Mantegna  in 

Italv. 

In  1440,  when  Fouquet  was  not  thirty  years  old,  he  wae 

sunnnoned  to  Rome  to  paint  the  portrait  of  Pope  Eugene 

IV.     This  shows  that  the  reputation  of  the  young  master 

who  was  alreadv  chief  of  the  school  of  Tours,  was  known 

beyond  the  confines  of  France.     His  sojourn  in  Italy,  whicb 

was  prolonged  till  1445,  was  destined  to  exercise  an  enormou— 

influence  on  French  Art ;  and  must  be  looked  upon  as  th^ 

real  starting-point  of  the  Renaissance. 

'  Aug.  de  Bastard. 


^•^75-1589.  PAINTERS  OF  THE  RENAISSANCE.  91 

Miniaturist  to  Charles  VII.,  Louis  XI.,  Charles  VIII., 

ho  was  the  first  to  give  to  France  the  well-defined  style  of 

portrait,  which  obtained  till  the  middle  of  the  16th  century. 

J^he  greater  part  of  his  works  which  survive,  are  minia- 

ti\:ires  and  illuminations  in  MSS.      A  few  larger  paintings, 

liowever,  have  been  preserved.    The  Louvre  happily  possesses 

ti%;^'0 — each  of  extreme  importance  and  interest.     The  first  is 

title  portrait  of  Charles  VII.,  in  a  blue  hat  and  deep  red  dress 

l^ordered  with  fur,  between  two  little  white  curtains  against 

green  background.     The  King's  shaven  red  face  with  long 

xirple  nose,  is  naifsmd  frankly  ugly.    But  the  hfe  and  character 

<:>!  the  picture  as  a  portrait  are  intense,  and  the  colour  fine. 

'JJhe  second  is   Guillaume  Juvenal  des  Ursins,  Chancellor 

<.>i  France  under  Charles  VII.  and  Louis  XI.,  in  a  dull  red, 

f  xir-bordered  robe,  against  a  golden  background.    This  is  also  a 

ijQost  powerful  and  lifelike  portrait.     The  delicate  painting  of 

t-he  hands  is  admirable.     And  the  suggestion  of  the  coming 

lienaissance  is  interesting  in  the  straight  lines  of  the  back- 

^^pround,  divided  into  compartments,  with  bears  supporting  a 

shield.     There  are  a  few  other  portraits  existent.     But  the 

^niniatures  are  fortunately  more  numerous. 

Chief  among  these  is  the  Josephus  of  the  Bibliotheque 
National. 

In  the   first  illustration,   a   full  page  of  the   Creation, 

^he  ItaUan  taste  that  Fouquet  had  acquired  is  suggested  by 

^he  two   hairy-men   and   the   two   opulent  mermaids,  who 

^^pport  the  Due  de  Berry's  coat  of  arms.    On  the  other  hand, 

there  are  two  women's  figures  in  the  border  which  are  purely 

French.     The  colour  of  these  full  page  illustrations  is  most 

beautiful.    Especially  so  perhaps  in  the  fourth  picture,  in  which 

Korah,  Dathan  and  Abiram  are  being  swallowed  up.     The 

Soft  dull  greys,  browns  and  blues,  are  most  hannonious.     So 

^8  the  delicate  tender  green  of  the  meadow  where  the  earth 

opens,  on  the  top  of  a  rock  wall  round  which  a  furious  fight 

^8  going  on  between  men  in  armour,  with  spears,  swords,  and 

shields — the  chain  armour  picked  out  with  fine  gold.     An 

exquisite  landscape  with  wooded  hills  stretches  far  away — 

o^yond  the  Roman  Temple  where  Moses  and  Aaron  stand. 


92  A  HISTORY  OF  FRENCH  ART.  Ch. 

And  the  fire  falls  from  heaven  in  long  fierj'  tongues  and  lini 
like  the  lash  of  a  stock  whip.  Fouquet's  favourite  Oran 
Vermilion,  which  is  found  in  nearly  all  his  work,  ob 
appears  in  the  frame  of  flaming  seraphim  round  the  gold 
figure  representing  God  the  Father  above ;  and  in  one  swo 
sheath  in  the  foreground — a  most  teUing  and  subtle  touc 
TIk;  French  landscapes  and  buildings,  which  appear  wi 
charming  na'fvet*'  throughout  the  series,  are  of  a  very  8 
vanc(.'d  type.  The  illustrations,  of  which  there  are  fourtee 
are  not  mere  illuminations,  l)ut  complete  pictures — r< 
works  of  art  on  a  tiny  scale. 

A  good  many  important  MSS.  have  been  attribul 
ratlu^'  wildly  to  Fouquet.  Among  them  the  Li\'}''  at  t 
liib.  Nat.,  and  the  superb  Bible  at  Corpus  Coll.,  Oxfo 
Tluise  arc?  most  certainly  not  his,  though  it  is  possible  tt 
may  Ikj  l)y  his  sons  or  pupils.  As  is  probably  the  case  w 
the  ValcTius  Maximus  (lirit.  Mus.,  95)  and  the  Froiss 
(Hrit.  Mus.,  54). 

Examples  :  Miniatures  and  Illuminations  : — 

1.  40  Miniatures  from  the  Book  of  Hours  painted 

ittienne  Chevalier,  Coll.  of  M.,  Brentano-Larocl 
Frankfort. 

2.  13()ccaci()  of  Etienne  Chevalier,  Munich. 

H.  Josej)hus  of  Due  de  Berry,  Bib.  Nat.,  Paris. 

4.  Josephus  with  Painting  of  Louis  XI.  as  a  mas< 

Tours. 

5.  Virgil,  Library,  Dijon. 
().  I^occacio,  Geneva. 

7.  One  jmge  of  Roman  de  la  Eose,  with  man  sleepii 

Bib.  Nat.,  Paris. 

8.  Book  of  Hours,  Chantillv. 
l^aintings  : — 

1.  Full  length  of  Etienne  Chevalier,  Coll.  Brenta: 

Laroche,  Frankfort. 

2.  Virgin  and  Child,  Musee,  Antwerp. 

These  are  both  part  of  an  Ex-voto  for  N.  D. 
Melun. 
*\.  Small  portrait.  Coll.  Prince  Lichtenstein. 


(I 


4( 


Ul5.i5Qg  PAINTERS  OF  THE  RENAISSANCE.  9^ 

4.  Charles  VII.,  Louvre. 

5.  Guillauine  Juvenal  des  Ursins,  Louvre. 

Jean  Perreal,  or  Jean  de  Paris  {d.  circa  1528). — Of  Jean 
Perreal  very  little  is  positively  known.  He  is  one  of  those 
disconcerting  artists,  of  whose  work  little  or  nothing  survives 
to  sustain  the  reputation  he  undoubtedly  enjoyed  during  his 
lifetime.  For  his  reputation  among  his  contemporaries  was 
a  brilliant  one.  Lemaire,  in  his  Legejide  des  V(^nitiem,  speaks 
of  him  as  **  Mon  singuUer  patron  et  bienfaiteur,  nostre 
second  Zeusis  ou  Apelles  en  painture,  Maistre  Jeha  Perreal 
de  Paris,  paTctre  et  varlet  de  chabre  ordinaire  du  roy  *\ 
He  accompanied  Louis  XII.  in  his  Italian  campaigns. 
In  1508  his  horse  is  mentioned  in  accounts  of  the  Royal 
stables.  When  Michel  Colombe  designed  the  tomb  of  Phili- 
bert  de  Savoie  in  1511,  he  was  ordered  to  follow  the  portrait  by 
**  Maistre  Jehan  Perreal  de  I^aris  **.  In  1514  he  was  sent  to 
England  to  superintend  Mary  Tudor's  trousseau  for  her  mar- 
riage with  Louis  XII. — the  marriage  which  the  King's  death 
cut  short.  And  after  the  accession  of  Francois  I.  we  find 
that  Perreal  and  Bourdichon  were  receiving  the  highest  rate 
of  wages  for  painters  in  ordinary — 240  livres. 

The  only  authenticated  example  of  PerreaFs  work  is  the 
little  oil  painting,  a  Virgin  and  child  with  Charles  VIII.  and 
A.nne  of  Brittany,  from  the  collection  of  M.  Baucel,  and 
S^nerously  presented  by  him  to  the  Louvre,  where  it  is  now 
placed  in  the  Salon  Carre.  This  is  a  most  interesting  picture, 
l^^or  although  it  appears  at  first  sight  to  be  in  the  style  of  Van 
Eyck — with  the  Virgin  in  pink  and  crimson  robes  against  a 
green  background,  the  green  carpet,  the  glass  and  metal  jug 
of  wild  flowers,  the  figures  of  Charles  VIII.  and  Anne  of 
Krittany  on  either  side — yet  it  shows  singular  diflferences  from 
the  Flemish  School.  The  figures  are  a  purely  French  not 
Flemish  type.  The  child  is  finely  made,  graceful,  slender, 
^-nd  full  of  movement.  The  tone  is  fine ;  less  hard  than 
Van  Eyck,  less  archaic  than  Memling. 

Jean  Clouet,  dit  Jehannet  {d,  1539). — The  earliest 
iiiention  of  Jean  Clouet  is  in  1516.  His  name  appears  as 
"  Javiet  Clomty'  one  of  the  **  Valets  de  garde-robe  "  to  Francois 


94  A  HISTORY  OF  FRENCH  ART.  Ch 

I.     Each  year,  until  1522,  he  is  mentioned  in  the  same 
In  that  year  his  naone  is  changed  to  Jehannet  Clouet. 
so,  down  to  1539  he  appears  as  Jean^  Jainet,  Jehan,  or  Jehm 

He  was  apparently  a  native  of  Flanders.  He  certa 
was  not  a  Frenchman  born.  For  after  his  death  the  I 
presents  to  his  son,  Fran9ois  Clouet,  all  the  estate  of 
deceased,  which  had  reverted  to  the  Crown  **par  c 
d'aubaine,''  as  he  had  not  received  letters  of  naturalizat 
and  was  therefore  unable  to  dispose  of  his  property  by  wi 

Jamet,  Jehan,  or  Jehannet — those  noms  de  guerre  wl 
were   the   almost  universal   fashion   of    the   day — was 
favourite  portrait  painter  of  the  King;  and  made  hiii 
useful  as  his  patron  required — one  day  painting  or  drav 
portraits   of   the  King's  mistresses — the  next  decoratin 
piece  of  furniture  or  a  coat  of  arms.     His  fame  was  gi 
from   the  extraordinary  truth  of   his   likenesses.     And 
royal  accounts  show  him  continuously  employed  on  porti 
for  his  Royal  master.     Jean  Clouet  settled  at  Tours,  wl 
he  married  Jeanne  Boucault,  daughter  of  a  goldsmith.     . 
in  the  Coviptes  des  bdtiments  we  often  find  the  King  senc 
a  messenger  hot  haste  to  the  city  to  bring  him  back 
portraits  executed  by  his  painter.     Indeed  on  one  occaj 
Jeanne  Boucault  is  pressed  into  the  service,  and  has  to  m 
a  journey  with  the  portraits  which  are  needed. 

In  spite  of  the  nmnerous  mentions  of  Jehannet  in  c 
temporary  documents,  in  only  a  single  case  is  his  authors 
attached  to  one  of  the  scores  of  miniatures  and  portr 
that  bear  his  name.  This  is  the  portrait  of  Oronce  F 
engraved  by  Thevet  in  his  gallery  of  Ilommes  Illuatres,  1 
portrait,  Oronce  Fine's  son  distinctly  states  to  be  from 
hand  of  Jean  Clouet. 

M.  Bouchot,  however,  has  made  a  most  valuable  c 
tribution  to  our  knowledge  of  the  portraits  that  we  n 
attribute  with  some  security  to  Jehannet.  After  an 
haustive  study  of  the  300  **  Castle  Howard "  drawings 
the  Clouets,  bought  in  1889  from  Lord  Carlisle  by  the  I 
d'Aumale,  M.  Bouchot  points  out  that  these  are  a  consecut 
series  of  portraits  from  1515  to  1570.     They  are  drawn  fr 


^15-1589.  PAINTERS  OF  THE  RENAISSANCE.  95 

the  life  by  two  (or  at  most  three)  artists  of  the  first  rank. 
Two  hands  are  noticeable — two  different  methods.     One  of 
^b.ese  represents  the  personages  hving  from  1515  to  1540. 
Tie  other  those  living  from  1540  to  1570. 

The   first  of  these   artists   is   an  unrivalled  draftsman. 

*  *    He  has  the  fastidious  search  for  likeness,  the  breadth  of 

**  drawing,  the  rigidity  and  strength  of  Holbein.''^  M.  Bouchot 

Ixas  identified  several  persons  among  these  drawings  ;  notably 

t:lne  "  Connetable "  Anne   de  Montmorency  at   twenty-two 

:>^ears  old ;  Bonnivet,  admiral  of  France ;  Tournon,  killed  at 

avia ;  Chabannes  de  la  Palice  ;  Fleuranage  ;  Arthur  Gouffier. 

'hese  drawings — a  third  of  the  size  of  nature — are  to  be 

"found  translated  without  the  very  slightest  change  except  of 

^ize,  into  miniatures  in  the  manuscript  of  La  Guerre  GaUique, 

laow  in  the  Bib.  Nat.     This  MS.  was  decorated  with  grisailles 

for  Francois  I.  by  Godefroy  de  Hollande.     But  the  King 

liad  miniature  portraits  of  his  **preux  de  Marignan  "  painted 

in  by  another  artist,  under  the  names  of  Roman  Warriors. 

A.nd  some  contemporary  has  been  painstaking  enough  to  put 

t:.lie  real  names  to  the  various  characters.     If  these  drawings 

^.nd   the    corresponding    miniatures    are    not    by    Jehannet 

'Cllouet,  there  must   have   been   a  second  artist — his  exact 

c:^  on  temporary — who  was  also  one  of  the  greatest  of  French 

I>ortraitists. 

Francois  Clouet,  dit  Janet. — The  son  of  Jean  Clouet 

"^•nd  Jeanne  Boucault,  was  born  in  Tours  probably  about 

1512.     For  in  1541,  the  letters  of  Fran9ois  I.,  making  a 

^Kii  to  him  of  his  father's  possessions,  are  a  regular  certificate 

of  his  abihty.     While  he  acknowledges  the  great  talent  of 

^lie  father,  the  King  adds  :  **  En  quoi  sondict  fils  Ta  deja  tres 

^  *  bien  imyte  et  esperons  qu'il  fera  et  continuera  encores  de 

bien  en  mieux  cy  apres  '\ 

Immediately  after  his  father's  death  he  entered  the  Eoyal 

service,  receiving  240  livres  a  year.     Until  1540  he  was  the 

only  painter  in   ordinary ;    when   Leonard   Limousin,   the 

I  ^nameller,  was  joined  to  his  service  with  120  livres  of  wages. 

k        In  1547  Clouet  was  charged  to  take  a  cast  of  the  King's  face 

M  1  Bouchot.     Les  Clouet. 

V 


96  A  HISTORY  OF  FRENCH  ART.  Ch.  VI. 

and  hands  after  his  death,  for  the  painted  and  dressed  effigy 
at  the  funeral.  He  also  executed  the  paintings  in  the  decora- 
tion of  the  Church,  banners,  etc.,  for  the  ceremony. 

On  the  accession  of  Henri  II.  he  held  the  same  offices  he 
had  enjoyed  vmder  the  late  King,  with  an  assistant,  Boutelou 
de  Blois.  And  on  Feb.  10,  1547  (*48  new  style),  we  know 
from  a  receipt  that  he  was  receiving  300  francs  a  quarter. 
In  1551  he  was  made  coimnissaire  au  Chdtelety  without 
resigning  his  office  of  painter  in  ordinary.  And  in  the 
accounts  of  '51-'54,  we  find  him  painting  devices  and  '*des 
croissants  lac^s  "  of  Henri  II.  and  Diane  de  Poitiers  on  the 
King's  carriages.  After  the  King's  death  in  July,  1559, 
Clouet,  or  as  he  is  invariably  called,  **  Janet,"  took  a  cast  of 
Henri's  face,  and  again  made  the  painted  effigy.  In  De- 
cember of  the  same  year  he  was  created  controller  general 
of  the  effigies  of  the  Mint — a  position  in  which  Germain 
Pilon  succeeded  him. 

By  his  will,  made  in  the  presence  of  the  cure  of  Saint- 
Merry  at  his  house  in  the  Rue  Sainte-Avoye,  it  is  seen  that 
he  was  not  married  ;  that  he  had  two  illegitimate  daughters, 
Diane  and  Lucrece,  to  whom  he  bequeathed  1200  livres 
a  year ;  and  to  his  sister,  Catherine  Clouet,  the  wife  of  Abel 
Foulon,  an  income  of  600  livres.  The  last  mention  of  hi» 
name  is  in  1570,  as  receiving  123  livres  for  divers  services. 
But  although  the  exact  date  of  his  death  is  unknown,  it  is^ 
presumed  to  have  taken  place  in  1572.  For  in  that  year, 
while  at  the  height  of  his  fame,  he  is  succeeded  in  his 
office  as  painter  by  Jehan  de  Court. 

Clouet's  reputation  was  great  among  the  contemporarj' 
poets.  Etienne  Pasquier,  Jodelle,  Du  Billon,  and  all  the 
poetasters  of  the  age,  sing  the  praises  of  **  docte  Janet". 
And  Eonsard  orders  from  him  an  ideal  portrait  of  his  lady- 
love. One  and  all  call  him  **  Janet  " — the  sobriquet  he 
inherited  from  his  father.  And  this  has  helped  yet  further 
to  cause  confusion  between  the  works  of  father  and  son. 
But  the  methods  of  the  two  men  in  their  crayon  drawings 
are  ditierent.  ''  Jeannet  Clouet  has  his  own  w^ay  of  dashing 
**  down  a  sketch,  because  for  him  this  sketch  rarely  remains  the 


1*76-1589.  PAINTERS  OF  THE  RENAISSANCE.  97 

'  definitive  work.     Fran9oi8  Clouet  on  the  contrary  composes 

'  pure  pencil  drawings,  works  at  them  longer,  finishes  them 

'  highly,  and  takes  from  them  by  successive  touches,  that 

flower,  that  bloom  of  freshness,  which  those  of  his  father 

retain.     Of  these  two  men,  one  possesses  the  frankness  and 

charming  naivetd ;  the  other  the  science  and  attainment.**^ 

If  Francois  Clouet  had  painted  or  drawn  one  quarter  of 
tie  portraits  assigned  to  him,  he  would  have  needed  not  only 
aperhuman  activity  and  strength,  but  a  life  twice  as  long  as 
le  ordinary  three-score  years  and  ten.  His  name  has  been 
ttached  to  the  greater  part  of  the  drawings  and  paintings 
f  the  period,  with  an  astonishing  looseness.  Many  so-called 
Clouets,"  though  not  signed,  are  dated  years  after  his  death, 
others,  which  are  obviously  by  other  artists,  still  bear  his 
lame,  even  in  well-known  collections.  And,  with  certain 
xceptions,  it  is  by  no  means  an  easy  task  to  assign  this 
)r  that  portrait  to  him. 

In  the  seven  boxes  of  portrait  drawings  in  the  Bib.  Nat., 
Paris,  we  can  easily  trace  three  different  hands.  150  out  of 
the  800  portrait  drawings  in  this  collection  are  hors  pair. 
All — as  M.  Bouchot  points  out — with  very  few  exceptions, 
Me  of  the  highest  value.  And  here  alone  we  get  an  authentic 
guide  to  the  portraits  we  may  certainly  attribute  to  Francois 
Clouet.  For  a  number  of  these  came  from  a  sketch-book  of 
Franqois  Clouet's,  on  the  blank  pages  of  which  Benjamin 
Poulon,  his  nephew,  has  perpetrated  some  very  poor  portrait 
heads  of  a  later  date — signing  his  name  to  one  of  them.  And 
against  the  superb  works  of  his  uncle  he  has  written  the 
names  of  the  various  personages  living  from  1559  to  1567,  in 
red  pencil.  This  precious  book  gives  us  a  priceless  clue  to 
the  works  of  the  master.  In  the  Castle  Howard  Collection 
at  Chantilly  we  find  the  same  style,  but  these  are  works  of 
his  early  career.  In  the  Bib.  Nat.,  both  in  the  portraits 
from  the  book,  and  in  others,  we  have  the  artist  in  the  very 
perfection  of  his  power.  Among  the  most  exquisite  of  these 
IS  a  Robert  de  la  Marck,  in  two  coloured  pencils.  A  magni- 
ficent "Dandelot  Coligny  ".    A  series  of  Gabrielle  d'Estrees, 

^  Bouchot. 

7 


98  A  HISTORY  OP  FRENCH  ART.  Ci 

the  earlier  ones  of  enchanting  beauty.  Two  of  Cathc 
de  Medicis.  A  superb  Charles  IX.,  from  which  the  ni 
ture,  now  in  the  Imperial  Treasure  at  Vienna,  was  pai 
by  Clouet.  The  original  drawing  of  Clouet's  miniatui 
Mary  Queen  of  Scots  at  Windsor.  The  "  Keine  Mar^ 
as  a  child.  A  noble  portrait  of  Marguerite  de  Navi 
The  beautiful  Mme.  de  Villeroy.  Madame  de  Betz. 
Princesse  of  la  Boche-sur-Yon.  Jeanne  d'Albret  in  moun 
dress.    These  are  but  a  few  from  the  seven  boxes. 

Some  of  these  drawings,  both  in  Paris  and  at  Chani 
bear  MS.  notes  which  are  of  extreme  interest.     Such  as 
of  the  Princesse  of  la  Boche-sur-Yon  (the  birthplace 
years  later  of  Paul  Baudry),  where  the  dress  is  indicate 
*'  red  '*.     In  another,  **  le  bord  du  passement  d*or  et  de 
noir  *'.     In   that   of  Admiral   Coligny,  the  sleeve   is   n 
"  velours  rouge  '\     And  on  the  back  of  another  are  sen 
little  sketches  of  details  of  the  elaborate  dress  of  the  pei 
Some  of  the  drawings  in  the  Louvre  are  of  equal  intei 
But  as  they  are  framed,  they  cannot  be  handled  and  exam 
at  the  back  as  well  as  on  the  face,  as  in  the  case  of  the  '. 
Nat.  and  the  Chantilly  collections. 

In  Francjois  Clouet's  paintings  **  all  is  clear,  well-stuc 
**  There  is  no  apparent  sacrifice,  no  pretentiousness  of  hi 
**  ling.  Yet  the  more  closely  they  are  examined  the  more 
•*  penetrates  the  character,  moral  and  physical,  of  the  per 
"  age  depicted,  the  more  one  discovers  the  subtlety  of  mc 
**  ling  under  this  silvery  aspect,  this  absence  of  the  resou 
**  of  Ught  and  shade,  the  more  one  sees  that  all  the  de 
"  are  executed  with  a  lightness,  a  certainty  of  hand,  to  w' 
"  none  of  the  partisans  of  *  touch  *  have  been  able  to 
"proach."^ 

Lady  Dilke  points  out  that  the  French  painters  of 
IGth  century  **  laid  on  their  local  tint  in  a  solid  layer,  rum 
**  it  up  to  the  extreme  edge  in  mass,'*  and  on  this,  when 
they  hatched  with  the  brush  point.  The  colour  being  na 
diluted,  these  touches  melt  into  one  another,  forming 
evenly  distributed  film — an   application   of  the  methoc 

» Villot. 


^'^'^ 5-1589.  PAINTERS  OF  THE  RENAISSANCE.  99 

^^iniature  painters  of  the  15th  century.  This  renders  Clouet's 
'^^crks  specially  susceptible  to  the  destructive  influence  of  the 
^  leaner.  Even  the  most  careful  cleaning  tends  toj  destroy 
ttxis  supreme  beauty  of  his  work — this  exquisite  fihn  of  deh- 
^ate  cross-hatchings. 

Several  miniatures  by  Francois  Clouet  are  known.     Some 

^X"e  from  illuminated  manuscripts,  and  Eoyal  Books  of  jHours. 

There  is  now  no  doubt  that  it  was  Franc^ois  Clouet  who 

l^ainted  the  greater  part  of  the  miniatures  for  Catherine  de 

^'ledicis'  little  Book  of  Hours,  in  the  Louvre.     The  book  has 

been  much  tampered  with.      And  the  frontispiece  portrait 

of  Henri  H.  was  taken  out  in  the  17th  century.     It  is  now  in 

title  galerie  des  Estampes  of  the  Bib.  Nat. :  and  is  replaced  in 

e  book  by  one  of  the  Vicomte  de  Martigues.     **  But  all  the 

paintings  executed  on  the  leaves  of  the  book  are  by  the  same 

hand  which  produced  the  Catherine  de  Medicis  of  Vienna, 

and  the  Mary  Stuart  of  Windsor.''  ^     Of  the  Mary  Stuart  I 

liave   spoken  above.     The   payment   for  Catherine's  minia- 

t;xxre  is  mentioned  in   the  Clairambault   MS.    233,  as    **  to 

*  *  Fran9ois  Clouet  dit  Janet,  painter  of  the  said  King  "  (Charles 

IX.).      This  miniature,  sent  vnth  several  others  to  Vienna 

a.t  the   time  of  Charles'  marriage,  is  now  in  the  Imperial 

Treasure,  where  also  the  Charles  IX.  miniature  is  preserved. 

The  payment  of  135  livres  is  made  to  Clouet  in  May,  1572, 

four  months  before  his  death,  for  this  portrait. 

Examples : — 

Portrait  drawings  in  one  or  more  pencils. 

The  Sketch-book  and  many  others,  Bib.  Nat.,  Paris. 
Portrait  drawings.  Louvre. 

Portrait  dravnngs,  from  Castle  Howard  and  Stafford 
House,  Chantilly. 
Miniatures : — 

Book  of  Hours  of  Cath.  de  Medicis,  Louvre. 
Charles  IX. ;  Catherine  de  Medicis,  Imp.  Tres.,  Vienna. 
Mary  Queen  of  Scots,  Windsor. 

Due  d*Alen9on  holding  Queen  Ehz.,  portrait,  Jones 
Coll.,  S.  Kens. 

*  Bouchot. 


100  A  HISTORY  OF  FRENCH  ART.  Ch.  VI. 

Henri  III.,  from  Hamilton  Palace  Coll. 
Henri  U.,  Bib.  Nat. 
Paintings  : — 

128.  Full  length,  Charles  IX.  (small),  Louvre. 
127.  Francois  I.,  head,  Louvre. 

130.  Henri  II.,  pendant  to  128,  Louvre. 

131.  Fran<;ois  de  Lorraine,  dUc  de  Guise,  Louvre. 
Elizabeth  of  Austria,  Louvre. 

Charles  IX.  Belvedere,  Vienna,  signed  thus  : — 

**  Charles  VIHI.,  Tres  Chretien,  Eoy  de  France. 
**  en  I'aage  de  XX  ans.    Peinct  au  vif  par  Janet,  1563." 

This  is  the  only  hfe-size  portrait  by  Clouet. 
Two    Portraits,    Mary   Queen   of    Scots.     Archibald 
Douglas.     Marie  de  Guise.     Don  Carlos,  son  of 
Philip  II.  (?).     Fran9ois  II.,  Windsor. 
Eleonore,  Queen  of  France,  Hampton  Court. 
Francois  I.  and  Lady,  Hampton  Court. 
Three  Portraits,  Nat.  Gallery. 
Three  Portraits — two  untouched  by  cleaning — from  the 

collection  of  J.  Lmnsden  Propert,  Esq. 
Marguerite  de  France,  enfant.      And  Fran9oi8  due 
d'Alen^on,  from  Stafford  House,  at  Chantilly. 
Also  portraits  in  many  private  collections  in  England  and 
France.     Some  of  great  beauty  and  value  at  Azay  le  Bideau, 
Touraine. 

Jean  Cousin  (b.  Soucy,  about  1500;  d,  about  1589). — 
It  is  said  of  Cousin  **il  jouit  d'une  reputation  merite". 
But  he,  like  Perreal,  is  one  of  those  baffling  personalities 
of  whose  works  little  has  survived  to  justify  his  great  re- 
putation. We  know  that  he  was  well  connected.  And  that 
he  began  his  career  as  a  painter  on  glass.  Glass  painter, 
sculptor,  and  painter,  he  tried  all  branches  of  art  in  turn. 
And  if  the  works  attributed  to  him  were  really  his,  he  suc- 
ceeded in  each.  In  1530  he  painted  windows  for  the  Cathe- 
dral at  Sens — for  the  Chapel  of  Vincennes,  for  the  Chateau 
de  Fleurigny,  St.  Gervais,  Paris,  and  Notre  Dame  of 
Villeneuve-sur-Yonne.  Besides  these,  which  still  exist,  he 
painted  between  1552  and  15G0,  five  windows  in  grisaille  for 


1475-1589.  PAINTERS  OF  THE  RENAISSANCE.  101 

Diane  de  Poitiers  at  Anet.     These,  with  some  for  the  Cor- 
deUers  at  Sens,  have  unhappily  been  entirely  destroyed. 

Some  of  his  pictm-es  survive.  His  **  Last  Judgment  *'  in 
the  Louvre  is  a  work  of  great  importance  and  interest,  fine 
and  Michelangesque.  It  contains  some  most  delightful  bogies, 
w'ho  run  Uke  a  flock  of  chickens  before  an  old  man  with 
bagpipes. 

Cousin's  reputation  as  a  sculptor  rests  mainly  on  his 
supposed  authorship  of  Admiral  Chabot's  statue.  But  it 
has  been  proved  satisfactorily  that  this  could  not  possibly  be 
his  work. 

A  number  of  engravings  from  Cousin's  designs  are  pre- 
served in  the  Bib.  Nat.,  such  as  the  Brazen  Serpent,  and 
Conversion  of  St.  Paul,  by  Delaune.  And  a  good  engraving 
by  Leonard  Gaiter,  1581,  of  the  Forge — seven  naked  men 
and  a  boy.  These  and  his  fine  books,  L*Art  de  Dessinez 
— 1560 — and  the  Livre  de  PonrtraicUire,  repubUshed  in  1595 — 
the  editor  speaking  of  **  feu  M.  Cousin  " — show  his  dis- 
tinguishing qualities,  **  breadth,  power,  and  the  severity 
**  which  usually  accompanies  their  union  ".^ 

He  is  constantly  mentioned  in  documents  at  Sens.  And 
seems,  after  the  fashion  of  the  day,  to  have  turned  his  hand 
to  everything.  In  the  Cathedral  accounts  in  1530  we  find, 
paid  to  **  Jehan  Cousin  pour  avoir  mis  a  point  le  petit 
**  orlouge  ^^^ ".  And  again,  "  pour  avoir  racoustr^,  et 
**  peint  ung  ymage  de  Notre  Dame  pres  de  la  porte  du 
*'  coeur  ". 

He  was  the  great  reformer  in  glass  painting.  His  glass 
is  remarkable  for  the  eiBfects  he  obtained  by  using  enamel 
colours  on  white.  And  the  chemicals  he  used  are  in  great 
part  those  in  use  to-day. 

Examples : — 

Glass — 

Great  Window,  Chapel  of  St.  Eutropius,  Sens. 
The  Tiburtine  Sibyl,  Chap.  N.  D.  de  Lorette,  Sens. 
Same  subject.  Chateau  de  Fleurigny,  nr.  Sens. 
Last  Judgment,  Chapel  of  Vincennes. 

1  Lady  Dilke. 


102  A  HISTORY  OF  FRENCH  ART.  Ch.  VI. 

Last  Judgment,  Notre  Dame,  Villeneuve-smr-Yonne. 

Four  windows,  Ch.  St.  Gervais,  Paris. 

These  have  also  been  attributed  to  Pinagrier. 

Fragments  of  windows  for  Ecouen,  Ch.  of  Ecouen. 
Paintings : — 

Last  Judgment,  Louvre. 

Eva  Prima  Pandora,  Mme.  Chaulay. 

Deposition,  Mus^e  de  Mayence. 

Small  deposition,  M.  Lechevaher-Chevignard. 

Small  portrait  Diane  de  Poitiers,  M.  Arsene  Houssaye. 

Five  portraits,  in  the  possession  of  his  descendants 
the  Bowyers,  Eue  Hericault-des-Touches,  Tours. 

Several  etchings. 

The  Entree  a   Rouen   of   Henry  II.,  illustrated  by 
Cousin. 

The  Entree  a  Paris — doubtful. 

VAri  de  dessirier, 

Lii>re  de  Pourtraicturey  2nd  ed.,  1595. 
CoRNEiLLE  DE  Lyon,  or  De  LA  Haye. — Until  quite 
recently  little  or  nothing  was  known  of  Corneille  de  la  Haye, 
except  from  the  praise  of  his  contemporaries.  Poets  such  as 
Eustoge  de  BeauUeu  in  1544,  say  that  since  the  days  of  Noah 
such  a  painter  **  pour  bien  tirer  un  personnage  au  vif  "  has 
never  been  seen.  Bran  tome  mentions  a  journey  of  the 
Court  to  Lyons  in  1564.  And  how  Queen  Catherine  then 
saw  a  room  full  of  portraits  of  all  the  ladies  and  gentlemen 
who  had  accompanied  her  to  Lyons  in  1548,  in  the  house 
of  the  modest  artist  who  had  finished  them  meanwhile.  And 
the  Queen,  being  much  entertained  at  the  fashions  of  1548, 
called  the  Due  de  Nemours,  who  had  been  with  her  on 
her  former  journey,  to  bear  witness  to  the  truth  of  Comeille*s 
drawings.  But  here  all  information  ceased.  Not  one  single 
authentic  portrait  was  known  of  the  painter  **  superlatif 
Pour  bien  tirer  **.  More  recently,  M.  Natalis  Eondot  dis- 
covered in  the  archives  of  Lyons  that  Corneille  **  le  painctre 
flamman,"  was  in  1540  made  painter  to  the  Dauphin. 
That  he  was  exempted  in  1549  from  **  Tentree  du  vin  *\ 
And  that  in  1551  he  was  appointed  painter  to  Henri  II. 


147M689.  PAINTERS  OF  THE  RENAISSANCE.  103 

But  it  remained  for  M.  Bouchot  to  discover  four  un- 
doubted pictures  by  Comeille. 

On  certain  of  the  drawings  in  the  famous  inventory  of 
Eoger  de  Gaigni^res'  collection  nov^  in  the  Bib.  Nat.,  M. 
Bouchot  found  vmtten,  **  Copie  sur  Toriginal  peint  par 
**  Comeille,  dans  le  Cabinet  de  M.  Gaignieres  ".  And  further, 
two  of  the  four  original  pictures,  bearing  at  the  back  Colbert's 
red  seal  of  the  viper,  which  shows  that  they  were  bought  by 
Louis  XrV.  from  Gaigniferes,  are  now  at  Chantilly,  and  two 
at  Versailles. 

Those  at  Chantilly  are  the  channing  portrait  of  Mar- 
guerite de  Valois,  afterwards  Duchesse  de  Savoie ;  and 
one  of  the  Dauphin  Fran9ois,  Due  d*Angouleme,  apparently 
painted  about  1536,  when  he  was  dying  of  a  galloping 
consumption ;  besides  a  lovely  portrait  of  Gabrielle  de 
Rochechouart.  The  portrait  of  Marguerite  is  inscribed, 
**  Agee  de  25  ans,"  i.e.,  1548,  exa,ctly  the  date  of  the 
Court's  journey  to  Lyons.  CorneiUe  painted  a  second 
picture  of  this  princess,  which  is  at  Versailles,  No.  3181. 
At  Versailles  also,  is  the  third  of  the  authentic  portraits, 
!No.  3147,  the  beautiful  Marquise  de  BotheUn,  JacqueHne  de 
Hohan — the  picture  much  injured  by  restoration.  And  the 
fourth,  No.  3292,  the  Due  de  Montpensier — a  veritable 
masterpiece,  in  excellent  preservation.  Thanks  to  these  four 
pictures,  and  to  the  Hght  which  M.  M.  de  Grandmaison's 
and  Bouchot's  researches  have  thrown  on  Gaigniferes  and 
his  collection,  it  is  now  possible  to  restore  to  this  extremely 
interesting  master  the  right  to  many  of  the  small  portraits 
at  Chantilly,  Versailles,  the  Louvre,  etc.  While  at  the  same 
time  we  see  that  it  was  impossible  that  many  pictures,  wildly 
attributed  to  him,  were  ever  painted  by  Corneille  de  Lyon. 

Among  anonymous  paintings,  or  those  of  artists  of  whom 
nothing  is  known,  several  at  the  Louvre,  at  Versailles,  at 
Chantilly,  and  in  private  collections,  are  of  highest  importance. 

Louvre : — 

The  first  is  by — 

1.  Nicholas  Froment  d'Avignon,  working  in  the  15th 
century.     It  is  a  diptych,  containing  portraits  of 


104  A  HISTORY  OF  FRENCH  ART.  Ch.  YL 

King  Bene  and  his  second  wife,  Jeanne  de  Laval. 
And  was  given  by  King  Bene  to  Jean  de  Ma- 
theron. 

2.  Portrait    of    Jean    de    Bourbon-Venddme,     Due 

d'Enghien. 

3.  Philippe    le   Bon,   Due   de    Bourgogne,  ecole  de 

Bourgogne,  15th  century. 

4.  Ball  at  the   Court  of   Henri  III.,  given   for   the 

marriage  of  Anne  due  de  Joyeuse  and  Mar- 
guerite de  Lorraine,  15th  centur}\ 

5.  Jacques   Berthaut,    cootroleur   de    la  maison   du 

roi,  16th  century. 
Versailles : — 

1.  Charles  VII.,  No.  3052. 

2.  Assemblee    du    Parlement    de   Bourgogne,   tenue 

par  Charles  le  Temeraire,  No.  3070. 

3.  Charles  Quint,  young,  3125. 

4.  Philippe  le  Beau,  roi  de  Castille,  3106. 

5.  Guillaume  Bude,  4045,  etc.,  etc. 

Fran9oi8  I.,  probably  still  Comte  d'Angouleme  ;  Jeune 
Feinme,  6cole  de  Corneille  de  Lyon ;  Henri  III. 
with  black  cap,  ear-rings,  white  collar,  Chantilly. 


CHAPTEE  VII. 

ART  UNDER  HENRI  IV.  AND  LOUIS  XIII. 

1589—1643. 

With  the  beginning  of  the  17th  century  French  Art  enters 
upon  a  new  path. 

Clouet,  Cousin,  and  Pilon  were  dead.  The  Ligue  and 
the  religious  troubles  of  the  end  of  the  16th  century  had 
suspended  architectural  activity  for  many  years.  And  when 
Henri  IV.  returned  in  1594  to  Paris,  the  last  flickering 
flame  of  the  Eenaissance  that  had  lighted  France  for  a 
liundred  years,  the  last  traditions  of  the  great  masters  of  that 
fertile  time,  had  died  out. 

Overshadowed  by  the  past  brilliance  of  the  Renaissance, 
■<imshed  by  the  weighty  magnificence  of  the  epoch  of  Louis 
XIV.,  the  history  of  Art  during  the  reigns  of  Henri  IV.  and 
Ijouis  Xni.  has  been  almost  wholly  ignored.  It  is  indeed 
a  singularly  obscure  and  complicated  period.  But  it  is  a 
period  of  growth — a  most  significant  and  important  pause 
l)efore  the  opening  of  a  new  era.  Many  crossing  currents 
meet  there,  from  which  the  well-ordered  art  of  the  Siecle 
^e  Louis  XIV.  will  emerge,  rolling  on  Hke  some  vast  river, 
pent  in  between  high  banks  and  well-built  quays. 

Voltaire  has  largely  helped  to  bring  about  this  miscon- 
ception of  the  17th  century.  For  in  his  desire  to  exalt  the 
Grand  Monarque  he  would  make  us  believe  that  barbarism 
reigned  in  France  until  the  **beau  Sifecle  de  Louis  XIV.,'* 
making  that  epoch  begin  not  with  the  century  but  with  the 
King.  He  declares  that  **  Francois  I.  ftt  naltre  le  com- 
raerce,  la  navigation,  les  lettres  et  les  arts,  mais  il  fut  trop 
xnalheureux  pour  bien  faire  prendre  racine  en  France  et  tons 
perirent  avec  lui ".     As  in  Perault's  frontispiece,  Voltaire 

groups  round  his  hero  most  of  the  celebrated  men  of  the 

(105) 


4< 


106  A  HISTORY  OF  FRENCH  ART.  Ch.  VU. 

early  half  of  the  17th  century,  as  well  as  those  of  the 
beginning  of  the  18th.  In  fact  the  legend  of  Louis  XIV.  ha& 
gradually  done  for  the  reign  of  his  father,  what  the  King 
actually  did  for  his  father's  Chateau — when  he  so  smothered 
the  buildings  of  the  Versailles  of  Louis  XIII.,  that  they 
almost  disappeared  in  his  efforts  to  preserve  them.  **And 
**  for  his  contemporaries,  as  for  posterity,  there  remained  but 
"  one  Versailles — ^his  own."  ^ 

It  will  be  necessary  in  this  chapter  to  distinguish  between 
those  artists  whose  chief  work  w^as  accomplished  before  1648^ 
when  the  founding  of  the  Academy  of  Painting  and  Sculp- 
ture ushered  in  the  reign  of  law,  order,  and  correctness,  and 
those  of  a  later  date.  Although  the  personal  reign  of  Louis 
XrV.  did  not  begin  till  Mazarin's  death  in  1661,  I  prefer 
for  convenience  sake  to  make  the  deaths  of  Richelieu  and 
Louis  XIII.  the  limit  of  this  period.  In  some  cases  these 
artists  outlived  the  founding  of  the  Academy.  But  their 
best  works  will  be  found  to  belong  chiefly  to  the  earlier 
epoch. 

It  is  important  therefore  to  endeavour  to  get  some  idea  of 
the  influences,  external  and  internal,  which  gradually  shaped 
the  Art  of  France  from  1689  to  1643. 

At  the  beginning  of  the  17th  century  France  was  no 
longer  the  leader  of  Art,  as  she  had  been  during  the  Re- 
naissance. Thought  in  Europe  was  in  an  extraordinary 
condition  of  effervescence.  It  had  escaped  from  the  ex- 
clusively classic  influence  of  the  Renaissance,  and  became 
at  once  more  modern  and  more  natural.  In  England 
this  effervescence  of  thought  attained  its  supreme  expres- 
sion in  the  poetry  of  our  Golden  Age.  In  Spain,  Cervantes 
and  Calderon,  Velasquez  and  Murillo  represent  letters  and  art. 
With  Rembrant  and  Cuyp,  the  Dutch*  School  goes  straight 
to  nature  for  its  inspiration.  Rubens,  Van  Dyck  and  Teniers 
reign  in  Flanders.  In  Italy  the  powerful  Bolognese  School 
of  the  Carraci,  Domenichino,  Guido,  Guercino,  which  was- 
destined  to  exercise  such  a  profound  influence  on  the  Art 
of  France,   is    at  the  height  of  its  fame.     Between  such 

'  Lcmonnier. 


1689-1648.       ART  UNDER  HENRI  IV.  AND  LOUIS  XIII.  107 

giants  in  thought  as  Ba,con,  Torricelli,  Galileo,  Kepler, 
Gilbert,  Harvey,  there  was  a  continual  interchange  of  ideas. 
The  savants  of  Europe  formed  **a  scientific  and  philo- 
sophic cosmopohty  **.  And  in  science  and  letters,  as  in 
art,  **  the  centre  of  gravity  was  no  longer  found  exclusively 
"  in  Italy  '*} 

During  the  first  half  of  the  17th  century,  France  was 
more  or  less  involved  in  this  movement  of  European  thought. 
**  She  took  something  in  art  or  in  literature  from  Italy, 
"  Spain,  Belgium,  adapting  it  to  her  instincts,  and  en- 
'*deavouring  to  make  it  agree  with  her  theories.  This 
"  perhaps  resulted  in  some  uncertainty,  but  also  in  a  happy 
•'variety  of  aptitudes,  tendencies,  and  productions.** ^  Dur- 
ing the  latter  half  of  the  century  it  was  far  otherwise. 
France  tended  more  and  more  to  concentrate  herself  upon 
herself — to  shut  herself  off  from  all  the  rest  of  Europe 
— in  a  splendid  and  dominating  isolation.  It  was  the  reign 
of  form,  of  good  taste.  In  it  France  produced  no  new  ideas  : 
but  crystallized  those  she  already  possessed,  and  imposed 
them  on  the  whole  of  Europe. 

At  the  accession  of  Henri  IV.,  the  condition  of  Art  had 
taken  a  long  step  in  advance  since  the  early  days  of  the 
Renaissance.  Art  had  now  evolved  an  ideal — an  aesthetic 
being.  It  now  endeavoured  to  bring  system,  law  and  order  into 
its  existence — in  fact,  to  organize.  Art  was  too  important  and 
recognized  a  factor  in  the  society  of  the  day,  to  be  allowed 
to  continue  a  haphazard  existence.  It  must  be  centralized, 
fostered,  watched  over,  and  used,  by  the  King  himself.  Al- 
ready we  see  this  endeavour  under  Henri  IV.,  when,  on  his 
return  to  Paris  in  1594  he  devoted  the  entresol  of  the  Grande 
Galerie  of  the  Louvre  to  the  lodging  of  artists  and  skilful 
workmen  in  all  branches  of  decorative  work.  As  he  said  in 
his  letters  patent  of  1608,  he  wished  to  create  a  **  pepiniere 
**  d'ouvriers,  de  laquelle,  sous  I'apprentissage  de  si  bons 
"mattres,  il  en  sortirait  plusieurs,  qui,  peu  apr^s  se  repan- 
"  draient  par  tout  le  royaume  et  sauraient  tres  bien  servir  le 
"public  ".     So  here  we  get  at  once  a  sort  of  School  of  Deco- 

1  Lemonnier.  ^  Ibid. 


108  A  HISTORY  OF  FRENCH  ART.  Ch.  VII. 

rative  Art  under  the  eyes  of  the  King,  dependent  on  his  will. 
Instructed  too  by  the  "Illustres" — those  masters  who  were 
all  inscribed  on  the  list  of  his  Valets  de  Chambre — ^painters, 
sculptors,  goldsmiths,  engravers  of  precious  stones,  armourers, 
tapestry  workers,  cabinet-makers — honourably  lodged  within 
the  precincts  of  the  Palace.  Already  the  idea  of  attaching 
Art,  as  everything  else,  to  the  person  of  the  Sovereign,  which 
was  to  find  its  supreme  expression  in  the  epoch  of  Louis 
XIV.,  was  beginning  to  shape  itself.  Already,  in  the  en- 
deavour to  obtain  uniformity  in  the  ideal  of  Art,  the  first 
blow  was  being  struck  at  its  liberty,  and  therefore  at  its  life. 
For  nearly  two  centuries  Art  will  become  more  and  more 
official — will  drift  farther  from  nature  and  from  truth — until 
the  fire  of  the  Eevolution  shall  purge  away  the  dross,  and 
give  it  life  once  more. 

The  reign  of  Henri  IV.  was  the  time  of  vast  projects. 
Its  most  important  art  was  decorative.  During  his  reign 
and  that  of  Louis  XIII.,  Paris  began  to  take  the  form  we 
know.  When  once  the  troubles  of  the  Ligue  were  calmed, 
an  immense  activity  manifested  itself  in  all  directions. 
The  Court  was  less  nomadic.  The  seat  of  government 
being  fixed  in  Paris  drew  thither  the  noblesse,  courtiers,  and 
chiefs  of  all  administrations.  Financiers  and  the  magistracy 
were  daily  growing  richer  and  of  more  importance.  Power 
was  in  the  hands  of  new  men  such  as  Sully,  Eicheheu, 
Mazarin,  and  their  fellow-workers.  All  this  contributed  to 
the  extraordinary  growth  of  the  city.  The  embeUishment  of 
the  city,  to  which,  says  Gomboust,  "  Henry  IV.  and  Louis 
**Xin.  seem  most  to  have  contributed,"  was  in  great  part 
*  due  to  private  enterprise. 

Paris  now  overflows  its  narrow  limits  and  begins  to 
absorb  its  faubourgs.  On  the  rive  draite  a  new  enceinte  is 
made  which  follows  the  present  line  of  the  Boulevards, 
from  the  Place  de  la  Concorde  to  the  northern  extremity 
of  the  Eue  Montmartre.  Richelieu's  Palace  (the  Palais 
Royal),  which  he  bequeathed  to  Louis  XIII.,  and  the  Rues 
Vivienne  and  Richelieu,  became  an  aristocratic  centre.  "While 
new  and  splendid  dwellings  sprang  up  in  the  Place  Royale 


1589-1643.       ART  UNDER  HENRI  IV.  AND  LOUIS  XIII.  109 

(now  Place  des  Vosges),  the  quartier  St.  Antoine,  the  Marais, 
and  round  the  Arsenal.  On  the  rive  gauche  the  expansion 
was  equally  rapid.  When  Marie  de  Medicis  rebuilt  the 
Palace  of  the  Luxembourg  outside  the  old  enceinte,  it 
attracted  a  population  of  great  nobles  and  religious  orders. 
And  thus  the  Faubourg  Saint  Germain  grew  up — **  a  most 
"  agreeable  quarter,"  as  the  writers  of  the  day  say,  **  by 
**  the  minghng  of  large  gardens  and  great  hotels  **.  While 
up  the  Seine,  a  hitherto  desert  space  of  marsh  and  island — 
the  He  Saint  Louis  and  He  de  la  Cite — was  converted 
between  1614  and  1635  into  a  new  centre,  chiefly  inha- 
bited by  financiers  and  statesmen.  In  1648  it  numbered 
twenty  hotels  and  seventy  houses,  and  from  these  one  can 
still  gather  some  idea  of  the  Paris  of  Eichelieu.  The  hotel 
Lambert,  bm'lt  by  Le  Vau  (1640),  is  a  good  specimen  of  the 
city  architecture  of  the  end  of  this  period,  decorated  first  by 
Le  SoBur  and  afterwards  by  Le  Brun.  The  plan  of  these 
hotels  was  much  the  same.  Space  was  restricted  because 
ground  now  became  dear.  Yet  room  had  to  be  found  for 
a  garden  and  a  court,  besides  the  buildings.  There  was  no 
great  fa9ade  on  to  the  street,  only  the  servants'  quarters  and 
a  wide  and  lofty  porte  cochere.  This  opened  into  the  court- 
yard, at  the  end  of  which  rose  the  main  building,  joined  by  two 
wings  to  the  communs.  The  garden,  when  practicable,  lay 
beyond  the  building ;  and  no  great  hotel  of  the  period  was 
without  its  gallery,  which  furnished  a  splendid  opportunity 
for  decoration  by  the  chief  painters  of  the  day. 

Henri  IV.  and  his  successor,  both  took  an  active  part  in 
the  architectural  movement  of  their  time.  For  to  Henri 
rV.  we  owe  the  completion  of  the  splendid  Grande  Galerie  ' 
of  the  Louvre — that  vast  hue  which  extends  the  whole 
length  of  the  Quays  from  the  Pavilion  des  Antiques  to 
the  Pavilion  de  Flore.  The  rez  de  chaussez  of  the  Grande 
Galerie  was  built  by  Catherine  de  Medicis  as  far  as  the 
Pavilion  Lesdigui^res.  But  to  Henri  IV.  is  due  that  noble 
facade  that  faces  the  Seine  between  the  Pont  des  Arts  and 
the  Pont  des  Saints  Peres.  The  central  gateway,  now 
known  as  the  Porte  Jean  Goujon,  though  it  was  built  long 


110  A  HISTORY  OF  FRENCH  ART.  Ch.  VU. 

after  his  death,  is  one  of  the  best  specimens  of  the  period. 
Built  by  Metezeau,  the  brothers  Lheureux  were  authors  of 
the  charming  friezes,  and  the  sculptors  Pierre  Biart  and 
Barthelemv  Prieur  also  contributed  to  its  decoration.  The 
extension  from  the  Pavilion  Lesdiguieres  to  the  Pavilion  de 
Flore,  uniting  the  old  Louvre  with  the  Tuileries,  was  also 
built  by  Henri  IV.  And  the  whole  conception,  though 
marred  by  certain  grave  faults  in  its  details,  is  grandiose  in 
the  extreme.  But  Henri  IV. 's  activity  did  not  stop  here. 
To  quadruple  the  extent  of  the  Court  of  the  Louvre  by 
doubhng  the  length  of  the  wings,  was  another  of  the 
King's  schemes,  which  his  son  reahzed  in  part. 

In  all  this  building  we  see  the  growing  passion  for  well- 
ordered  lines,  for  huge  projects  to  which  every  obstacle  is 
sacrificed,  which  is  a  most  marked  feature  in  French  genius. 
Doubtless  much  of  extreme  historic  and  artistic  interest  is 
sacrificed  to  these  vast  and  well-conceived  plans.  But  on 
the  other  hand,  the  result  is  imposing  and  magnificent  to  a 
degree  not  seen  in  any  other  country. 

If  the  projects  of  Henri  IV.  had  been  vast,  those  of 
Eichelieu  exceeded  them.  The  great  Cardinal  delighted  in 
building.  In  his  Palace  in  Paris,  in  the  Sorbonne,  in  his 
Chateau  de  Eueil,  he  realized  some  part  of  his  magnificent 
conceptions,  touched  with  that  gravity  which  is  a  mark  of 
his  genius.  But  it  was  at  his  native  place,  Eichelieu,  that  he 
proposed  to  give  them  unlimited  sway,  by  building  a  whole 
town,  crowned  by  the  Chateau  which  would  surpass  any 
Palace  belonging  to  the  King.  Of  this  audacious  and  magni- 
ficent conception  hardly  anything  remains.  The  town,  with 
its  wide  streets  of  enormous  houses,  is  too  large  for  its 
population.  The  huge  church  in  the  ornate  Jesuit  stjde, 
is  nearly  empty.  The  Chateau,  grave,  cold,  austere  in 
its  grandeur  without — filled  within  with  a  sumptuous  dis- 
play of  antiques,  pictures,  tapestries,  everything  in  fact 
that  ministered  to  the  great  Cardinal's  taste  for  splendid 
intellectual  and  artistic  luxury — was  rased  to  the  ground  by 
the  Bande  Noire.  Nothing  remains  but  a  few  outbuildings. 
This  idea  of  creating  a  whole  town  by  sheer  authority,  is 


1589-1648.       ART  UNDER  HENRI  IV.  AND  LOUIS  XIII.  Ill 

a  curious  evidence  of  the  personality  of  the  man — of  the 
**mind  accustomed  to  consider  the  things  of  the  physical 
***  world  as  dependent  on  will ". 

In  the  provinces,  **  construction/*  which  is  one  of  the 
most  suitable  words  to  describe  the  works  of  this  date,  was 
being  carried  on  rapidly.  Henri  IV.  added  largely  to  Fon- 
tainebleau.^  Gaston  d'Orleans  and  Francois  Mansart  a  little 
later,  are  responsible  for  that  addition  to  Blois,  which  must 
always  cause  a  shock  each  time  one  sees  it.  Happily  it  was 
never  finished.  But  Mansart's  plan  was  to  destroy  the  whole 
of  the  peerless  Aile  Fran9ois  I.  and  rebuild  it  on  the  plans  of 
the  west  wing.  This,  really  fine  in  itself  as  an  example  of 
the  architecture  of  Louis  XIII.,  becomes  an  abomination  in 
juxtaposition  with  one  of  the  chief  glories  of  the  Eenaissance. 

But  possibly  the  most  important  architectural  event  out- 
side Paris,  is  the  beginning  of  the  Palace  of  Versailles  under 
Louis  Xni. — that  Palace  round  which  the  whole  life  of 
the  French  Monarchy  was  to  gather  for  two  centuries, 
making  it  a  priceless  museum  in  which  the  history  of  de- 
corative art  centres.  Of  Versailles  I  shall  have  so  much  to 
say  later,  for  it  is  an  epitome  of  the  whole  history  of  the 
Art  of  the  17th  and  18th  centuries,  that  I  will  not  dwell  upon 
it  here.  A  mere  hunting  lodge  in  the  forest  was  built  by  Le 
Mercier  for  Louis  XIII.  in  1624,  who  soon  became  so  at- 
tached to  it  as  to  desert  Saint  Germain-en-Laye,  which  was 
then  his  usual  residence.  The  little  Chateau  was  a  square 
building  of  brick  and  stone,  opening  towards  Paris  into  a 
court,  whose  walls  are  now  those  of  the  Cour  de  Marbre. 

With  regard  to  religious  Architecture,  it  would  be  im- 
possible to  enumerate  the  conventual  buildings  in  Paris 
alone,  which  sprang  up  during  the  early  part  of  the  17th 
century — the  Oratoire,  the  Feuillantines,  Val  du  Grace,  the 
Capucines,  the  filles  de  St.  Joseph,  the  Religieuses  of  Port 
Royal,  etc.,  etc.  As  to  Churches,  we  find  after  1610,  Saint 
Gervais.  The  completion  of  Saint  Eustache  in  1642.  At 
Saint  Etienne  du  Mont  work  goes  on  ceaselessly.  The  Ora- 
toire,  begun  by   Metezeau,  and   finished   by  Lemercier   in 

^  See  Mdtezeau. 


112  A  HISTORY  OF  FRENCH  AST.  Ch.  VIL 

l^iO.  Tbe  Visitaifon.  built  bv  Francc^is  M&nsart.  163*2-34. 
Sftiiii  PaTi]  ri  Sftini  Louis.  1»V27-41.  The  Church  of  the 
>>rr*:i2ri^.  buili  i*v  Leineroier.  Thai  of  Val  dn  Grace. 
Besides  n:iinibiers  more  which  were  only  begun,  such  as 
Sairi  Suffice,  Saini  Rooh,  exc. 

HrTe  we  nnd  the  architects  of  the  time  trammelled  by 
their  thec^ries  derived  from  antiquity.  It  is  no  longer  a 
sf •:  nxana>us  art.  such  as  Gx'thic,  or  the  pure  French  Re- 
naissance. But  the  result  of  reflection  and  learning.  And 
further.  French  architects  now  found  tliemselves  in  presence 
of  a  new  stvle  of  architecture — the  Jesuit  stvle.  This,  in 
the  hands  of  that  all-pc»werful  Ixxly,  soon  spread  all  over 
Europe,  and  even  into  the  new  world.  In  France  it  was 
intr*:*duced  in  ltX"»o  by  Martellaniire,  temporal  coadjutor  of  the 
Society  of  Jesus.  The  best  example  of  it  in  Paris,  is  the 
facade  of  the  Church  of  Saint  Paul  and  Saint  Louis,  Rue  Saint 
Antoine.  Beirun  in  1627,  and  nnislied  in  Itvll,  it  is  a  per- 
fect type  of  the  style.  Richelieu  gave  the  doorway,  and  said 
the  first  Mass  in  presence  of  the  Kins:.  Queen  and  Court.  It  is- 
therefore  of  special  value  as  bearint:  a  sort  of  official  stamp. 
The  jreneral  effect  is  rich  and  picturesque.  Some  of  the 
details  are  of  ^reat  beautv.  But  it  is  loaded  with  decoration » 
a  strange  jumble  of  Renaissance  and  Classic,  pieced  to- 
jiether  "without  the  least  reference  either  to  the  purpose 
"  fcT  which  pillars  wei^  originally  designed,  or  to  the  con- 
•'structive  necessities  of  the  buildini:  where  thev  are  now 
"  found  ".^  This  style  lasted  but  a  short  time  in  France.  But. 
meanwhile  it  had  influenced  all  Flinch  reli^ous  architecture^ 
introducing  a  certain  theatrical  element  of  gaiety  in  its 
singular  mixture  of  painting,  sculptures,  and  endless  orna- 
ment, which  has  its  own  chann.  though  it  mav  be  a 
debasoil  one. 

In  comparing  the  "  Style  Louis  XIIL"  i^ith  those  that 
preceded  and  succeeileil  it.  a  i^vrtain  povertj'  of  conception 
strikes  us  at  once.     We  no  longer  find  the  daring,  robust 
imatnnation  of  the  RenaissaUiV,     We  have  not  vet  arrived 
ai  the  severe,  classic  splendours  of  Louis  XFV'.     There  is. 


1589-1643.       ART  UNDER  HENRI  IV.  AND  LOUIS  XIII.  113 

grace  and  a  certain  charm :  but  a  want  of  distinct  origin- 
ality. All  the  work  gives  a  sense  of  compromise  and  imi- 
tation ;  a  growing  predilection  for  well-regulated,  carefully 
constructed  forms. 

In  Sculpture,  however,  we  get  a  decided  return  to  natu- 
ralism in  the  works  of  Guillaume  Dupre,  Michel  Bourdin, 
and  Simon  Guillain.  In  Dupre*s  medals — in  Bourdin*s 
Amador  de  la  Porte — in  Guillain's  fine  bronzes  of  Louis 
Xin.  and  Anne  of  Austria  from  the  Pont-au-Change,  we 
see  a  new  pre-occupation  with  the  living  model — a  desire 
for  truth — which  had  disappeared  for  a  while  in  the  decadence 
of  the  late  [Renaissance. 

In  Painting,  the  influence  of  Italy,  especially  of  the 
Venetians,  is  seen  in  nearly  all  the  pictures  of  the  time. 
Xo  longer  content  with  simple  portraits  or  religious 
pictures,  the  artists  who  have  studied  the  grand  works  of 
Michael  Angelo,  Eaphael,  the  Bolognese  School,  and  above 
all,  the  Venetians,  are  fired  with  the  desire  to  **  faire  grand  ". 
And  in  the  new  and  sumptuous  buildings  of  Paris  and  the 
provinces,  they  get  an  unexampled  opportunity  for  decora- 
tive art.  Even  the  easel  pictures  show  a  decorative  tendency. 
It  is  seen  ahke  in  religious,  in  mythologic,  and  in  historic 
painting.  But  another  point  is  to  be  noted.  From  the  be- 
ginning of  the  17th  century,  rehgious  painting  and  sculpture 
are  in  a  condition  of  decadence.  Learning — intellectual  effort 
—has  replaced  simple  faith.  And  from  this  moment  we  get 
pictures  for  Churches,  instead  of  religious  painting.  Some 
artists  will  treat  their  subjects  with  dignity — even  with  con- 
viction. But  they  will  see  their  subject,  be  it  the  Deluge  or 
a  Holy  Family,  by  an  act  of  intelligence,  not  an  act  of  faith. 

PAINTERS. 

Dubois,  Ambroise  (6.  Antwerp,  1543 ;  d.  Fontainebleau, 

1615.) — Ambroise  Dubois   is  the  first  painter  of   the   new 

regime.      From   henceforth   there   is,  with   few  exceptions, 

little  uncertainty  about  the  history  of   well-known  artists. 

We  know   who   were   their  pupils,   often   who   were   their 

masters.      Art,   in   fact,   as    I    have  tried   to   show,  is   no 

8 


114  A  HISTORY  OF  FRENCH  ART.  Ch.  VII. 

longer  anonymous,  obscure  :  but  carefully  signed  and  well 
authenticated,  by  artists  who  consider  themselves  descendants 
of  Phidias  and  Apelles. 

In  1568  when  Dubois  came  to  Paris,  he  was  already  an 
accomplished  artist ;  and  soon  acquired  a  great  reputation. 
Henri  IV.  made  him  painter  in  ordinary  and  Valet  de 
Chambre.  He  was  employed  at  Fontainebleau,  where  Henri 
IV.  was  carrying  out  important  works ;  and  at  the  Louvre. 
And  was  naturalized  in  1601.  In  1606  he  was  appointed 
painter  to  Marie  de  Medicis,  and  worked  at  the  Luxembourg 
during  her  Regency.  He  was  buried  in  the  Church  of  Avon 
at  Fontainebleau,  where  his  tomb  may  still  be  seen. 

Dubois  formed  a  school  of  painters  at  Fontainebleau.  His 
best  pupils  were  his  sons  Jean  and  Louis,  Paul  his  nephew, 
and  Mogras  of  Fontainebleau. 

Of  his  numerous  paintings  for  the  Palace  of  Fontainebleau 
under  Henri  IV.,  the  only  ones  remaining  are  some  in  the — 

1.  Chapelle-haute  of  Saint-Satumin. 

2.  The  series  of  the  history  of  Theagene  et  Chariclee. 
The  pictures  of  this  series  are  mannered,  but  fine  for  the 
time.  Five  of  them  were  taken  from  the  Queen's  room, 
when  the  doors  were  raised,  and  are  now  placed  in  the 
antichamber.  Three  of  these  are  quite  the  best  of  the 
series. 

3.  Some  of  the  paintings  of  the  History  of  Tancred  and 
Clorinda  for  the  apartments  of  Marie  de  Medicis. 

The  Galerie  de  Diane  was  decorated  by  Dubois.  But 
the  decorations  were  destroyed  during  the  Empire.  Some 
of  the  fragments  were  put  on  canvas  and  repainted,  under 
Louis  Phihppe,  and  replaced  in  the  Palace  in  1840. 

The  Louvre  contains  two  pictures  by  Dubois  : — 

1.  Chariclee  subit  Tepreuve  du  feu.  Coll.  Henri  IV. 

2.  Bapteme  de  Clorinde. 

Fr^minet,  Martin  {b.  Paris.  1567;  d.  1619).— With 
Freminet  we  reach  the  first  of  that  long  line  of  painters 
whose  education  was  not  considered  complete  until  they  had 
studied  in  Italy.  At  the  age  of  twenty-three  Freminet  went 
to  Italy.     He  arrived  there  just  as  the  quarrel  between  the 


1589-1648.       ART  UNDER  HENRI  IV.  AND  LOUIS  XIII.  115 

partisans  of  Michael  Angelo  and  Josephine  was  at  its  height. 
Though  he  took  the  part  of  the  latter,  he  studied  the  former 
and  Parma :  and  stayed  for  many  years  in  Italy. 

In  1603  Henri  IV.  made  him  his  first  painter ;  and  en- 
trusted him  with  the  decorations  of  the  Chapel  of  the  Ste. 
Trinite  at  Fontainebleau.  This  work,  begun  in  1608,  was 
interrupted  by  the  King's  assassination  in  1610.  But  it  was 
continued  under  Louis  XIII. ;  Freminet  being  rewarded  by 
Marie  de  Medicis  in  1615  with  the  order  of  Saint  Michel. 
Freminet  was  a  friend  of  Eegnier,  who  addressed  his  tenth 
satire  to  him. 

His  method  of  painting  was  a  singular  one.  He 
painted  one  part  after  another  of  either  figure  or  portrait, 
without  drawing  or  even  sketching  in  the  whole.  His  Eiiee 
abandonnant  Didon,  in  the  Louvre,  may  be  explained  by  this 
process.  It  is  hard  and  academic,  with  no  unity  either  of 
colour  or  composition.  The  decorations  in  the  chapel  at 
Fontainebleau  are  much  superior  to  this  picture.  While  the 
architecture  is  thoroughly  Italian,  Freminet's  decorations  of 
the  ceiling  remain  essentially  French. 

VouET,  Simon  (Paris,  1590-1649).— Simon  Vouet  is  with- 
out doubt  one  of  the  most  important  figures  in  the  art  of  the 
early  17th  century.  Apart  from  the  merit  of  his  works,  he 
exercised  a  profound  influence  on  French  Art.  For  he 
formed  most  of  the  best  artists  of  the  century,  counting 
among  his  pupils  Le  Sceur,  Le  Brun  and  Mignard.  His 
own  master  was  his  father,  a  poor  and  inferior  painter.  At 
fourteen,  however,  the  lad  already  painted  so  well,  that  he 
was  selected  to  go  to  England  and  paint  the  portrait  of  a 
lady  of  quality  who  had  taken  refuge  there.  James  I.  en- 
deavoured to  persuade  Vouet  to  stay.  But  after  a  few  years 
he  returned  to  France. 

In  1611  he  accompanied  M.  de  Harlay  to  Constantinople. 
And  his  portrait  of  Achmet  I. — painted  from  memory,  as  he 
only  saw  the  Grand  Turk  during  the  interview  with  the 
ambassador — is  of  special  interest.  For  in  it  we  get  the 
first  work  of  the  Orientahsts.  Vouet  left  Constantinople  the 
next  year  for  Venice,  where  he  copied  Titian  and  Veronese. 


116  A  HISTORY  OF  FRENCH  ART.  Ch.  VH. 

And  in  1613  went  on  to  Eome,  copying  Carvaggio  and 
Valentino,  and  imitating  Guido.  After  painting  a  number 
of  successful  pictures,  he  was  summoned  by  the  Dorias  to 
Genoa,  where  he  spent  two  years  decorating  their  palaces. 
Eeturning  to  Eome,  he  was  elected  Prince  of  the  Academy 
of  Saint  Luke.  He  was  protected  by  Cardinal  Barberini, 
who  became  Pope,  painting  him  and  his  nephews  the  car- 
dinals. Highly  respected,  he  had  thoroughly  settled  himself 
in  Eome,  having  married  the  artist  Virginia  Vezzo  Veltrano, 
when  Louis  XIII.,  from  whom  he  received  a  pension,  re- 
called him  to  France  in  1627. 

On  his  arrival  in  Paris  with  his  family  and  pupils,  the 
King  and  the  Queen-Mother  gave  him  a  cordial  reception. 
He  was  appointed  first  painter,  given  a  large  salary,  with 
lodgings  in  the  Louvre,  charged  with  the  drawings  for  the 
Eoyal  Tapestries  and  the  decorations  of  the  Louvre  and  the 
Luxembourg,  besides  several  works  for  Saint  Gennain-en- 
Laye.  He  painted  all  the  nobles  of  the  Court,  as  well  as 
several  portraits  of  Louis  XIII.  One  is  in  the  Louvre  (976). 
And  he  furthermore  taught  the  King  to  use  pastels  well 
enough  to  produce  a  good  likeness.  In  1632  Eichelieu  em- 
ployed him  at  the  Palais  Eoyal  and  the  Chateau  de  Eueil. 
In  1634  he  painted  the  famous  gallery  of  the  Hotel  de 
Bullion.  The  next  year  the  gallery  of  the  Marechal  d'Efiiat 
at  Chilly.  Another  for  the  Due  d'Aumont.  The  Chapelle 
Seguier.  And  the  ceiUng  of  the  Hotel  Breton-villier.  Most 
of  the  churches  in  Paris  were  decorated  with  his  works. 
**And  no  painter  perhaps  had  such  a  vogue."  ^ 

Although  he  worked  with  extraordinary  rapidity,  he  soon 
was  only  able  to  furnish  drawings,  which  were  carried  out  by 
his  pupils.  And  often  he  had  not  even  time  to  retouch  their 
paintings.  M.  de  Chennevi^res  says  of  Vouet,  that  he  brought 
to  France  on  his  return  from  Italy  a  new  taste,  a  new  fashion 
— that  decorative  painting,  reasonable,  correct  and  pleasing 
to  the  eye,  which  he  had  learnt  in  Eome  from  the  Bolog- 
nese  School — the  free,  live  and  vivid  style  of  historical 
painting,  which  markfi  his  work  and  that  of  his  pupils. 

»  ViUot. 


1569-1643.       ABT  UNDER  HENRI  IV.  AND  LOUIS  XIII.  117 

As  chef  d'ecole  he  taught  the  young  and  brilUant  group 

of  artists,  his  pupils,  to  apply  the  ideas   he   had   brought 

back   to  his  native   land.      To   apply  them   each   in   their 

own   fashion — as   painters,  sculptors,   omwnentistes,  to  the 

new  and   sumptuous   dwellings   which   at   the   moment   of 

his  arrival  were  beginning  to  spring  up,  as  I  have  said,  all 

over  Paris.     In  those  new  hotels  of  the  Place  Eoyale,  the 

De  Saint  Louis,  round  the  Arsenal,  in  the  Quartier  Saint- 

Antoine,  the  Marais,  the  Faubourg  Saint-Germain,  a  splendid 

and  almost  unique  opportunity  was  offered  to  the  artists  of 

France.    And  not  only  did  Vouet — to  his  honour  be  it  spoken 

— teach  his  pupils  to  apply  the  principles  he  had  studied 

in  the  great  Itahan  palaces  under  Guido,  Domenechino,  the 

later  Caracci,  and  to  see  the  charm  of   the  late  Venetians 

— ^but  he  impressed  upon  them  the  absolute  importance  of 

conscientious   draftsmanship   and    scrupulous    attention    to 

truth,  and  to  nature,  in  draperies  and  attitudes.     Keenly  alive 

personally  to  all  harmonies  of  composition,  he  excelled  in 

adapting  the  principles  he  had  learnt  abroad,  to  that  **  viriHty 

"  of  spirit  which  was  current  in  the  noble  generation  of  that 

"  time,*'  "  for  in  Art  and  Letters  this  was  the  Golden  Age  of 

"  France  ".1 

Examples.     Eight  pictures  in  Louvre  : — 

972.  Virgin,  Infant  Jesus  and  St.  John. 

973.  Crucifixion. 

975.  Entombment. 

976.  Portrait  of  Louis  XIII. 

977.  Allegoric  de  la  Eichesse. 

978.  Faith. 

The  Annunciation,  Corporation  Gallery,  Glasgow. 
In  the  singular  portrait  of  Louis  XIII.,  crowned  with 
Bays  (976),  with  two  symbolic  female  figures  of  France  and 
Navarre  claiming  his  protection,  grave  faults  of  arrangement 
are  seen,  which  produce  the  odd  effect  that  the  King's  pro- 
tecting hand  is  slapping  the  face  of  Navarre.  In  977  and 
978  there  is  a  certain  charm  of  colour,  especially  in  the  tine 
yellows,  orange,  and  flaming   heart.     Though   it   must  be 

*  Marq.  de  Cheunevieres. 


118  A  HISTORY  OF  FRENCH  ART.  Ch.  VH. 

conceded  that  the  latter  has  nothing  whatever  to  do  with 
**  Faith  '\  973  and  975  are  fine  and  interesting  works  of  a 
much  higher  and  more  serious  order. 

Stella,  Jacques  (b.  Lyons,  1596;  d  Louvre,  1657). — 
The  family  of  Jacques  Stella  originally  came  from  Flanders, 
Francois,  the  painter's  father,  settling  at  Lyons  when  his 
son  was  only  nine  years  old.  From  his  childhood  Jacques 
Stella  showed  considerable  talent.  At  the  age  of  twenty  he 
went  to  Florence.  Here  Cosmo  de  Medicis  employed  him 
for  decorations  at  the  fetes  in  honour  of  his  son  Ferdinand's 
marriage ;  and  gave  him  lodgings  and  the  same  allowance  he 
was  already  giving  to  Jacques  Callot  the  engraver.  After 
spending  seven  years  in  Florence,  Stella  and  his  brother 
Fran^'ois  went  on  to  Rome.  Here  he  stayed  for  twelve 
years,  stud}ing  the  antique  and  painting  numbers  of  pictures. 
A  close  friendship  sprang  up  between  him  and  Poussin, 
whose  manner  he  endeavoured  to  imitate,  Poussin  preserving 
a  wann  and  paternal  affection  to  the  end  of  his  life  for 
the  family  of  this  companion  of  the  best  years  of  his 
studies. 

In  spite  of  many  offers  from  Italy  and  Spain,  Stella 
returned  in  1634  to  Paris,  Richelieu  positively  forbidding 
him  to  go  to  Spain  by  invitation  of  the  King,  who  had 
seen  and  admired  his  work.  The  Cardinal  gave  him  an 
allowance  of  1000  livres  and  lodgings  in  the  Louvre.  While 
ten  years  later  he  received  the  Cross  of  Saint  Michel,  and 
the  brevet  of  first  Painter  to  the  King. 

It  has  been  suggested  that  a  certain  tendency  towards 
familiar  subjects  rather  than  to  the  finest  spirit  of  antiquity, 
of  which,  however,  there  are  traces  in  his  pictures,  shows  that 
he  was  perhaps  unconsciously  faithful  to  the  Flemish  tradition. 
His  pictures  were  engraved  by  the  best  engravers  of  the 
day :  especially  by  his  niece  Claudine  Stella.  And  besides 
his  pictures,  there  are  engravings  of  numerous  graceful  sets 
of  children's  games,  vases,  goldsmiths*  designs,  and  archi- 
tectural ornaments,  with  which  he  amused  himself  in  the 
winter  evenings. 

The  Louvre  possesses  (501)  a  small  and  very  artificial 


1589.1643.       ART  UNDER  HENRI  IV.  AND  LOUIS  XHI.  119 

example  of  Stella's  work — a  picture,   painted  on   Oriental 
Alabaster,  of  Christ  receiving  the  Virgin  into  Heaven. 

Blanchard,  Jacques,  "  Le  Titien  Franjais  *'  (Paris, 
1600-1638). — Blanchard  went  to  Eome  in  1624.  He  spent  two 
years  working  there.  He  then  visited  Venice,  where  he  made 
a  special  study  of  Titian,  bringing  back  to  France  that  richer 
palette  of  the  Venetians  which  distinguishes  his  work.  So 
close  indeed  was  his  study  of  the  Venetians,  that  he  was 
known  as  **  Le  Titien  Franc^ais,''  a  title  he  certainly  never 
deserved.  But  his  pictures — especially  his  Holy  FamiUes — 
were  much  sought  after,  and  he  painted  with  extreme  facility. 
He  only  had  two  pupils — his  son  Gabriel ;  and  Louis  de 
Boullongue,  one  of  the  founders  of  the  Academy. 

Of  his  four  pictures  in  the  Louvre,  the  finest  (26)  is  a 
large  three-quarter  length,  "  St.  Paul  in  Meditation  '\  Here 
Titian's  influence  is  very  evident. 

ARCHITECTS. 

Androuet    du    Cerceau,   Jacques  II.    (1556-1614). — 

Jacques  II.,  son  of  Jacques  I.,  is  closely  identified  with  the 

reign  of  Henri  IV.     He  had  been  known  as  an  architect  for 

ten  or  twelve  years  before  the  King's  accession,  working 

under  his  elder  brother,  Jean-Baptiste,  on  the  Pont  Neuf ,  and 

on  the  rez  de  chaussez  of  the  Grande  Galerie  of  the  Louvre. 

In  1690,  on  his  brother's  death,  Henri  IV.  gave  his  position 

to  Jacques  II.     But  replaced  him  in  1694  by  Louis  Metezeau, 

who    was  made   **  Ordonnateur  des   Batiments   du   roi,   et 

architecte  en   ordinaire".     This   appointment   Du   Cerceau 

opposed  vehemently,  but  in  vain.     Two  years  later  his  suit 

was  rejected,  and  he  was  made  to  rank  second.     He,  however, 

fortifi^   Melun  and   Pontoise   for   the  King,  and  in  1598 

became  his  private  architect.     He  made  plans  for  the  Chateau 

de  Pau  and  the  city  of  Nerac.     He  also  finished  the  Chateau 

de  Montceau  and  that  of  Verneuil  for  the  King's  two  favourites. 

It  is  probable  that  in  spite  of  his  secondary  position 
under  Metezeau,  he  had  a  good  deal  to  do  with  the  com- 
pletion of  the  Grande  Galerie,  as  far  as  the  Pavilion 
Lesdiguieres.     The  second  part,  begun  in  1600  and  finished 


120  A  HISTORY  OF  FRENCH  ART.  .Ch.  Vn. 

in  1609,  from  that  point  to  the  Pavilion  de  Flore,  is  certainly 
Du  Cerceau's  work.  It  is  far  from  sharing  the  piquancy 
and  charm  of  the  earlier  portion.  Colossal  Corinthian  pil- 
asters 40  feet  high  in  couples,  adorn  the  facade,  with  no 
reference  to  the  external  structure  or  to  the  interior  arrange- 
ments. **As  usual  also,  the  entablature  is  cut  through  by 
'*  the  windows ;  and  a  series  of  pediments,  alternately  semi- 
**  circular  and  straight-lined,  give  a  broken  line,  which  aggra- 
**  vates  instead  of  mitigating  the  overpowering  heaviness  of 
**  the  roof."  ^  This  correct  and  frigid  architecture  foreshadows 
a  new  tendency  in  French  Architecture,  which  is  soon  to  for- 
sake its  gay  and  original  inspirations  for  more  rigid,  more 
severe,  more  classic  rules. 

In  1602,  when  Du  Cerceau  acquired  the  house  his  brother 
had  built  in  the  Pre-aux-Clercs,  he  is  styled  controllcur  et 
architecte  des  hatiments  du  rot.  And  in  1608  receives  a  pension 
of  1200  livres  as  architecte  du  roi.  In  the  same  year  the  King 
gave  him  the  droits  seigiieuriaux  of  La  Chastre,  Launay  and 
the  forest  of  Pichery.  Some  attribute  the  plans  of  the  new 
Palace  of  Saint-Germain  to  Du  Cerceau ;  others  to  Duperac. 
He  was  certainly  architect  for  the  enlargement  of  the 
Hotel  de  Conde,  when  the  Due  de  Bellegarde  acquired  it 
in  1611. 

He  died  in  Paris  in  1614,  and  was  buried  in  the  Pro- 
testant Cemeterj'. 

Metezeau,  Louis  (6.  Dreux,  about  1559;  d,  Paris,  1615). 
— Louis  Metezeau  was  made  controller  and  architect  of  the 
Eoyal  buildings  in  1594,  ousting  Du  Cerceau,  Jacques  II., 
from  the  post.  In  1605  he  was  created  architect  in  ordinary 
to  the  King,  and  **  garde  des  meubles  du  Palais  des  Tuileries," 
with  a  salary  of  2400  livres  Tournois.  He  is  further  de- 
scribed as  **  ecuyer,  sieur  de  Germainville  et  de  Bressac,  pres 
Dreux  ". — A  man  of  mark.  He  almost  certainly  made  the 
plans  for  the  Pavilion  des  Antiques  (i.e.,  the  ground  floor 
of  the  Galerie  d'Apollon).  The  first  floor  of  the  Petite 
Galerie,  attributed  falsely  to  Coing  and  Tournier,  who  were 
only  the  contractors.     The  plans  for  the  great  pavilion  near 

^  FergUBson. 


1589-1643.       ART  UNDER  HENRI  IV.  AND  LOUIS  XIII.  121 

the  Pavilion  Lesdiguieres.  And  the  alterations  in  that  part 
of  the  Grande  Galerie  built  before  Henri  IV. 's  accession. 

To  Metezeau  also  are  due  the  designs  for  the  old  Porte 
de  la  Biblioth^ue,  now  known  as  the  **  Porte  Jean  Goujon,*' 
with  its  columns,  balcony,  attic,  and  rich  pediment.  Lastly 
Metezeau  was  the  author  of  the  great  works  at  Fontaine- 
bleau  under  Henri  IV.  To  him  we  owe  the  Galerie  de  Diane 
(now  the  Library).  The  Cour  des  Princes.  The  buildings 
of  the  Cour  des  Offices.  The  porte  du  Dauphin — that  curious 
building  crowned  by  a  dome,  which  closes  the  interesting 
Cour  Ovale.  Built  in  honour  of  the  baptism  of  Louis  XIII., 
who  was  five  years  old,  it  presents  a  singular  mixture  of  Tuscan 
orders,  columns,  masques  of  Tragedy  and  Comedy,  initials 
of  Henri  IV.  and  Marie  de  Medicis,  and  dolfins  (dauphins) 
intertwined  instead  of  volutes  on  the  capitals. 

De  Brosse,  Salomon^  (Verneuil,  1565-1626).— Son  of 
Jehan  de  Brosse  architect  to  the  Eeine  Margot,  a  nephew 
of  Androuet  du  Cerceau,  Jacques  II.,  De  Brosse  was  first 
employed  by  his  uncle.  In  1613  he  gives  receipts  for  sums 
paid  to  him  for  works  on  the  Hotel  of  the  Due  de  Bouillon, 
of  which  he  was  both  designer  and  contractor.  Upon  the 
death  of  Du  Cerceau  he  became  architect  to  the  Queen- 
Mother  ;  and  began  his  great  work,  her  palace  of  the 
Luxembourg,  finished  in  1620 ;  also  the  Fontaine  de  Medi- 
cis. Marie  de  Medicis  allowed  him  1200  livres  a  year.  And 
from  1615  to  1625  he  received  2400  livres  as  architecte  du 
roi. 

From  1616  to  1621  he  was  engaged  on  the  front  of  St. 
Gervais.  And  between  1619  and  1622  he  rebuilt  the  Grande 
Salle  of  the  Palais  de  Justice,  which  had  been  burnt  in  1618. 
He  also  furnished  plans  for  the  Aqueduct  of  Arcueil,  begun 
in  1613  and  finished  in  1624 :  for  the  Chateau  de  Coulom- 
miers,  destroyed  in  1737 ;  and  for  the  Palais  des  Etats  de 
Rennes,  completed  by  Courneau  in  1654.  The  Chateau  de 
Montceaux  has  been  attributed  to  him,  but  WTongly,  as  it  was 
built  by  Du  Cerceau  before  De  Brosse  is  even  mentioned. 

Fergusson   considers   the   Luxembourg  the  most  satis- 

'  Sieur  de  Plessis,  pr^s  Verneuil. 


122  A  HISTORY  OF  FRENCH  ART.  Ch.  Vn, 

factory  building  of  that  period.  In  plan  it  is  essentially 
French.  But  in  its  sobriety  one  is  reminded  **  that  it  was 
**  built  for  a  Medici,  who  insisted  that  the  Pitti  and  other 
**  palaces  of  her  beloved  Florence  should  form  the  key-note 
**  of  the  design".^ 

Le  Mercier,  Jacques  (6.  Pontoise,  about  1585  ;  d.  1654). 
— In  1607  Le  Mercier  went  to  Eome  to  complete  his  studies. 
And  while  there  he  gave  the  plans,  Sauval  says,  for  the  Church 
of  Saint  Louis  -  des  -  Fran^ais,  and  began  its  construction. 
Immediately  on  his  return  to  France  he  was  employed  on 
the  Louvre,  w^ith  700  livres  salary.  In  1613  he  rebuilt  the 
Hotel  de  Bouillon  or  de  la  Rochefoucauld,  Rue  de  Seine. 
Four  years  later,  as  architecte  du  roi,  he  began  the  old 
buildings  at  Versailles  of  the  Cour  d'Honneur — now  known 
as  the  Cour  de  Marbre — the  nucleus  round  w^hich  the  whole 
of  the  magnificent  palace  was  to  grow  up  in  the  next  reign. 

In  1624  one  of  his  greatest  works  was  begun.  For  in 
this  year  RicheUeu  ordered  him  to  draw  up  plans  for  the 
completion  of  the  Louvre.  Le  Mercier  adopted  Metezeau's 
old  plan.  He  proposed  to  add  a  central  paviUon  to  the 
West  and  South  wings,  which  were  already  built.  Beyond 
these  pavihons  the  wings  were  to  be  repeated.  And  on  the 
North  and  East  sides  they  were  to  be  reproduced  ;  thus  form- 
ing a  vast  court.  This  has  eventually  been  done  :  but  with 
many  modifications,  of  which  I  must  speak  in  the  next 
chapter.  Le  Mercier  began  his  work  by  puUing  down  the 
North  wing  and  the  old  Tour  de  la  Librairie.  He  built  the 
pavilion  de  I'Horloge,  keeping  closely  to  the  dispositions  of 
Lescot's  work — for  which  he  had  a  deep  respect — ^in  the 
rez  de  chaussez,  first  floor,  and  attic.  Above  the  attic  he 
placed  another  storey  with  lofty  round-headed  bays,  and 
adorned  by  four  groups  of  cariatides  by  Jacques  Sarazin. 
This  storey  he  finished  with  three  concentric  pediments ; 
and  crowned  the  whole  by  a  lofty  Dome.  He  then  completed 
the  further  buildings  of  the  West  side,  closely  copying 
Lescot's  wing,  to  the  angle  of  the  court  (now  Galleries  of 
French  Sculpture).    And  in  1640  began  the  North  side.     He 

^  Fergusson. 


1589-1643.       ART  UNDER  HENRI  IV.  AND  LOUIS  Xni.  123 

was,  however,  only  able  to  finish  the  rez  de  chaussez,  as  far 
as  the  central  PaviUon. 

While  this  work  on  the  Louvre  was  going  on,  Le  Mercier 
was  largely  employed  in  other  directions  by  EicheUeu.  In 
1629  he  began  the  Palais  Cardinal,  finished  in  1636.  This 
is  now  the  Palais  Eoyal.  And  nothing  remains  of  Le 
Mercier's  Palace  but  the  gallery  des  FroueSy  facing  the  inner 
fountain  court.  In  the  same  year  Le  Mercier  furnished 
plans  for  the  Cardinal's  Church  of  the  Sorbonne,  and  super- 
intended the  works  until  his  death.  In  1631  he  undertook 
the  building  of  the  magnificent  Chateau  de  Eichelieu,^ 
finished  in  1637.     And  then  gave  plans  for  the  Church. 

He  began  the  Church  of  Saint  Eoch  in  1633,  building 
the  choir  and  part  of  the  nave.  In  the  same  year  he  suc- 
ceeded Francois  Mansart  at  the  Church  of  Val-du-Grace, 
then  only  10  feet  above  the  soil.  He  carried  it  up  to  the 
cornice  of  the  great  order  of  pilasters.  And  in  1651  built 
the  Chapel  of  the  Saint  Sacrement.  About  1635  he  was 
appointed  architect  in  ordinary  and  first  architect  to  the 
King,  with  a  salary  of  3000  livres. 

The  first  Theatre  of  the  Palais  Eoyal,  the  Hotels  Colbert, 
de  Liancourt,  and  de  Longueville,  engraved  by  Marot,  etc., 
were  Le  Mercier*s  work.  Outside  Paris  he  built  the  Chateau 
and  Church  of  Eueil  for  Eichelieu.  And  at  Fontainebleau 
carried  on  the  buildings  of  the  Chapel  de  la  Ste.  Trinity  ;  de- 
corated the  Chambre  du  Eoi ;  and  replaced  Gilles  le  Breton's 
beautiful  stairway  in  the  Cour  du  Cheval  Blanc  by  the  existing 
one.  As  an  engineer,  Eichelieu  made  him  draw  up  plans  for 
a  great  canal  round  Paris,  which  should  contribute  to  its 
defence.     But  the  canal  was  never  made. 

Besides  his  buildings,  Le  Mercier  published  Le  Mag- 
nlfique  Chateau  de  Richelieu, 

A  noble  portrait  by  Philippe  de  Champaigne,  engraved 
by  Edelinck,  shows  us  what  manner  of  man  was  the  favourite 
architect  of  the  great  Cardinal. 

Mansart,  Franqois  (Paris,  1598-1666). — His  father  was 
styled  **  Charpentier  du  roi  ". 

1  See  p.  110. 


124  A  HISTORY  OF  FRENCH  ART.  Ch.  VIL 

So  much  of  Mansart's  most  important  work  was  done  in 
the  reign  of  Louis  XIII.  that  it  is  necessary  to  class  him 
with  the  architects  of  this  period.  His  first  work  was  the 
Church  of  the  Visitation  des  Filles  de  Sainte-Marie,  Rue 
Saint  Antoine  (now  the  Temple  Protestante),  built  on  the 
model  of  N.  D.  des  Anges  in  Eome.  In  1634  he  also  restored 
and  added  to  the  Hotel  Camavalet.  In  1635  he  built  the 
Hotel  de  la  Vrilliere,  now  the  Banque  de  France.  And  in 
the  same  year  Gaston  d'Orleans  entrusted  him  with  those 
unfortunate  alterations  at  Blois — the  great  unfinished  building 
which  closes  the  court  on  the  West — replacing  the  early 
wing  with  its  charming  arcade  and  varied  motives,  which  we 
only  now  see  in  Du  Cerceau*s^  book,  the  Excellents  Bastivients. 
In  1642  Mansart  built  the  Chateau  de  Maisons,  near 
Saint-Germain-en-Laye,  for  Rene  de  Longueil.  This  is  one 
of  the  most  remarkable  examples  of  the  country  chateaux 
of  the  new  order  of  men  and  things.  In  1645  he  built  the 
rez  de  chaussez,  having  furnished  plans  for  the  whole — of 
the  Monastery  and  Church  of  Val-du-Grace.  Colbert  con- 
sulted him  on  plans  for  finishing  the  Louvre.  He  furnished 
sketches,  but  without  wishing  to  tie  himself  irrevocably  to 
them  ;  and  thus  lost  this  great  work. 
The  hst  of  his  works  is  a  long  one. 
In  Paris : — 

The  front  of  the  Monastery  of  the  Feuillants. 

The  high  Altars  of   the  Filles   Dieu,  hopital  de  la 

Trinity,  and  Saint-Martin-des-Champs. 
The  Church  of  the  Dames  Sainte-Marie,  Chaillot. 
Front  of  the  Church  of  the  Minimes,  Quartier  St. 

Antoine. 
The  Hotel  Mazarin  (now  Bibliotheque  Nat.),  Rue  de 

Richelieu. 
Hotels  de  Jars  and  de  Coislin,  Rue  de  Richelieu. 
Hotels  Conti,  Bouillon,  d'Albret.  The  door  of 
the  Hotel  Guen^gaud.  Hotel  d'Aumont,  Rue 
de  Jouy.  Hotel  de  Fienbert,  Quai  Saint  Paul. 
Hotel  de  Chateauneuf,  Rue  Coquilliere. 

^  Du  Cerceau,  Jacques  I.,  father  of  Jacques  II.,  author  of  Les  plus  er- 
celleiits  bastimenta  de  la  Fra^ice^  1576. 


1589-1648.       ART  UNDER  HENRI  IV.  AND  LOUIS  XIII.  125 

In  the  provinces : — 

Chateau  de  Fresnes,  between  Claye  and  Meaux. 
Chateaux   de    Berny   and    de    Bercy.      Chateau    de 
Bfidleroy,  Calvados.     Chateau  La  Fert6  Eeuilly^ 
Indre. 
Parts  of  Chateaux  Choisy  sur  Seine,  La  Fert^  St. 
Aubin  (Loiret),  and  Petit  Bourg,  on  the  Seine 
between  Paris  and  Corbeil.     Also  some  of  the 
buildings  of  Coulommiers,  Richeheu  and  Gfevres 
en  Brie. 
The  Hotel  de  Ville  of  Troyes  is  also  attributed  to 
Mansart. 
From  what  we  know  of  Mansart,  as  well  as  by  what  we 
see  of  his  works,  it  is  evident  that  he  was  thoroughly  imbued 
with  Classic  doctrines.     **He  drew  his  inspiration  from  an- 
"tiquity  and  from  Italy.      The  pediment,   the   column   or 
"pilaster,  and  above  all,  the  cupola,  the  inevitable  cupola, 
"these  were  his  great  means  of  action."  ^ 

SCULPTORS. 

Barth^ilemy  Prieur  (b.  1540 — 50;  d,  1611). — A  pupil 
of  Germain  Pilon,  Barth^lemy  Prieur  succeeded  his  master 
as  first  sculptor  to  the  King  in  1598.     But  many  of  his 
most  important  works   were  done  years   before,  when   he 
worked  with  Bullant  for  the  Montmorencys.     He  was  em- 
ployed at  jficouen,  the  Louvre,  Fontainebleau,  the  Celestins, 
the   Church    of    Montmorency,    and    St.    Denis.      At    the 
Louvre    we    owe    to    Barth^lemy    Prieur    **the    recUning 
"  figures,  representing  Fames  and  geniuses,  which  decorate 
"the  tympanum   of    each   arcade  on   the  petite  galerie".^ 
At   Fontainebleau   he   cast  the  bronze  of  the  Diane  a  la 
Biche,  now  in  the  Louvre,  for  Henri  IV.  *s  fountain  in  the 
Queen's  Garden.     Only   the    two    statues    remain    of    the 
splendid   Mausoleum   which   Madeleine   de    Savoie    caused 
Bullant  to  erect  to   her  husband   the  Constable  Anne   de 
Montmorency.     They  are  now  in  the  Louvre,  and  in  them 

^  Lemonnier.  '^  Babeau. 


126  A  HISTORY  OF  FRENCH  ART.  Ch.  VH. 

Prieur  has  returned  to  the  traditional  forms  of  the  Middle 
Ages.  The  Constable's  is  a  grand  and  stately  figure.  The 
Duchess's  effigy  is  very  fine ;  the  chisel  simple  and  noble. 
His  monument  supporting  the  urn  which  contained  the 
Constable's  Heart,  from  the  Church  of  the  Celestins,  is  ver\' 
inferior  to  those  of  the  earlier  Eenaissance. 

Lenoir  formally  attributes  to  Prieur  the  two  academic 
figures  in  bronze  of  the  tomb  of  Christophe  de  Thou,  from  the 
Church  of  Saint  Andre  des  Arts  (Louvre).  The  bust  of  De 
Thou  above  them  is  also  attributed  to  him,  and  may  well  be 
his.  And  a  further  attribution  is  the  kneeling  figure  of  Marie 
de  Barban9on-Cany,  first  wife  of  Auguste  de  Thou,  in  the 
Salle  de  Pujet.  This  is  a  very  lovely  figure  of  a  most  lovely 
woman,  with  a  fine  distinguished  face,  as  of  a  drawing  by 
Clouet,  kneeling  on  one  side  of  her  lord,  with  a  little  dog 
upon  her  dress.  The  whole  monument  is  by  Anguier.  But 
this  channing  statue  is  by  quite  another  hand. 

Jean  de  Bologne,  or  Jean  de  Douai  (Douai,  1524- 
1608).  —  Sculptor  and  architect  like  his  master  Michael 
Angelo — Jean  de  Bologne  lived  almost  continually  in  Italy, 
where  most  of  his  works  are  to  be  found,  notably  the 
celebrated  fountain  of  Bologna.  His  great  Henri  TV.  for 
the  Pont  Neuf  was  not  finished  at  his  death :  but  was 
completed  by  his  pupils  Franqueville  and  Bordoni,  and 
brought  by  them  to  Paris.  Destroyed  at  the  Revolution, 
the  fragments  are  in  the  Louvre.  The  four  nations  in 
the  guise  of  slaves  chained  at  its  foot,  are  now  attributed 
to  Franqueville  (b.  1548). 

Jean  de  Bologne  made  a  series  of  little  compositions  cast 
in  bronze,  which  were  sent  all  over  Europe,  and  were  the 
delight  of  the  amateurs  of  the  period.  Eichelieu  had  a 
complete  set.  There  were  many  in  the  Royal  Garde  Robe, 
of  which  some  are  still  in  the  Louvre.  And  with  one  of 
these  an  interesting  experiment  was  made  lately.  It  was 
photographed  and  then  enlarged  upon  the  screen,  when  the 
result  was  disastrous  for  Jean  de  Bologne,  as  the  whole  thing 
appeared  out  of  proportion  and  drawing.  The  same  experi- 
ment with  one  of  the  exquisite  Ivories  of  the  early  14th 


1589-1643.      ART  UNDER  HENRI  IV.  AND  LOUIS  XIII.  127 

century,  produced  a  magnificently  proportioned  statue,  perfect 
in  every  detail. 

Dupr6,  Guillaume  {b.  1610). — Married  to  a  daughter  of 
Barthelemy  Prieur,  Dupre  became  sculptor  and  Valet  de 
Chambre  du  roi.  In  1604  he  was  made  controller  of  the 
effigies  of  the  mint,  and  of  the  **  fontes  d'artillerie  ". 

The  day  after  the  assassination  of  Henri  IV.,  Dupre  and 
Jacquet  modelled  busts  in  wax  of  the  King.  Jacquet's  was 
preferred,  and  displayed  at  the  funeral — he  was  the  author 
of  the  Henri  IV.  of  the  Belle  Cheminee  at  Fontainebleau. 
But  curiously  enough,  Dupre*s  wax  has  at  last  been  found, 
according  to  M.  Bapst.  For  the  wax  bust  of  the  King, 
at  Chantilly,  can,  he  believes,  be  by  no  other  artist  than 
Guillaume  Dupre. 

Dupre's  handUng  of  bronze  was  most  remarkable.  And 
his  glory  are  his  medals.  The  first  was  made  in  1597, 
representing  Henri  IV.  as  Hercules,  with  Gabrielle  d'Estrees 
on  the  reverse. 

The  portrait  bust  of  Dominique  de  Vic,  Vicomte  d*Er- 
nienonville  in  the  Louvre,  is  a  very  beautiful  and  remarkable 
work  of  art,  dated  1610. 

BouRDiN,  Michel  (1679-1640),  was  one  of  the  artists  in 
whose  works  we  see  the  distinct  naturalist  tendency  of  this 
period. 

ffis  Amador  de  la  Porte,  Grand  Prieur  de  France,  from 
the  Priory  of  the  Temple,  is  a  fine  kneeling  figure,  (now  in 
Louvre).  In  this,  Bourdin  has  not  endeavoured  to  flatter 
his  model :  but  to  make  the  man*s  portrait  a  life-like  and 
characteristic  one.  The  stout,  rather  heavy-faced  personage 
is  only  distinguished  by  his  air  of  simplicity  and  banhomie, 
which  the  artist  has  given  with  striking  truth. 

His  other  works  are  the  statue  of  Louis  XI.  for  the 
Church  of  N.  D.  de  Clery  (1622),  and  an  effigy  in  1610,  of 
Henri  TV. 

GuiLLAiN,  Simon  (6.  Cambray,  1581 ;  d.  1658). — Simon 
Guillain,  the  son  of  a  sculptor  of  some  reputation  at  Cam- 
bray, was  the  third  of  the  naturalist  sculptors  of  the  period. 
His  Flemish  origin  displays  itself  in  his  work.     Belonging 


128  A  HISTORY  OF  FRENCH  ART.  Gh.  VII. 

to  the  vunirise  (see  next  chapter)  through  his  father  and 
his  brother-in-law  Cochet,  as  well  as  in  his  own  right,  he 
quitted  it  on  the  founding  of  the  Academy.  But  his  chief 
work  was  done  before  this  date — as  in  1(548  he  was  already 
sixty-seven. 

He  must  have  been  a  picturesque  and  original  personality, 
(juillet  de  Saint-Georges  represents  him  w^ith  a  **  fine  figure, 
**  quick  temper,  and  that  touch  of  pride  of  the  man  who  feels 
**  he  is  worth  something,  and  is  not  afraid  of  blows  ".  It 
seems  he  was  the  terror  of  robbers,  who  abounded  even  in 
Paris.  He  went  out  anned  with  a  sort  of  flail  with  steel 
points  hidden  under  his  cloak,  with  which  he  charged  his 
assailants,  "breaking  the  swords  with  which  he  was  op- 
** posed".  Guillain,  hke  most  of  his  contemporaries,  went 
to  Italj'.  But  unlike  them,  antiquity  and  mythology  bore 
a  small  part  in  his  w^ork.  Most  of  it  was  religious  statuaiy. 
His  chief  works  were  the  statues  of  the  Facade  of  St.  Gervais. 
The  retable  of  the  High  Altar  at  St.  Eustache.  Twelve  or 
more  statues  for  the  Church  of  the  Sorbonne.  Figures  of 
the  Virgin,  Saint  Theresa,  etc.,  at  the  Cannes  Dechaussees. 
The  Mausoleum  of  Catherine  de  la  Tremouille  at  the  Ave- 
Maria — this  is  now  in  the  Louvre  (705),  a  self-conscious 
kneeling  figure.  And  finally  the  great  monument  which 
adorned  the  Pont  du  Change. 

The  three  bronze  figures  of  Louis  XIII.,  Anne  of  Austria, 
and  Louis  XIV.  as  a  little  boy,  are  now  in  the  Louvre. 
**  These  are  works  of  the  first  class,  which  perhaps  have  no 
**  analogy  in  the  painting  or  in  the  sculpture  of  the  time. 
**  The  little  Louis  XIV.,  in  his  royal  costume,  so  thoroughly 
**  a  child,  yet  with  something  which  already  betrays  the 
**  monarch;  Louis  XIII.,  whose  affected,  and  at  the  same 
**time  martial  air,  the  artist  has  succeeded  in  rendering,  by 
**very  delicate  nuances — here  is  reality — tnie  and  historic. 
**  The  Anne  of  Austria  is  even  better.  Guillain  has  expressed 
**  in  her,  all  the  expansion  of  life,  all  the  pride  of  race.  The 
**  queen  is  at  once  Queen  and  Woman.*'  ^ 

(iuillain  was  not  only  able  to  see  the  truth  of  nature^ 

'  Lemonnier. 


1589-1643.       ART  UNDER  HENRI  IV.  AND  LOUIS  XIII.  129 

but  to  reproduce  it.     He  united  suppleness  and  breadth  of 
execution  with  careful  observation. 

Versailles  possesses  a  fine  portrait  of  Guillain,  by  Noel 
Coypel  (3403),  seated  before  the  model  of  his  monument 
on  the  Pont  du  Change. 

Sarbazin,  Jacques  (b.  Noyon,  1588,  d.  16G0). — Although 

Sarrazin    lived    until    1660,    he   must   be   placed    with   the 

masters  of  the  early  17th  century  ;    for  no  artist  had  such 

a  vogue  during  the  reign  of  Louis  XIII.     He  came  to  Paris 

in  1608,  studying  there  under  Nicholas  Guillain.     In  1610 

he  went  to  Home,  where  he  remained  for  eighteen  years. 

He  then  returned  to  Paris,  and  never  left  it  until  his  death. 

His  works  were   in  nearly  every  church  in  Paris.     He 

was  employed   by   the    Marquis   d'Efiiat    at    Chilly.      By 

Richelieu  at  Eueil.     By  M.  de  Longueil  at  Maisons.     But 

above  all  Sarrazin  was  the  chosen  sculptor  of  the  Crown  ; 

and  as  such  we  find  him  at  the  Louvre.     Here  he  was  the 

author  of  the  great  cariatides  supporting  the  Dome  of  Le 

Mercier*s  Pavilion  de  THorloge.     For  these  he  made  models 

which  were  carried  out  by  Gilles  Guerin,  and  Buyster  and 

Van  Opstal,  the  Flemish  sculptors.      These  sculptors  also 

worked  under  him  upon  the  **  Eenommees,"  the  trophies, 

lions,  masks,  etc.,  on  the  building.     **  The  conception  of  the 

**  cariatides   is   beautiful   and   elegant :    it    is   distinct   both 

"from   the   inspirations   of   the   16th    and    17th  centuries; 

"this  perhaps  has    not    been   suflSciently   noticed.      It   is 

"neither  Goujon,   Pilon,  or   Bernini.     The   personality  of 

"the  artist   is   revealed  in  the  delicacy,  the  soft  suavity, 

"  the  abstraction  one  may  almost  say  of  these  ^eat  figures."  ^ 

The  tomb   of   Henri    de   Conde — now  reconstructed  in 

the  Chapel  at  Chantilly — is  without  doubt  his  chief  work. 

While    his    contemporaries    turned    for    their   thoughts    to 

Ariosto  or  Tasso,  Sarrazin   went  back  as  far  as  Petrarch. 

The  idea  of   the  monument  is  borrowed  in  great  measure 

from   the   "  Triomphes ".     He   gives   us   the   Triumphs   of 

Death,  Fame,  Time  and  Eternity,  in  a  series  of  bas-reliefs, 

while  four   great   bronze   figures — Religion,  Justice,  Piety, 

^  Lemonnier. 

9 


130  A  HISTORY  OF  FRENCH  ART.  Ch.  VII. 

Valour,  and  little  genii  of  sorrow,  adorn  the  magnificent 
monument.  Though  in  these  ideas  we  find  in  place  of 
human  sentiment  a  sort  of  moral  rhetoric,  the  figures  are 
noble  in  the  extreme,  and  suitable,  according  to  the  spirit 
of  the  age,  to  surround  the  tomb  of  the  illustrious  dead. 
But  though  most  of  the  bas-reliefs  are  in  direct  imitation 
of  the  antique,  with  Roman  Soldiers  and  Eagles,  in  the 
Trimnph  of  Death  there  is  a  certain  realistic  grandeur  which 
is  impressive. 

Besides  this  Sarrazin  was  the  sculptor  of  the  tomb  of 
de  B^ruUe  for  the  Church  of  the  Carmelites ;  and  the  monu- 
ment in  the  Church  of  Saint  Paul,  in  memory  of  Louis  XIII. 

BiARD,  Pierre  (b.  1559 ;  d.  1609), — was  the  author  of  the 
remarkable  Jubd  of  St.  ^jtienne-du-Mont — a  unique  work 
of  its  kind.  It  was  begun  in  1600,  and  is  happily  intact. 
Two  very  important  monuments  were  erected  by  Biard  for 
the  due  d'fepemon,  Henri  III.'s  mignon.  The  first  was 
the  Mausoleum  of  his  wife.  Marguerite  de  Foix,  at  Cadillac- 
sur-Garonne.  The  second,  the  tomb  of  her  brother  the 
Bishop  of  Aire,  at  Bordeaux.  These  were  both  destroyed  in 
1792.  The  marble  statues  were  broken — the  columns  used 
for  Altars  to  la  Patrie — the  bronze  statues  sent  to  Rochefort 
for  cannons.  The  bronze  Fame,  however,  which  sur- 
mounted the  Mausoleum  of  Cadillac,  was  saved  on  account 
of  its  beauty  by  a  librarian,  the  citizen  Rayet,  and  is  now 
in  the  Louvre.  It  is  an  extraordinary  work  of  life  and 
realism ;  and  gives  Pierre  Biard  an  important  position  in 
French  Sculpture. 


CHAPTEE  VIII. 

REIGN  OF  LOUIS  XIV.— THE  ACADEMY  AND  PAINTERS. 

The  spirit  of  Art  in  this  remarkable  epoch,  for  which  the 
reign  of  Louis  XIII.,  the  inspiration  of  Eichelieu,  prepared 
the  way,  is  expressed  in  two  phenomena  : — 

The  founding  of  the  Academy  of  Painting  and  Sculpture. 
The  Palace  of  Versailles. 

In  the  first  we  get  the  theory  of  Art.     In  the  second  that 

theor}'  is  shown  in  practice.     The  life  of  French  Art  in  the 

loth  and  16th  centuries  had  centred  first  in  Touraine,  and 

later  in  Paris.     Now  for  over  a  hundred  years  we  shall  find 

Versailles  the  focus  of  activity.    For  Art  now  becomes  official 

and  aristocratic,  and  gathers  round  the  actual  person  of  the 

King.    It  is  no  longer  towards  the  Louvre  that  we  must 

look  for  the  history  of  Art.     At  Versailles  we  find  it  written 

large,  in  marble  and  bronze,  in  painting  and  sculpture.     In 

Le  Brun's  superb  decorations — in  the  h'eavy  magnificence 

of    Mansart's   Classic   buildings — in   the   splendour   of    Le 

N6tre'8  gardens  and  parks,  fountains  and  terraces. 

The  founding  of  the  Academy  of  Painting  and  Sculpture 
did  not,  however,  emanate  from  the  King.  It  is  intimately 
bound  up  with  the  question  of  the  Corporations  and  Trade 
Guilds  of  the  Middle  Ages.  Into  this  question  it  is  ob- 
viously impossible  to  go  at  length  here.  It  will  be  enough 
to  say  that  the  members  of  the  Corporation  of  Master 
painters  and  sculptors  of  St.  Luke,  founded  in  the  18th 
century,  had  come  in  course  of  time  to  hinder  the  free 
exercise  of  Art  among  those  who  did  not  belong  to  the 
maitrise  or  freedom  of  the  Guild.  At  several  different 
periods  its  regulations  and  scope  had  been  altered.  Fran- 
cois I.,  who  apparently  bore  it  little  goodwill,  considerably 
curtailed  its  powers.     The  restrictions  he  introduced  in  1539 

(131) 


182  A  HISTORY  OF  FRENCH  ART.  Ch.  VIU. 

were  destined  to  relieve  artists  from  the  heavy  burdens  im- 
posed on  them  by  the  maitrise.  At  the  end  of  the  IGth 
century,  however,  fresh  powers  were  granted  to  the  guilds  of 
all  **  arts  et  mestiers,"  wiiich  were  now  introduced  in  towns 
which  had  hitherto  escaped  from  them.  And  in  Henri  IV. 's 
endeavour  to  restore  French  industries,  and  organize  Art  and 
trade,  he  established  a  strict  system  of  monopolies,  and  pro- 
tection against  all  foreign  productions. 

From  time  to  time  in  the  beginning  of  the  17th  centurj', 
the  Corporation  of  Master  painters  and  sculptors  tried  yet 
further  to  extend  the  powers  and  privileges  they  already 
possessed.  And  in  1G47  they  made  a  fresh  attempt  to 
apply  the  regulations  of  1618 ;  reducing  the  number  of 
painters  of  the  King's  and  Queen's  households;  and  for- 
bidding independent  artists  to  sell  pictures,  keep  shops, 
work  for  churches  or  for  private  persons,  under  a  penalty 
of  500  livres. 

The  independent  painters  at  once  seized  on  this  as  a 
pretext  for  revolt  against  the  maitrise ;  saying  that  their 
position  would  be  rendered  impossible.  That  it  was  a 
pretext,  to  some  extent,  is  certain.  For  such  painters  as 
Poussin,  Vouet,  Philippe  de  Champaigne,  Bourdon,  the 
sculptor  Sarrazin,  and  many  others,  had  exercised  their 
art  freely,  without  belonging  to  the  maitrise. 

But  the  whole  position  of  artists  had  changed.  **  Sous 
**rinfluence  de  I'antiquite  et  de  la  Renaissance  TArt  avait 
J  **  constitue  sa  theorie  et  m^me  sa  philosophie,  il  se  considerait 
"  comme  appele  a  exprimer  un  ideal ;  cette  conception  donnait 
**a  ceux  qui  I'exerc/aient  une  haute  idee  de  leur  valeur."  ^ 
These  artists  considered  it  beneath  the  dignity  of  the 
heirs  of  Phidias  and  Apelles  to  belong  to  a  corporation, 
*' debased"  by  practising  a  trade  and  by  the  mediocrity  of 
many  of  its  members,  who  were  indeed  mere  journeymen. 
They  therefore  seized  eagerly  upon  the  opportunity  given 
them  by  the  fresh  regulations  of  the  itiaitrise.  And  replied 
by  taking  the  initiative  in  creating  a  body  to  counteract  its 
power  and  tyranny. 

*  Lemonnier. 


1643-1715.        REIGN  OF  LOUIS  XIV.— THE  ACADEMY.  138 

The  notion  of  an  Academy  was  in  the  air.  The  '*  Aca- 
deinie  Fran9aise  *'  was  already  in  being.  And  Le  Brun  was 
talking  with  Testehn  about  an  Academy  of  Painting  and 
Sculpture,  while  Jacques  Sarrazin,  Juste  d'Egmont,  and. 
Coraeille  the  elder  were  actually  taking  the  initiative  in 
the  matter.  For  it  is  these  three  to  whom  the  project  and 
the  first  movement  towards  its  fulfilment  are  due.  They, 
with.  M.  de  Channois,  prepared  the  petition,  **  tendante  a 
"  supplier  sa  Majeste  de  delivrer  ceux  qui  exer^aient  les  arts 
"et  qui  etaient  continuellement  occupes  au  service  de  sa 
"Majeste  de  Toppression  d'une  mattrise  incompatible  avec 
"  la  liberte  de  Tacademie,  leur  donnant  ce  titre,  parce  qu'en 
"eflfet  c'^tait  le  moyen  de  les  distinguer  d*avec  le  coq)s  de 
"maltres'*. 

Thus  we  see  that  the  original  movement  came  from  the 
artists  themselves.  We  must  in  justice  bear  in  mind  that, 
as  I  have  said,  Louis  XIV.  did  not  create  the  Academy.  It 
was  founded  outside  the  initiative  of  the  Government,  *'  whose 
"almost  unique  role  was  to  consecrate  the  already  estabhshed 
"fact  ".  The  first  statutes  were  more  a  declaration  of  prin- 
ciple, of  an  ideal,  than  a  working  organization.  And  there 
is  no  doubt  that  until  1654  the  Academy  worked  feebly,  and 
was  in  constant  peril  of  dissolution — now  endeavouring  in 
despair  to  bring  about  a  junction  with  the  maitrise — then  in 
still  greater  despair,  trying  to  rid  itself  of  this  very  incon- 
gruous second  body.  It  was  not  until  that  year  (1654)  that 
the  Academy  obtained  its  full  constitution.  A  royal  decree 
separated  it  once  for  all  from  the  maitrise ;  and  modified 
its  original  constitution. 

It  had  a  Protector,  and  a  Vice-Protector.  Its  chief  was 
called  the  Director.  He  had  for  assistants,  or  substitutes 
if  necessary,  four  Hectors,  chosen  among  the  Aiiciens  (or 
founders),  and  taking  precedence  of  them.  The  Anciem 
changed  their  name  to  Professors,  and  their  number  was 
fixed  at  twelve.  Below  them  came  the  Acad^mistes.  Finally 
a  Chancellor  was  chosen  from  the  rectors,  professors,  and 
councillors ;  and  a  treasurer,  secretarj%  and  ushers  were 
instituted.       The    King    further    allowed    thirty    of     the 


134  A  HISTORY  OF  FRENCH  ART.  Ch.  VIII. 

members  of  the  Academy  of  Painting  and  Sculpture  to 
enjoy  the  same  privileges  as  the  **  Forty  **  of  the  Academie 
Fran(;aise.^  The  Academy  was  granted  the  use  of  the 
gallery  of  the  **  college  royal  de  I'universit^  '*  for  its 
sittings  and  work.  It  was  allowed  1000  livres  a  year  for 
teaching.  Finally  the  monopoly  of  teaching  was  conceded 
to  it ;  and  its  Rectors  were  constituted  judges  of  all  differ- 
ences relative  to  the  practice  of  art,  even  of  payments  for 
works  of  painting  and  sculpture. 

But  there  was  the  reverse  of  the  medal.  From  hence- 
forth the  Academy,  now  entering  on  its  trimnphant  career, 
became  more  and  more  dependent  on  the  powers  that  be. 
The  King  held  it  through  Colbert.  Colbert  held  it  through 
Le  Brun.  And  even  so,  royal  intervention  did  not  produce 
unity.  The  nuiitrise  still  existed,  with  a  large  nmnber  of 
members.  Mignard,  Dufresnoy,  Anguier  and  others,  still 
upheld  it,  only  coming  over  to  the  Academy  some  years 
later.  And  a  third  group,  the  King's  Painters,  and  the 
guests  of  the  Louvre,  maintained  their  independence  be- 
tween 6ie  two  bodies.  It  was  not  until  1661,  when  at 
Mazarin's  death  the  King  became  King  in  deed  as  well 
as  in  word,  that  the  Academy  triumphed.  And  in  Art,  as 
in  government,  the  dream  of  Louis  XIV.  and  Colbert  was 
accomplished,  in  *'the  concentration  of  discipHned  force". 
For  this  history  of  the  Academy  cannot  be  separated  from 
the  history  of  the  time.  The  same  ideal  is  manifested  in 
both — the  same  progressive  march  towards  unification, 
order — the  same  tendency  to  absorb  everything  into  the 
monarchy. 

Thus  the  Academy,  founded  in  1648  on  principles  of 
equahty  and  confraternity,  with  the  object  of  rendering 
irtists  independent,  placed  them  in  fact,  by  the  statutes  of 
1654-5,  under  a  hierarchy,  under  governmental  and  adminis- 
trative direction.  And  that  body,  founded  in  the  name  of 
liberty,  was  destined  to  become  for  those  who  opposed  it, 

'  "  Exemption  ties  charges  de  tutclle  et  curatelle,  du  guet  ct  de  la  garde  : 
*•  droit  de  comifiitthniis  (juridiction  dea  maitres  des  requ»'te8  de  I'Hotel  pour 
**  les  academiciens,  ou  des  maitres  des  requetes  du  Palais,  u  leur  choix)." 


1643-1716.        REIGN  OF  LOUIS  XIV.— THE  ACADEMY.  135 

as  tjrrannical  a  corporation  as  the  old  maitrise,  until  in  its 
turn  it  was  driven  out  by  the  fiery  besom  of  the  Revolution  ; 
and  liberty  for  Art  was  once  more  claimed  by  David. 

PAINTERS. 

Perkier,  Francois,  dit  Le  Bourguignon  (1590-1656). — 
While  quite  young,  Perrier  painted  pictures  in  the  Chartreux 
of  Ijyons.  And  so  determined  was  he  to  get  to  Italy  and 
study  there,  that  he  engaged  himself  as  guide  to  a  blind  man 
on  his  way  to  Eome.  In  Rome  he  copied  the  best  masters  for 
a  picture  dealer.  And  was  counselled  and  helped  by  Lanfranc. 
In  1630  he  returned  to  France,  painting  more  pictures  for 
the  Chartreux  at  Lyons.  He  then  went  to  Macon,  where 
his  two  brothers,  a  painter  and  a  sculptor,  were  established. 
His  reputation  began  here,  and  he  soon  went  on  to  Paris, 
livhere  he  painted  pictures  from  Vouet's  drawings. 

About  1635  he  returned  to  Italy  for  a  sojourn  of  ten 
years ;  settling  finally  in  Paris  in  1645.  Here  his  greatest 
work  was  the  Gallery  of  the  Hotel  de  la  Vrilliere,  built  by 
Mansard.  This  magnificent  dwelling  was  bought  in  1713 
by  the  Comte  de  Toulouse,  who  took  its  name.  It  is  now 
the  Banque  de  France.  And  some  of  the  original  paintings 
still  exist.  Francois  Perrier  was  one  of  the  twelve  Anciens 
who  founded  the  Academy  of  Painting  and  Sculpture, 
opened  on  1st  February,  1648.  He  was  the  first  master 
of  Lie  Brun. 

Examples — Louvre : — 

Acis  and  Galatea. 

Orpheus  before  Pluto. 

iEneas  and  the  Harpies. 

Galerie  doree.  Hotel  de  la  Banque. 
Le  Nain,  the  Brothers  Antoine,  Louis,  Matthieu  (6. 
Laon,  beginning  of  17th  century;  cZ.  1648,  1648,  1667). — 
All  that  is  known  of  the  early  history  of  these  three  brothers 
is  that  they  were  taught  their  art  at  Laon  by  a  **  foreign 
painter".  That  they  came  to  Paris  and  lived  in  the  same 
house. 

Antoine  and  Louis  worked  together,  Antoine  excelling 


136  A  HISTORY  OF  FRENCH  ART.  Ch.  VIII. 

in  miniatures  and  cabinet  portraits,  Louis  painting  bust 
portraits.  Matthieu,  the  youngest,  was  appointed  **peintre 
de  la  Vilie  Paris,  et  lieutenant  de  la  compagnie  bourgeoise  du 
sieur  Duri,*'  in  August,  1633.  The  three  brothers  became 
members  of  the  Academy  of  Painting  and  Sculpture  in 
February,  1648.  Their  letters  of  admission  were  signed 
by  Le  Brun.  And  Louis  and  Antoine  died  in  May  the 
same  year,  within  three  days  of  each  other.  Matthieu, 
**  peintre  de  Bambochades,"  was  made  peintre  de  TAcademie 
Eoyale  in  1662.     He  died  in  1667. 

It  is  virtually  impossible  to  distinguish  between  the  work 
of  these  three  brothers.  The  attribution  of  special  pictures 
to  one  or  another  is  chiefly  guess-work.  But  they  occupy 
a  most  honourable  and  remarkable  place  in  the  history  of 
French  Art,  by  their  originality  and  care  for  truth.  Among 
the  pictures  of  the  period,  those  by  the  brothers  Le  Nain 
stand  out  with  striking  distinctness.  Some  seem  to  sug- 
gest of  the  work  of  the  most  modern  artists.  The  re- 
markable picture  in  the  Louvre,  **Eetour  de  la  Fenaison," 
foreshadows  of  the  work  of  J.  F.  Millet.  **  The  serious  and 
'*  sad  expression  of  the  figures  they  introduce  even  in  rustic 
**  scenes  of  the  Cabaret  or  the  Guard  room,  the  type  of  heads, 
**a  greyish-green  tone,  vivid  and  numerous  whites — thrown 
**  up  by  draperies  generally  of  a  light,  clear  red — in  fine,  a 
**  sort  of  reflection  of  the  Spanish  School — these  are  the 
"characteristic  features  of  their  style. ''^ 

They  painted  many  easel  pictures  of  various  dimensions. 
Large  canvases  for  the  churches  of  Notre  Dame  in  Paris 
and  in  Laon.  And  the  vaulting  of  the  Chapel  of  the  Virgin, 
St.  Germain  des  Pr^s. 

Examples  in  England  : — 

Group  of  portraits.  National  Gallery. 

The  Musicians,  Dulwich  Gallery. 

The  Players,  Buckingham  Palace. 

Children  and  Piper,  Stafford  House. 

Interior    with    figures.    Corporation    Art    Galleries, 
Glasgow. 

>  Villot. 


1643-1716.        REIGN  OF  LOUIS  XIV.— THE  ACADEMY.  137 

Portrait  of  a  young  gentleman,  Fitzwilliain  Museum, 
Cambridge. 

The  Song,  Lord  Aldenham. 
Louvre  : — 

La  Creche,  539. 

La  Forge,  540. 

Le  Eetour  de  la  Fenaison,  542. 

Portraits  dans  un  interieur,  548. 

Reunion  de  Famille,  543a. 

Henri  II.  due  de  Montmorency,  545. 

Card  players,  546. 

Le  reniement  de  St.  Pierre,  547. 

Eepos  des  Paysans  (Salle  La  Caze),  548. 

Procession  dans  I'lnt^rieur  d'une  Eglise,  544. 
This  last  is  attributed  to  the  Le  Nains.     It  is  not  wholly 
like  their  work.     But  it  is  a  fine  picture,  with  superb  colour 
in  magnificent  vestments. 

PoussiN,  Nicholas  (b.  Les  Andelys,  Nonnandy,  1594 ; 
•d,  Rome,  1665). — While  quite  a  youth,  Poussin's  sketches 
attracted  the  attention  of  a  painter,  Quentin  Varin  of  Beauvais, 
who  lived  at  Les  Andelys ;  and  the  lad  worked  with  him 
until  he  was  eighteen.  He  then  set  out  for  Paris ;  and 
being  penniless  painted  **  trumeaux  " — the  panels  between 
windows  and  those  over  doors — on  the  road  to  pay  his 
way.  His  first  master  in  Paris  was  Ferdinand  EUe,  a 
Fleming.  But  Poussin  soon  left  him  for  I'Allemand,  an 
artist  from  Lorraine.  A  young  Poitevin  gentleman  then 
took  Poussin  under  his  protection,  and  carried  him  ofif  to 
bis  Chateau  in  Poitou.  Here,  however,  the  young  man's 
mother  treated  the  painter  as  a  servant.  He  therefore  left 
the  house ;  and  worked  his  way  back  to  Paris  by  painting 
en  route.  He  was  now  twenty.  Some  of  the  pictures  of 
this  period  were  landscapes  for  the  Chateau  de  Clisson.  A 
Bacchanal  for  a  gallery  in  the  Chateau  de  Chevemey.  St. 
Francis  and  St.  Charles  Borromeo  for  the  Choir  of  the 
Capucins  at  Blois. 

After  an  illness  in  Paris  he  returned  to  his  home  for  a 
year.     He  then  set  out  for  Rome.     But  he  got  no  further 


138  A  HISTORY  OF  FRENCH  ART.  Ch.  Vin. 

than  Florence ;  and  returning  to  Paris  he  became  intimate 
with  Philippe  de  Champaigne,  also  a  pupil  of  TAllemand's. 
Both  the  young  men  were  employed  by  Duchesne,  a  medi- 
ocre artist,  who  was  entrusted  with  the  decorations  of  the 
Luxembourg.  Again  Poussin  endeavoured  to  get  to  Rome. 
But  he  was  obliged,  by  want  of  money,  to  stop  in  Lyons,, 
where  he  painted  a  number  of  pictures. 

It  was  not  until  1(523,  that  six  pictures  in  Paris,  painted 
in  distemper  in  less  than  a  week  for  the  College  of  the 
Jesuits,  drew  the  attention  of  tlie  Chevalier  Marini  to 
Poussin.  Marini  lodged  him  in  his  own  house ;  employed 
him  on  drawings  for  his  poem  of  Adonis  ;  and  declared 
himself  his  patron.  And  when  Marini  returned  to  Rome^ 
Poussin,  after  completing  various  pictures,  rejoined  him 
in  Rome  in  the  spring  of  1624.  Here  Cardinal  Barberini 
also  became  his  patron.  But  upon  the  death  of  Marini,. 
and  the  departure  of  the  Cardinal  on  missions  to  France 
and  Spain,  Poussin  was  reduced  to  such  straits  that  he 
sold  a  battle-piece  for  fourteen  crowns,  and  a  Prophet  for 
less  than  two.  Despite  his  poverty  he  diligently  studied 
antiquities,  architecture,  anatomy,  perspective,  **  and  sought 
**  among  the  great  authors  the  subjects  which  would  best 
**  express  moral  character  and  the  afifections — force  of  ex- 
**pression  appearing  to  him  as  one  of  the  most  desirable 
**  qualities  ".1 

During  a  serious  illness  Poussin  was  tenderly  cared  for 
by  his  countryman,  Jean  Dughet,  whose  daughter  he  married 
in  1(529.  As  he  had  no  children  he  adopted  his  wife's  two 
brothers,  Jean  Dughet,  the  engraver,  and  Gaspar  Dughet, 
known  as  ** Gaspar  Poussin,"  who,  with  Claude,  was  the  father 
of  P'rench  landscape. 

Poussin  now  established  himself  on  the  Pincian  Hill,, 
close  to  Claude  Lorrain  and  Salvator  Rosa.  And  when  Car- 
dinal Barberini  returned  to  Rome  his  success  began.  From 
the  year  1(324  a  close  intimacy  had  sprung  up  between 
Poussin  and  Stella;  and  when  the  latter  was  lodged  in 
the  Louvre,  a  long  correspondence  was  carried  on  between 

•  Villot. 


1613.1715.        REIGN  OF  LOUIS  XIV.— THE  ACADEMY.  139 

the  two  artists.  Poussin  also  corresponded  for  twenty-eight 
years  with  Freart  de  Chantelou,  maltre  d'hotel  of  Louis  XIII. 
The  pictures  which  he  painted  for  these  friends  inspired  M.  de 
Noyers,  Minister  of  State  and  superintendent  of  the  Royal 
buildings,  with  the  strong  desire  to  induce  him  to  return  to 
Paris.  But  Poussin  could  not  make  up  his  mind  to  quit 
Rome.  He  only  yielded  after  a  second  letter  from  the 
Minister,  and  one  from  Louis  XIII.  himself. 

In  1640,  after  many  delays,  Poussin  and  Jean  Dughet 
at  length  arrived  in  Paris.  Here  they  were  lodged  in  the 
Tuileries;  and  treated  with  great  distinction  by  the  King 
and  Richelieu.  In  the  next  year  Poussin  was  appointed 
first  painter  to  the  King.^  And  besides  pictures  for  the 
Chapels  of  Saint  Germain  and  Fontainebleau,  this  extraor- 
dinary artist  in  two  years  painted  the  compositions  of  the 
Labours  of  Hercules  destined  for  the  Grande  Galerie  of  the 
Louvre — eight  designs  for  Tapestry  from  the  Old  Testament — 
orders  for  Richelieu — frontispieces  for  books  ;  and  drawings 
of  ornaments  for  furniture. 

In  spite  however  of  the  King  and  the  Cardinal's  support, 
Poussin  found  himself  the  victim  of  the  intrigues  of  Vouet, 
Feuquiferes,  and  the  architect  Le  Mercier.  In  1642,  therefore, 
he  returned  to  Rome.  And  the  deaths  of  Louis  XIII.  and 
Richelieu  decided  him  never  again  to  leave  Italy.  His  great 
talent  matured  late.  As  the  moment  of  his  journey  to  France 
approaches  **his  talent  grows  loftier,  purer;  and  after  his 
**  return  to  Rome  it  reaches  its  apogee  ".  **  This  celebrated 
"artist,  after  the  most  laborious  existence  possible,  compar- 
**  able  in  its  noble  gravity  with  that  of  the  most  renowned 
**  philosophers  of  ancient  times,  died  at  the  age  of  seventy- 
**  two  years,  leaving  his  poor  relatives  in  Normandy  the 
**  modest  sum  of  10,000  crowns,  which  had  been  so  gloriously 
"earned.*"- 

lA  the  Louvre  we  have  a  good  example  of  his  first  style 
in  the  Plague  of  Ashdod  (710).     After  his  return  to  Rome 

^  Above  the  '*  painters  in  ordinary  "  was  the  **  premier  peintre  du  roi,"  an 
important  function,  filled  before  Le  Brun  by  men  such  as  Vouet  and  Poussin. 
«  Villot. 


140  A  HISTORY  OF  FRENCH  ART.  Ch.  VH 

in  1642,  The  Manna  (709)  is  an  excellent  specimen  of  his 
second  and  finest  style.     And  if  in  his  old  age  his  hand 
becomes  somewhat  heavy  and  tremulous,  his  imagination 
grows  even  bolder  and  more  poetic. 
Examples  in  England  : — 

Sixteen  pictures,  of   which  seven  are  original,    Dul- 
wich  Gallerv. 
National  Gallerj' : — 

Bacchanalian  Dance.     Cephalus  and  Aurora.     Venus 
sui-prised  by  Satyrs.     Nursing  of  Bacchus.     Bac- 
chanalian Festival.  Landscape.  Plague  at  Ashdod. 
The  last  two  are  doubtful.      But  the  first  five  are  of  the 
highest  beauty  and  value. 

Four  pictiures  at  Hampton  Court. 

The  Duke  of  Rutland  possesses  one  set  of  The  Seven 

Sacraments,  Belvoir  Castle. 
Lord  Ellesmere  has  the  other. 
Examples  in  the  Louvre  : — 

Best  examples  of  Poussin's  early  style — The  Plague  (710) 
is  undoubtedly  a  fine  picture  ;  individual  figures  are  of  great 
beauty,  especially  the  boy  on  the  right.  Le  Jeune  Pyrrhus 
Sauve  (726)  is  full  of  vigour  and  movement.  Of  his  second 
and  finest  manner  are  the  charming  and  graceful  Bergers 
d'Arcadie  (784),  and  The  Manna  (709),  which  is  fine  in 
colour  and  in  movement,  with  small  figures.  Among  the 
pictures  of  his  old  age,  in  La  Feimne  Adultere  (710)  the 
colour  is  sad,  and  the  figure  of  Christ  poor  and  unworthy. 
The  Adoration  of  the  Magi  (712)  is  flat,  yet  fine.  But  the 
best  of  this  period  are  the  Four  Seasons  (736-739),  for  though 
again  the  colour  is  verj'  sad,  the  landscapes  are  exquisite,  and 
the  whole  series  full  of  poetry. 

There  are  four  important  pictures  at  Chantilly. 
Gelli^e,  Claude,  dit  Le  Lorrain,  known  in  England 
as  Claude  Lorraine  (b.  1600,  Chateau  de  Chamagne,  on 
the  Moselle,  diocese  of  Toul ;  d.  Rome,  1682). — The  parents 
of  this  noble  painter  died  when  he  was  twelve  years  old.  He 
then  joined  his  eldest  brother,  an  accomplished  wood- 
engraver,  at  Fribourg  (in  Breisgau),  who  employed  him  for 


^643-1715.        REIGN  OF  LOUIS  XIV.— THE  ACADEMY.  141 

a  year  in  designing  ornaments  and  arabesques.      He  then 

went  with  a  relation,  a  lace  merchant,  to  Rome ;  where  he 

gave  himself  up  entirely  to  study.      His  slender  resources 

being  exhausted  he  went  to  Naples,  and  spent  two  years 

with  Geoflfroy  Walls,  a  Cologne  painter,  who  taught  him  to 

paint  landscape.      He  then  returned  to  Rome  and  studied 

under    Agostino    Tassi,     in     whose     house     he     lived     till 

1625. 

In  this  year  he  returned  by  way  of  Loretto,  Venice,  the 
Tyrol  and  Bavaria  to  his  native  country ;  and  then  went  to 
Nancy.  Here  a  relation  introduced  him  to  Charles  Dervent, 
painter  to  the  Due  Henri  de  Lorraine,  who  was  engaged 
upon  the  decoration  of  the  vaulting  in  the  church  of  the 
CarmeUtes.  Dervent  employed  Claude  to  paint  the  archi- 
tecture in  his  decorations.  But  the  death  of  a  gilder  who 
fell  from  the  scaffolding,  disgusted  him  with  this  kind  of 
work,  and  he  determined  to  return  to  Rome.  At  Mar- 
seilles he  joined  Charles  Errard,  the  King's  painter,  who 
twenty  years  later  was  to  be  one  of  the  foremost  in  founding 
the  Academy  of  Painting  and  Sculpture.  And  they  arrived 
in  Rome  on  St.  Luke's  Day,  1627. 

Claude  now  established  himself  in  Rome.  And  two 
landscapes  which  he  painted  for  Cardinal  BentivogUo  had 
so  great  a  success,  that  the  Cardinal  and  Pope  Urbain  VIII. 
declared  themselves  his  patrons.  His  works  quickly  became 
so  popular,  that  several  painters  who  frequented  his  studio 
stole  his  compositions,  and,  imitating  his  manner,  sold  these 
pastiches  as  his  works,  before  the  master  had  finished  the  real 
picture.  It  has  been  supposed  that  it  was  in  order  to  guard 
himself  against  this  traffic,  that  Claude  formed  the  habit  of 
making  a  careful  drawing  of  each  picture,  with  the  date  and 
name  of  the  owner.  Whether  or  not  this  precious  collection, 
now  known  as  the  Libro  di  Verita  or  d' invenzioni,  owes  its 
origin  to  fear  of  plagiarism,  or  loss  of  memory,  or,  as  is 
Diore  probable,  to  the  artist's  wish  to  preserve  a  recollec- 
tion of  his  works,  matters  but  little.  That  it  exists  is 
the  main  thing.  It  was  begun  when  he  was  working  on 
the   pictures   ordered   by  the  King  of  Spain;    and  consists 


142  A  HISTORY  OF  FRENCH  ART.  Ch.  Vni. 

of  200  drawings  washed  with  bistre.  This  collection  accord- 
ing to  his  will,  was  always  to  remain  in  his  family  as 
an  heirloom.  Cardinal  d'Estrees  endeavoured  to  buy  it 
from  the  painter's  grandsons.  But  they  refused  to  part  with 
this  precious  treasure  at  any  price.  Other  heirs  however, 
later  on,  w^ere  less  scrupulous.  They  sold  it  for  200  crowns 
to  a  jeweller,  who  resold  it  in  Holland.  About  1770  it  was 
secured  by  the  Duke  of  Devonshire,  and  has  ever  since  ])een 
safely  kept  at  Devonshire  House.  It  was  engraved  in 
aquatint  by  Earlon,  and  published  by  Boydell  in  1774. 
Loaded  with  honours  and  riches,  Claude  worked  on,  in  spite 
of  suffering  forty  years  from  gout,  to  the  very  end.  A  draw- 
ing of  his,  dated  1682,  the  year  of  his  death,  is  in  possession 
of  the  Queen.  He  was  buried  in  the  Trinita-del-Monte, 
from  whence  in  1840  M.  Thiers  had  his  remains  removed, 
and  buried  in  Saint-Louis-des-Fran9ais. 

Besides  the  immense  number  of  his  pictures — in  1G44 
alone,  he  painted  seventeen — he  produced  many  eaux-fortes, 
beginning  in  1630,  which  sell  at  high  prices.  England 
happily  possesses  many  of  the  finest  specimens  of  this  truly 
great  master's  work.  The  Claudes  of  the  Dulwich  Gallerj% 
especially  the  numbers  205,  215  and  220,  are  of  the  greatest 
beauty.  So  is  the  Eepos  de  la  Sainte  Famille,  with  its  delicate 
tones. 

Examples — National  Gallery : — 

Queen  of  Sheba,  14. 

Isaac  and  Rebecca,  12. 

Embarkation  of  St.  Ursula,  80, 

Landscape,  19,  and  Nos.  6,  55,  58. 

Coast  scene  on  the  Mediterranean,  Hertford  House. 

Large  landscape,  Hertford  House. 

Europa,  Buckingham  Palace. 

Port  de  Mer,  Hampton  Court. 

Landscape.  A  Seaport.  Landscape,  Rome  in  distance. 
Landscape,  Claude  painting.     And  a  port,  Wind- 
sor Castle. 
The  pendants  known  as — 

The  Worship  of  the  Golden  Calf,  Grosvenor  House. 


16431715.        REIGN  OF  LOUIS  XIV.— THE  ACADEMY.  143 

The  Sermon  on  the  Mount,  Grosvenor  House. 
The  Libro  di  Verita,  Devonshire  House. 
Two  hundred  and  seventy  sketches,  British  Museum. 
Sixteeen  pictures  in  the  Louvre,  of  which  seven  are  more  or 
less  doubtful  or  repainted.     Seven  of  these  are  recorded  in 
the  Libro  di  Verita. 

Port  demer,Soleil  levant,  signed  Claudio  in  Roma,  810. 
Campo  Vaccino,  Rome,  rather  hard  and  dull,  811. 
F^te  Villageoise,  signed  Claudio  inv.  Roinse,  1()39,  312. 
Port  de   mer,  soleil   couchant,    pink   sunset,    signed 

Claudio  inv.  Romse,  1639,  818. 
Landing  of  Cleopatra.     Sir  Joshua  Reynolds  also  had 

a  landing  of  Cleopatra,  sold  1795,  250  guineas. 
David  crowned  by  Samuel,  Coll.  Louis  XIV.,  lovely 

landscape,  Romae,  1647,  815. 
Ulysses  and  Chryseis,  Coll.  Louis  XIV.,  golden  sky, 

a  glow  of  gold,  316. 
Port  de  mer,  soleil  voile  par  une  brume,  Claude  in 
Roma,  1646,  317. 
These  are  not  comparable  to  our  collections  in  the  National 
Gallery  and  at  Dulwich. 

Ten  pictures  in  the  Gallery  of  Madrid.  Five  of  these 
are  in  the  Libro  di  Verita,  and  mentioned  as  **  painted  for 
the  King  of  Spain  *'. 

MosNiER,  Jean  {b.  1600,  Blois  :  d.  1650  or  1656,  Blois).— 
An  artist  of  Blois,  he  painted  decorations  in  the  Bishop's 
Palace  at  Chartres,  at  Chinon,  Saumur,  Tours,  Nogent  le 
Rotrou,  Chateau  de  Valen9ay,  and  the  Chateau  de  Cheverny, 
three  miles  from  Blois,  where  his  paintings  still  exist. 
He  lived  five  years  in  Rome  ;  was  a  friend  of  Poussin  ; 
and  was  protected  by  Marie  de  Medici,  who  made  his 
acquaintance  during  her  exile  at  Blois.  The  Louvre 
possesses  one  of  his  pictures,  La  Magnificence  royale,  from 
the  collection  of  Louis  XIV. 

La  Hire,  Laurent  de  {b,  Paris,  1606 ;  d,  Paris,  1656). — 
La  Hire,  one  of  the  twelve  founders  of  the  Academy  who 
took  the  title  of  Anciens,  was  a  pupil  of  his  father  and  of 
Lallemand.     He  worked  in  the  Palais  Royal  for  Richelieu, 


144  A  HISTORY  OF  FRENCH  ART.  Ch.  Vlir. 

for  Chancellor  Seguier,  and  for  many  others.  He  painted 
a  number  of  portraits.  And  decorated  many  Hotels  in  the 
Marais,  and  the  Church  of  the  Capucines  in  the  same 
(juarter.  Nine  pictures  by  La  Hire  are  in  the  Louvre. 
Most  of  them  large,  tedious,  academic  compositions.  But 
4<)0  deserves  attention  as  a  charming  landscape.  The  fore- 
ground trees  are  conventional  ;  but  the  distance  is  full  of 
a  delicate  sense  of  nature. 

Gaspar  Dughet  (commonly  called  Gaspar  Poussin) 
{b.  Rome,  1(318 ;  d.  Rome,  1675). — Son  of  Jean  Dughet,  a 
Parisian  settled  in  Rome.  He  studied  for  three  years  under 
his  brother-in-law  Poussin.  Having  no  children,  Poussin 
adopted  Gaspar  Dughet,  who  took  his  name.  Gaspar 
Poussin 's  landscapes  were  chiefly  painted  in  the  neigh- 
bourhood of  Rome,  though  he  also  worked  at  Milan,  Perugia 
and  Florence.  Many  of  them  are  painted  direct  from 
nature,  as  he  worked  a  great  deal  in  the  open  air.  He  care- 
fully studied  the  works  of  Claude  Lorrain. 

The  National  Gallery  possesses  some  of  the  verj'  finest 
specimens  of  the  artist's  work.  The  **  Italian  Landscape,** 
bequeathed  by  Lord  Farnborough,  is  of  the  utmost  beauty. 
The  hill  town,  with  waterfall  and  olive  grounds  in  the  fore- 
ground, and  snow  alps  behind,  is  a  noble  rendering  of  nature, 
despite  touches  of  conventionality  from  which  no  pictures 
of  the  period  are  wholly  free.  The  same  may  be  said  of 
the  **  Evening  view  near  Albano,"  with  a  flock  of  sheep 
coming  down  a  road  through  the  forest  after  the  half-naked 
shepherd,  and  of  The  Landstorm,  Dido  and  iEneas,  and 
the  Calling  of  Abraham.  Nearly  all  the  great  collections 
in  England  have  examples  of  the  work  of  Gaspar  Poussin 
or  of  his  school. 

In  the  Royal  Collections  we  find  : — 

Paysage,  Buckingham  Palace. 

Jonas   thrown   into   the   Sea.   and    two   landscapes, 
Windsor  Castle. 

Italian  Landscape,  National  Gallery. 

Evening  view  near  Albano,  National  Gallery. 

The  Land  Storm,  National  Gallery. 


N 


J643-1715.        REIGN  OF  LOUIS  XIV.— THE  ACADEMY.  145 

Dido  and  ^Eneas,  National  Gallery. 

The  Calling  of  Abraham,  National  Gallery. 

Castle  in  a  Wood,  Dulwich  Gallery. 

Children  of  Niobe,  Dulwich  Gallery. 

Mountainous  Landscape,  Bath  Art  Museum. 

Landscape,  Walker  Art  Gallery,  Liverpool. 

Two  Landscapes,  FitzwilUam  Musemn,  Cambridge. 

A  Land  storm.  National  Gallery,  Edinburgh. 

Three  Landscapes,  Corporation  Galleries,  Glasgow. 
There  are  many  more  in  private  collections. 

MiGNARD,  Pierre  (b.  Troyes,  1610;  d.  Paris,  1(395). — 
Pierre  Mignard  was  destined  by  his  father  to  be  a  doctor — 
his  eldest  brother  Nicholas  being  already  a  painter.  But 
the  child  showed  such  talent  for  art,  that  his  father  sent 
him  when  only  twelve  years  old  to  a  painter  named 
Boucher  at  Bourges.  After  a  year's  study  Pierre  returned 
to  Troyes ;  and  then  went  to  Fontainebleau,  where  he  spent 
two  years  in  studjring  the  paintings  and  sculptures  in  the 
Chateau.  On  his  return  to  Troyes  he  painted  the  Chapel  of 
the  Chateau  de  Coubert,  belonging  to  the  Marechal  de  Vitry. 
M.  de  Vitry  then  placed  the  young  painter  with  Vouet, 
who  wished  him  to  marry  his  daughter.  Mignard  however 
refused  the  honour,  going  off  to  Rome  in  1(386,  where  he 
found  his  fellow-student  du  Fresnoy.  His  first  works  in 
Borne  were  two  large  pictures  of  the  family  of  M.  Hugues 
de  Lionne  and  M.  M.  Arnaud.  These  established  his  repu- 
tation as  a  portrait  painter.  He  painted  the  Popes  Urbain 
Vm.,  Innocent  X.,  and  numbers  of  celebrated  persons. 

Alphonse  Louis  du  Plessis,  Cardinal  de  Lyon,  the  elder 
brother  of  Richelieu,  coming  to  Rome,  Mignard  in  eight 
months  copied  for  him  the  decorations  by  Annibal  Carraci 
of  the  Gallery  of  the  Farnese  Palace.  In  1654  he  started 
to  join  du  Fresnoy  at  Venice,  being  received  with  great 
distinction  by  artists  and  nobles  ahke  at  Rimini,  Bologna, 
Modena,  Parma,  Mantua.  After  some  mouths  in  Modena 
and  Venice  he  returned  to  Rome,  painting  Alexander  VII. — 
and  numbers  of  pictures  of  the  Virgin,  which  were  known 

as  "  Mignardes." 

10 


146  A  HISTORY  OF  FRENCH  ART.  Ch.  VIII. 

At  length,  after  twenty-two  years  in  Koine,  Louis  XIV. 
recalled  him  to  France.  Arriving  at  Marseilles  in  1657,  he 
was  attacked  by  serious  illness,  and  spent  seven  or  eight 
months  at  Avignon  with  his  brother  Nicholas.  Here  it  was 
that  the  friendship  with  Moliere  began,  which  lasted  their 
lives.  In  Lyons  he  painted  several  portraits.  But  he  had  to 
hurr}*^  on  to  Fontainebleau,  where  Mazarin  had  ordered  a 
portrait  of  the  King.  This  was  painted  in  three  hours,  and 
sent  to  Spain  to  the  Infanta  who  Louis  XIV.  was  to  marrj\ 
Royalty  and  nobles  all  now  desired  to  be  painted  by  this 
distinguished  and  successful  painter.  The  due  d'fipemon 
gave  him  1000  crowns  for  his  portrait ;  and  paid  him  40,000 
livres  for  the  decoration  of  a  room  in  the  Hotel  de  Longue- 
ville.  For  the  Queen-Mother  he  painted  the  fresco  in  the 
Dome  of  the  Val-du-Grace,  with  200  figures  of  Saints,  the 
three  persons  of  the  Trinity,  and  Anne  of  Austria. 

In  1664  he  was  made  chief  of  the  Academy  of  St.  Luke, 
refusing  to  belong  to  the  Royal  Academy  of  Painting  and 
Sculpture,  because  he  would  not  take  a  lower  place  than  Le 
Brun,  of  whom  he  was  intensely  jealous.  It  was  not  until 
Le  Brun's  death  in  1690  that  Mignard  joined  the  ranks  of 
the  Academy.  He  succeeded  his  adversary  as  "  premier  peintre 
du  roi ".  And  in  one  sitting  of  the  Academy  on  March  4 
was  made  academician,  professor,  rector,  director  and  chan- 
cellor !  Being  further  appointed  director  of  manufactures. 
In  1677  he  decorated  the  Grand  Salon  at  St.  Cloud,  for 
Philippe  d'Orleans,  the  King's  only  brother.  And  a  few 
years  later  painted  the  little  Gallery  at  Versailles,  and  the 
rooms  which  opened  from  it.  These  decorations,  which 
were  engraved  by  Audran,  were  destroyed  in  1736.  In 
1691  Louvois  consulted  him  about  the  decoration  for  the 
Dome  of  the  Invalides.  This,  although  he  was  then  eighty- 
one,  Mignard  begged  to  undertake  himself.  With  extraor- 
dinary vigour  he  sent  Louvois  the  whole  scheme  completed 
in  two  months.  But  although  it  was  accepted,  he  died 
before  he  could  put  the  work  in  hand. 

In  his  last  years  he  painted  Mme.  de  Maintenon  as 
Sainte  Fran9oi8e,    Louis  XIV.  for  the  tenth  time.     The 


1643-1715.        REIGN  OF  LOUIS  XIV.— THE  ACADEMY.  147 

Royal  family  of  England.  St.  Matthew  for  Trianon.  And 
his  last  picture,  signed  **P.  Mignard  pinxit  1695,  aetatis  83,*' 
was  a  St.  Luke  (now  in  the  Louvre),  in  which  he  has  repre- 
sented himself  standing  behind  the  Saint,  a  brush  in  one 
hand,  and  a  piece  of  paper  on  which  the  subject  is  sketched 
in  the  other.     He  finished  all  but  a  corner  of  the  carpet. 

At  Versailles,  among  many  works  by  Mignard,  two  call 
for  special  notice.  One  is  the  great  picture,  so  well  known, 
of  Louis  XIV.  in  armour  on  horseback,  crowned  by  Victory 
after  the  conquest  of  Maestricht.  It  now  occupies  the  place 
of  one  of  the  two  pictures  by  Veronese,  in  a  superb  frame 
by  Vasse  over  the  mantelpiece  of  the  Salon  d'Hercule.  The 
other  is  the  portrait  of  his  daughter,  Catherine  Mignard, 
the  young  Comtesse  de  Feuquieres,  the  **  Queen  of  Beauty 
"of  the  sifecle  Versaillais ".  **Her  father  has  desired  to 
"represent  her  as  the  messenger  of  his  own  glory.  Very 
**  slender,  very  elegant,  facing  the  spectator,  dressed  in  a 
"  blue  dress  and  lilac  mantle,  with  flowers  in  her  black  hair, 
"  she  holds  in  one  hand  the  trumpet  of  fame  and  the 
"  sketch  of  her  father's  portrait.  Drawings  by  Mignard  lie 
"  on  the  table  ;  and  what  better  way  of  assuring  immortality 
**  for  himself  than  to  entrust  it  to  such  an  exquisite  Re- 
"  nommee  ?  *'  ^ 

Examples  in  England  : — 

Le  Dauphin  et  sa  famille,  Buckingham  Palace. 

Hortense  et  Marie  Mancini ;  Charlotte  (or  Henriette) 
d*Orleans  and  children  ;  Louis  XIV. ;  La  diseuse 
de  bonne  aventure,  Windsor. 

Two  Portraits  of  Louis  XIV.,  enfant,  Hampton  Court. 
These  can  hardly  be  authentic  as  Mignard  never  saw  Louis 
XTV.  until  he  was  eighteen  years  old. 

Portrait  Louis  XIV.,  E.  A.  Leatham,  Esq. 
Louvre.     Ten  Pictures.     The  best  are  : — 

Portraits  of  Le  Grand  Dauphin,  his  wife  and  three 
children.  (A  replica  at  Versailles.  Sacristy  of 
Church  of  Notre  Dame),  638. 

Portrait  of  Mignard  by  himself,  640. 

^  M.  de  Nolhao. 


148  A  HISTORY  OF  FRENCH  ART.  Ch.  VIII. 

La  Vierge  a  la  grappe,  628. 

Saint  Cecilia,  684. 

Fran^oise  d'Aubigne,  Marquise  de  Maintenon,  as  Ste. 

Fran^oise,  689. 
St.  Luke  painting  the  Virgin  (see  above),  858. 
Versailles : — 

Louis  XrV.  crowned  by  Victory,  Salle  d*Hercule. 
Catherine  Mignard,  Comtesse  de  Feuquiferes. 
Colbert. 

Duchesse  de  Maine,  as  a  child  blowing  bubbles. 
Comte   de   Toulouse,   son   of   Mme.   de  Montespan, 
enfant,  **  en  j'oli  amour  nu  ". 
Chantilly : — 

MoHere.      Mazarin.     Henriette  d'Angleterre.     Mme. 
de  Suze,  Henriette  de  Coligny. 
Madrid : — 

Jeune  Prince  de  la  Maison  de  France  ;  Marie  Theresa  ; 
and  three  others. 
Le  S(EUR,  Etjstache  (b.  Paris,  1617 ;  d.  1655). — Le 
Soeur  was  one  of  the  few  painters  of  the  time  who  posi- 
tively refused  to  go  to  Rome.  He  however  studied  the 
best  Italian  works  which  were  brought  to  Paris.  But  he 
stands  alone,  and  remains  a  distinct  and  marked  figure 
among  his  contemporaries.  He  was  placed  with  Vouet  as 
a  youth,  and  made  rapid  progress  in  his  art.  Admitted  to 
the  Guild  of  Master  Painters,  he  left  them  on  the  founding 
of  the  Academv,  of  which  he  was  one  of  the  twelve  Ancient, 
After  leaving  Vouet,  he  painted  eight  pictures  in  his  manner. 
But  he  soon  became  master  of  his  own  style — the  style  which 
he  kept  perfectly  pure  and  individual  during  his  short  life. 

It  was  now  that  he  painted  the  celebrated  decorations 
for  the  Hotel  of  M.  Lambert  de  Thorigny.  These  are  now 
in  the  Louvre.  They  consist  of  a  charming  series  of  six 
pictures,  the  **  History  of  Cupid,"  from  the  Cabinet  de  VAvwur, 
and  the  great  ceiling,  **  Phaeton  demande  a  ApoUon  la 
conduite  du  char  du  soleil " — a  composition  of  extraor- 
dinary vigour,  and  yet  breezy  lightness.  The  colour  is 
extremely   delicate,   pure   and   harmonious.     Five   pictures 


1643-1715.        REIGN  OF  LOUIS  XIV.— THE  ACADEMY.  149 

from  the  Chambre  des  MuseSy  which  are  of  great  beauty, 
especially  the  two  largest,  598  and  599.  And  the  ceiling 
of  another  room,  **  Ganymede  enleve  par  Jupiter,*'  a  painting 
of  great  beauty  and  force.  Le  Soeur  also  painted  decorations 
in  the  Louvre  for  Anne  of  Austria.  They  existed  in  1710, 
but  are  now  probably  destroyed,  as  they  cannot  be  traced. 

In  1645  he  began  the  famous  series  of  twenty-four 
pictures — the  life  of  St.  Bruno — for  the  Chartreux  de  Paris, 
now  in  the  Louvre.  In  all  we  find  great  breadth  and 
freedom  of  treatment,  an  honesty  of  purpose  and  grace 
which  is  most  remarkable.  The  bright  blue,  which,  until 
he  takes'  the  habit,  seems  to  be  an  attribute  of  St.  Bruno, 
is  a  somewhat  unpleasing  note  in  the  otherwise  sober  and 
tender  colour.  The  picture  No.  578,  in  which  St.  Bruno 
receives  a  messenger  from  the  Pope,  is  of  great  beauty,  espe- 
cially the  landscape  of  mountains  and  olive  trees  outside 
the  Chartreuse,  and  the  charming  figure  of  the  messenger. 
*'  At  an  epoch  of  decadence,  when  painting  in  France  only 
•*  shed  a  factitious  hght,  the  pale  reflection  of  the  good 
*'  traditions  which  were  dying  out  in  Italy,  le  Soeur  knew 
"  how  to  free  himself  from  the  academic  methods  to  which 
**  his  master  had  at  first  bound  him  down,  and  to  keep  intact 
*•  to  the  end  of  his  short  existence  that  purity  of  sentiment 
**  which  characterises  the  most  noble  geniuses  of  the  greatest 
•' days  of  art."  ^ 

Besides  these  series,  he  painted  manv  pictures  for  private 
persons.  For  the  Churches  of  Saint  Etienne-du-Mont,  St. 
Germain  TAuxerrois,  St.  Gervais,  and  others.  And  the  May 
offering  in  1649  for  Notre  Dame,  of  St.  Paul  at  Ephesus. 
This  and  several  of  the  others  are  now  in  the  Louvre. 
Examples — Louvre  : — 

Eleven  pictures  from  various  Churches. 

Histoire  de  Cupidon,  591-596. 

Ceiling,  Phaeton,  597. 

The  Muses  and  ceiling  Ganymede,  598-608. 

Vie  de  Saint  Bruno,  564-587. 

K^union  d'Artistes. 

»  Villot. 


150  A  HISTORY  OF  FRENCH  ART.  Ch.  VIII. 

In  England : — 

Holy  Family,  National  Gallery. 

Drawing  in  Sepia,  Art  Museum,  Nottingham. 

Queen  of  Sheba,  Devonshire  House. 
Le  Brun,  Charles,  Painter,  Engraver  and  Architect 
(6.  Paris,  1619 ;  d.  Gobelins,  1690). — Son  of  a  sculptor,  Le 
Brun  drew  from  his  earliest  years;  his  father  placing  him 
with  Le  Bourgignon.  At  eleven,  Chancellor  Seguier  took 
him  into  his  Hotel,  and  sent  him  to  Vouet.  After  this  he 
went  to  Fontainebleau  to  study  the  Eoyal  collection  of 
pictures.  At  fifteen  he  painted  several  remarkable  pictures 
for  Cardinal  Richelieu,  which  were  approved  by  Poussin. 
His  intense  activity  manifested  itself  early ;  he  painted 
without  ceasing,  engraved  a  I'eau  forte,  and  modelled  in  wax. 
In  1642,  when  Poussin  returned  to  Rome,  Seguier  sent 
young  Le  Brun  thither  with  him,  giving  him  a  pension  of 
200  crowns.  After  staying  there  for  four  years,  he  returned 
to  Paris,  stopping  on  his  way  at  Lyons,  where  he  left  several 
pictures. 

In  1647  he  painted  the  Martyrdom  of  St.  Andrew  for 
Notre  Dame.  The  next  year  he  took  an  active  part  in  estab- 
lishing the  Academy  of  Painting  and  Sculpture.  In  this 
he  occupied  all  grades  ;  finally  becoming  director  in  1683. 
In  1649  he  worked  at  the  same  time  as  Le  Soeur  at  the  Hotel 
Lambert,  decorating  the  great  Gallery  with  the  **  Labours  of 
Hercules  '*.  And  Fouquet  gave  him  an  allowance  of  12,000 
francs,  besides  orders  for  pictures  at  Vaux.  Fouquet  also 
presented  him  to  Mazariu,  and  Mazarin  presented  him  to 
Louis  XIV.  The  Queen-Mother  now  ordered  a  picture  for 
her  Oratory  (now  in  Louvre). 

1660  was  a  year  of  great  importance  in  the  painter's  life. 
He  designed  the  decorations  for  the  Place  Dauphine,  on  the 
entry  of  the  King  and  Marie  Therese.  Colbert  in  the  same 
year  appointed  him  director  of  the  Gobelins — the  ateliers 
for  all  the  tapestries,  furniture,  goldsmith's  work,  mosaics, 
and  marqueterie  of  the  Crown.  For  all  these  Le  Brun 
furnished  the  designs,  and  superintended  the  execution. 
But   further,    Le   Brun  was  summoned   to  Fontainebleau, 


1643-1725.        REIGN  OF  LOUIS  XIV.—THE  ACADEMY.  151 

to  paint  a  picture  for  the  King  on  some  subject  from  the 
Life  of  Alexander.  He  chose  the  **  Family  of  Darius  *'. 
It  made  his  fortune  with  Louis  XIV.,  who  came  in  nearly 
every  day  to  see  how  the  work  progressed,  and  **was  no 
**  less  satisfied  with  the  intellect,  manners,  and  conversation 
**  of  the  painter,  than  with  the  productions  of  his  brush  *'. 
The  Eling  was  so  charmed  with  the  picture,  that  he  gave 
Le  Brun  his  portrait  set  in  diamonds.  And  in  1662  ap- 
pointed him  his  **  premier  peintre  "  ;  gave  him  12,000  francs 
a  year ;  ennobled  him  ;  and  made  him  director  of  his  collec- 
tions, with  power  to  buy  works  of  art  for  them.  Four  other 
pictures  of  the  Life  of  Alexander  were  painted  at  the  Gobelins, 
and  are  now  in  the  Louvre,  the  whole  series  being  intended 
for  reproduction  in  tapestry. 

After  the  fire  of  1661,  which  destroyed  the  Galerie  des  pein- 
tures,  Le  Brun  restored  the  Louvre,  and  built  and  decorated 
the  Galerie  d'Apollon — so  called  in  honour  of  the  **  roi  soleil  ". 

In  1666  he  persuaded  the  King  to  found  the  French 
Academy  at  Rome,  to  which  the  best  pupils  of  the  Academy 
of  Painting  and  Sculpture  were  sent  on  gaining  the  *'Prix 
de  Rome,"  to  study  for  three  years.  And  Errard  was  made 
its  first  Director.  In  1667  he  accompanied  the  King  on  his 
campaign  in  Flanders  ;  and  to  this  time  we  probably  owe  the 
magnificent  sketch  from  nature  of  Turenne,  at  Versailles. 
It  is  merely  a  head,  rapidly  painted  for  a  tapestry  cartoon 
of  the  meeting  of  Louis  XIV.  and  Philip  IV.  But  it  is  a 
chef  d'oeuvre  that  once  seen  can  never  be  forgotten. 

In  1676  he  painted  the  Chateau  of  Sceaux,  furnishing 
designs  for  fountains  and  statues  in  its  park.  He  also  painted 
pictures  for  the  King,  decorated  the  staircase  at  Versailles, 
and  fa9ades  of  pavilions  at  Marly.  And  in  1679  he  under- 
took his  greatest  work,  the  painting  and  ornamentation  of 
the  Grande  Galerie  at  Versailles.  It  is  happily  spared 
us,  and  is  one  of  the  most  remarkable  works  in  France. 
Seventy-three  metres  in  length  and  twelve  in  breadth,  the 
ceiling  contains  a  History  of  the  Grand  Monarque  in  thirty 
magnificent  compositions.^ 

»  See  p.  164,  184. 


152  A  HISTORY  OF  FRENCH  ART.  Ch.  VIII, 

When  Louvois  succeeded  Colbert  as  **  surintendant  des 
batiments  *'  in  1683,  his  jealousy  of  Colbert  extended  itself 
to  those  his  predecessor  had  employed.  He  therefore  set 
up  Mignard  in  opposition  to  Le  Brun,  whose  works  he  criti- 
cised with  ceaseless  acrimony.  Though  still  supported  by 
the  King,  and  given  fresh  rewards  and  marks  of  favour, 
Le  Brun  had  not  the  fortitude  to  withstand  the  intrigues  of 
Louvois  and  Mignard.  He  ceased  going  to  court.  And 
falling  ill  was  taken  in  a  dying  condition  to  his  house  of 
Montmorency  at  the  Gobelins,  where  he  expired  on  the 
12th  of  February,  1690.  He  was  buried  in  the  chapel  of 
St.  Charles,  which  he  had  decorated,  in  the  church  of  St. 
Nicholas  au  Chardonnet. 

**  During  the  whole  time  he  enjoyed  the  royal  favour,  Le 
**  Brun  exercised  a  despotic  power  on  Art.  Painters,  sculptors, 
**  decorators,  whatever  their  talent,  had  to  make  up  their 
**  minds  only  to  work  from  his  drawings,  or  according  to  his 
**  advice.''^  Hence  the  uniformity  of  style  in  works  of  this 
period. — A  period  of  unity  and  science,  of  instruction  in 
Art,  which  is  greatly  due  to  the  influence  of  the  King, 
Colbert,  and  Le  Bnin,  whose  ideal  of  beauty  was  thoroughly 
in  accord.  It  was  not  an  exalted  ideal.  But  no  one  can  deny 
that  it  was  one  of  extreme  grandeur.  If  he  was  a  genius  of 
second  rank,  he  was  a  universal  one.'-^  In  spite  of  weakness 
of  colour,  which  was  red  and  sombre,  heaviness  of  drawing, 
and  a  slackness  of  execution,  Le  Brun  is  an  eminent  artist 
by  reason  of  the  inexhaustible  fertility  and  the  nobility  of 
his  conceptions. 

Examples.  Twenty-six  pictures  in  the  Louvre.  Among 
them  are : — 

The  Family  of  Darius.     511. 

Passage  du  Granique.     509. 

Entree  d 'Alexandre  a  Babvlone.     519. 

» ViUot. 

^  "  Architect,  sculptor,  engiuecr,  machiuiBt  as  well  as  painter,  with  a 
marvellously  poised  brain  for  the  composition  of  immense  decorations,  the 
Premier  Peintre  directed  the  execution  of  a  whole  illustration  in  figures  of 
the  reign  of  Louis  XIV."— De  Nolhac  et  Perate. 


1643-1716.        REIGN  OF  LOUIS  XIV.— THE  ACADEMY.  153 

Versailles  : — 

Decorations  of  the  Grande  Galerie  des  Glaces,  con- 
taining thirty  pictures  of  the  Hi&tor>^  of   Louis 
XIV. 
Cartoons    for    Tapestr}^ — the    series    of    the    twelve 
months,  or  *' Chateaux,"  by  Le  Bnin  and  Van 
der  Meulen.     4680-91. 
Portrait  of  Turenne.     8488. 
In  England : — 

Massacre  of  the  Innocents,  Dulwich  Gallery. 

Hortensia,  Birmingham  Art  Gallers'. 

Judgment  of  Paris,  Bath  Art  Museum. 

Holy  family,  Fitzwilliam  Museum,  Cambridge. 

Hercules  and  Diomed,  an  early  work  mentioned  by  de 

Piles,  Nottingham  Art  Museum. 
Le  Combat,  Buckingham  Palace. 
Princesses  Antoinette  and   Louisa  of   Saxe-Coburg, 
Windsor  Castle. 
Bourdon,   Sebastien  (6.  Montpellier,   1616 ;   d.  Paris, 
1671). — One  of  the  twelve  Anciens  who  founded  the  Academy, 
Bourdon  deserves  consideration  as  a  painter  of  merit  greatly 
admired  by  Sir  Joshua  Ee3nQolds,  who  was  proud  of  pos- 
sessing the  **  Return   of  the  Ark,"   now  in   the  National 
Gallery.     He,  like  Le  Brun,  began  painting  in  his  infancy, 
being  sent  to  Paris  to  study  at  seven  years  of  age.    At  fourteen 
he  was  painting  fresco  decorations  at  Bordeaux.    He  then  en- 
listed.   But  his  officer  seeing  his  talent,  gave  him  his  release, 
and  he  went  to  Eome.     M.  Hesselin  then  took  him  back  to 
Paris  ;  and  his  small  battle  pieces,  hunting  scenes  and  land- 
scapes were  much  sought  after.     After  a  sojourn  in  Sweden, 
where  he  became  first  painter  to  Queen  Christina,  he  returned 
to  Paris  and  found  himself  famous. 

In  1663  he  painted  the  great  galler}^  of  M.  de  Breton- 
villier's  Hotel  in  the  He  Notre  Dame.  This,  the  history  of 
Phaeton,  twenty  fathoms  in  length,  has  been  incorrectly  attri- 
buted to  Le  Brun.  He  had  numerous  pupils.  His  four 
discourses  at  the  Academy  were — 1667,  on  Poussin's  Aveugles 
de  Jerico.     1668,  St.  Stephen,  by  Carraci.     1669,  on  the  six 


154  A  HISTORY  OF  FRENCH  ART.  Ch.  VIII. 

parts  of  the  day  for  the  light  in   pictures.     1671,   on   the 
Study  of  the  Antique. 

The  Louvre  has  thirteen  pictures  and  four  portraits. 

His  own  portrait.     9. 

Deposition.     71. 

Portrait  of  Rene  Descartes.     78. 

Return  of  the  Ark,  National  Galler}'. 
CouRTois,  Jacques,  dit  Le  Bourgignon  (b.  St.  Hip- 
polyte,  Franche-Comte,  1(V21 ;  d.  Rome,  1676). — Of  Courtois, 
better  known  as  Le  Bourgignon,  it  is  not  easy  to  speak  as 
a  French  painter.  He  went  to  Italy  at  the  age  of  fifteen. 
And  in  Italy  he  spent  his  whole  life,  painting  chiefly  battle 
pieces.  Of  these  there  are  three  excellent  small  specimens  in 
the  Louvre.  The  colour  is  rich  and  sober,  in  places  it  almost 
amounts  to  a  grisaille  in  tones  of  brown.  The  movement  is 
vigorous  and  full  of  life,  the  composition  admirable. 

Battle.     154. 

Combat  de  Cavalerie.     149. 

Marche  des  TrouT)es.  150. 
Febvre,  Claude  (b.  1638,  Fontainebleau ;  d.  London,. 
1675). — An  excellent  portrait  painter.  He  painted  the  King,. 
Queen,  and  principal  personages  at  Court.  He  became  a 
member  of  the  Academy  in  16()8.  Then  went  to  England, 
where  his  portraits  were  almost  as  much  esteemed  as  those 
of  Van  Dyck.  And  died  in  London  1675.  Portrait  d'un 
mattre  et  de  son  ^leve.  Louvre.     5*29. 

Fosse,  Charles  de  la  (b.  Paris,  1686;  d.  Paris,  1719). — 
A  pupil  of  Le  Brun,  he  went  to  Rome  at  the  age  of  twenty- 
two — Colbert,  interested  in  his  drawings,  giving  him  a  pen- 
sion to  enable  him  to  continue  his  studies.  Returning  to  Paris 
after  five  years'  study  in  Rome  and  Venice  of  the  great 
colourists,  he  first  painted  a  fresco  in  the  Chapelle  des 
Mariages  at  St.  Eustache.  Then  the  roof  of  the  Choir  and 
the  Dome  of  the  Church  of  the  Assumption.  He  was  then 
employed  at  Versailles,  and  Meudon,  the  Maison  de  Choisy, 
and  different  Churches  in  Paris  and  the  provinces. 

In  1678  he  joined  the  Academy,  and  rose  through  all  the 
grades  to  Chancellor.     But  what  renders  him  specially  inter- 


REIGN  OF  LOUIS  XIV.— THE  ACADEMY.  155 

English  people  is,  that  Lord  Montagu,  who  had 
m  while  Ambassador  in  Paris,  summoned  him  to 

to  decorate  Montagu  House.  He  stayed  four 
aaking  his  preparations.  And  returned  the  next 
iging  with  him  Eousseau  and  Monnoyer  to  help 
L  the  architecture  and  flowers  of  his  paintings. 
i  took  him  eighteen  months.  William  IH.  wished 
3main  in  England  and  decorate  Hampton  Court, 
nard  being  old,  Mansart  recalled  la  Fosse  to 
lopes  of  his  getting  the  concession  for  the  decora- 
le  Invalides,  which  Mignard  was  too  old  to  carry 

Fosse  stayed  with  Mansart  on  his  return,  and 
ise  sketched  all  the  subjects  for  this  colossal  work  : 
•nly  painted  the  Dome  and  the  four  supporting 
I  fresco.  This  cupola  is  56  feet  in  diameter,  and 
ation  comprises  thirty-eight  figures  forming  three 
be  principal  one  representing  St.  Louis  placing  his 
i  sword  in  the  hands  of  Christ. 
;eilings  of  the  Salon  d'ApoUon  and  the  Salle  de 
;  Versailles,  are  by  La  Fosse.  He  also  painted 
)f  the  Chapel,  aided  by  Jouvenet  and  Ant.  Coypel. 
ares  by  him  are  in  the  Louvre.  But  the  decora- 
idontagu  House,  the  Invalides,  and  Versailles  show 

to  the  greatest  advantage. 

OYER,  Jean  Baptiste  (6.  Lille,  1634 ;  d.  London, 
L  flower  painter  of  great  merit,  came  to  England  in 
I  La  Fosse.     He  decorated  the  great  drawing-room, 
3ase   and    other   rooms   in    Montagu    House   with 
nd  fruit.     And  worked  a  great  deal  with  Kneller, 
ig  flowers  into  his  portraits, 
ve  pictures  in  the  Louvre, 
jcorations  at  Holyrood. 
jcorations  at  Montagu  House. 
iNET,  Jean   (b.  Rouen,   1644;    d.  Paris,    1717). — 
,  whose  grandfather  taught  Poussin  the  elements  of 
came  to  Paris  In  1661.     Le  Brun  employed  him  at 
;,  where  he  painted  some  of  the  decorations  of  the 
Mars,  and  of  the  roof  of  the  Chapel  (see  La  Fosse). 


( 


156  A  HISTORY  OF  FRENCH  ART.  Ch.  VIII. 

He  became  a  member  of  the  Academy  in  1674,  and  rose  to 
be  rector  in  1707.  He  painted  the  ceiling  of  the  Parliament 
House  at  Rheims,  and  other  decorations,  besides  numbers 
of  sacred  pictures  which  were  greatly  sought  after  for 
Altar  pieces.  In  1713,  his  right  hand  being  paralysed, 
he  took  to  painting  with  his  left.  And  thus  painted  the 
ceiling  of  the  Parliament  House  at  Rouen,  and  The  Matj- 
uificat  in  Notre  Dame,  Paris. 

Eleven  of  his  pictures  are  in  the  Louvre.  Of  these  (455), 
the  P6che  Miraculeuse,  gives  a  good  idea  of  what  was  then 
admired  as  a  sacred  picture.  On  a  huge  canvas,  a  scene 
upon  the  deck  of  a  fishing  vessel  at  Marseilles  or  Civita 
Vecchia  is  portrayed,  with  the  figure  of  Christ  throw^n  in. 
By  far  the  finest  of  these  pictures  is  a  portrait  (441)  of 
**  Fagon,  premier  m^decin  de  Louis  XIV.  '\  It  is  a  most 
striking  and  life-like  piece  of  work,  both  as  to  character  and 
painting.  In  England  there  is  a  portrait  of  Madame  de 
Maintenon  as  St.  Cecilia,  Barnard  Castle ;  and  a  Descent 
from  the  Cross  in  the  Parish  Church  of  Wednesbur^\ 

Les  Boulogne — Bon  de  Boulogne,  dit  L'Aine  ;  Louis 
DE  Boulogne,  dit  Le  Jeune  (6.  Paris,  1649 ;  d,  1717 ;  />. 
1654;  d.  1738), — were  sons  of  Louis  de  Boulogne,  also  an 
historical  painter,  and  must  be  noted  ;  for  the  two  brothers 
and  their  two  sisters,  Genevieve  and  Madeleine,  were  all  mem- 
bers of  the  Academy.  Some  of  Bon's  pictures  in  the  Louvre 
are  interesting.  (51)  **  L'Annonciation  ''  is  graceful,  showing 
late  Italian  tendencies.  His  reception  picture  at  the  Academy 
(53),  **  Hercule  combat  les  Centaures,''  is  fine  in  colour  and 
in  movement. 

Santerre,  Jean  Baptiste  {b.  Magny,  pr^s  Pontoise, 
1650 ;  d.  Paris,  1717), — entered  the  school  of  Bon  de 
Boulogne.  He  experimented  on  fixity  of  colours  in  the 
open  air,  reducing  the  number  which  could  be  safely  em- 
ployed to  five.  He  dried  his  pictures  in  the  sun  ;  and  only 
varnished  at  the  end  of  ten  years.  Santerre  worked  with 
extreme  slowness.  Voltaire  speaks  of  him  with  enthusiasm. 
**  II  y  a  de  lui  des  tableaux  de  chevalet  admirables,  d'un 
**coloris  vrai  et  tendre.     Son  tableau  d'Adam  et  Eve  est  un 


1643-1715.        REIGN  OF  LOUIS  XIV.— THE  ACADEMY.  157 

**des  plus  beau  qu'il  y  ait  en  Europe."  This  is  somewhat 
exaggerated  praise !  But  many  of  his  portraits  are  really 
beautiful  works  of  art. 

Santerre  seems  to  have  been  an  eccentric  character.*    He 
abandoned  portrait  painting,  on  account  of  the  extreme  irri- 
tation caused  him  by  stupid  remarks  on  the  likenesses.    **  He 
"declared  he  would  not  henceforward  paint  anything  but 
'*  fancy  heads,  and  that  he  would  only  copy  from  his  models 
'*  such  features  as  pleased  him.''     In  spite  of  these  singular 
conditions,    many    people   submitted    to    them.      He    also 
painted   allegoric  or  mythologic  half   lengths,    which   were 
extremely  popular.     He  was    received    into    the    Academy 
with  the  picture  of  Susanne  au   Bain   (835),  now  in  the 
Louvre,  and  a  portrait  of  Coypel.     But  he  had  an  academy 
of  his  own,  of  young  girls  who  often  served  as  his  models. 
Examples — Louvre : — 
Susanne  au  Bain.     885. 
Portrait  de  Femme.     836. 
Portrait  de  Santerre.     837. 
Versailles : — 

Duchesse  de  Bourgogne,  salle  des  Gardes  de  la  Reine. 

2117. 
Le  Eegent,  Philippe  d'Orl^ans.     3701. 
Two  portraits  of  Louise  Adelaide  d'Orleans,  Abbesse 
de  Chelles.     3725-6. 
The  portrait  of  the  Duchesse  de  Bourgogne  is   Santerre's 
chef  d*oeuvre,  and  one  of  the  most  charming  portraits  of  the 
whole  period. 

LARGiLLifeBE,  NICHOLAS  (6.  Paris,  1656;  d.  Paris, 
1746). — Although  both  Largillifere  and  Rigaud  lived  till 
the  middle  of  the  18th  century,  so  much  of  their  most 
important  work  belongs  to  the  reign  of  Louis  XIV., 
that  they  must  be  noted  in  this  chapter.  At  three  years 
old  Largilliere's  father — an  Antwerp  merchant — took  him 
to  Antwerp,  sending  him  to  London  when  he  was  nine 
years  old,  where  the  boy  stayed  twenty  months  devoting 
himself  exclusively  to  drawing.  On  his  return  to  Antwerp 
he    entered    the  studio   of    Antoine    Goubeau,   a   Flemish 


158  A  HISTORY  OF  FRENCH  ART.  Ch.  VIII. 

painter   of   landscapes  and   fairs.      Largilliere  was   already 
sufficiently  accomplished   to    be   able  to   help   his   master, 
painting   flowers,    fish  and   fruit   in   his  pictures.    At  eigh- 
teen   he    left   Goubeau   and   went    to   England,    where   he 
worked  for  four  years.     Sir  Peter  Lely  received  him  kindly, 
and  employed  him  to  restore  some  of  the  great  masters,  and 
to  enlarge  others  for  Windsor  !     Charles  II.  was  so  delighted 
at  his  restoration  of  an  **  Amour  endomii "  that  he  wished 
to   see   him,  and  ordered   several   pictures   from  him.     He 
finished   three :    l)ut  on  account,  it  is  said,  of  the  Catholic 
persecutions,  returned  to  France.      Here  he  painted  many 
portraits,  among  others  one  of  Van  der  Meulen,  who  with 
Le   Brun   made   friends   with    him.      Charles   II.    tried   to 
persuade  him  to  return  to  England.      But  he  found  him- 
self too  well  established  in  France.      Though  he  painted 
historical  pictures,  animals,  fruit  and  flowers,  his  chief  work 
was  portrait  painting.     On  his  reception  at   the  Academy, 
his  diploma  picture  was  the  portrait  of  Le  Brun,  now  in  the 
Louvre.     After  the  Accession  of  James  II.,  he  returned  for  a 
short  time  to  England  to  paint  the  King  and  Queen.    But  in 
spite  of  exorbitant  offers  he  refused  to  remain,  and  returned 
to  France. 

Twelve  pictures  in  the  Louvre.     Of  these  the  most  im- 
portant are : — 

Portrait  of  Le  Brun.     482. 

Portrait  of  Coustou  (sculptor).     492. 

President  de  Laage.     488. 

Un  Magistrat.     490. 

Portrait  d'Homme.     486. 

Comte  de  la  Ch&tre.     483. 

Largilliere  with  wife  and  daughter.     491. 

Portrait  d'un  echevin.     487. 
This  last  is  a  delightful  bit  of   self-important    pomposity, 
gloves  in  hand,  in  his  black  robe  over  crimson  velvet.     The 
colour  in  all  these   portraits  is  fine,  rich  and  charmingly 
harmonious. 
Versailles : — 

The  Eegent,  Due  d'Orlians.     4302. 


1643-1715.        REIGN  OF  LOUIS  XIV.— THE  ACADEMY.  159 

Le  Peletier,  maltre  de  requetes.     4409. 
Conseiller  d'etat  Morant.     4410. 
Largilliere  painting  his  Mother's  portrait.     4416. 
Chantilly : — 

Mile.  Duclos  in  the  role  of  Ariane ;  and  two  others. 
Madrid : — 

Infanta  Anne  Victoire,  fiancee  de  Louis  XVIII.,  and 
three  others. 
In  England  : — 

Mme.  de  I'Aubespine,  M.  Sedelmeyer. 
Two  portraits  of  Noblemen,  Barnard  Castle. 
Mme.  de  Parabere,  Mr.  Charles  Butler. 
RiGAUD,    Hyacinthe    (6.    Perpignan,    1659 ;    d.    Paris, 
1743). — Eigaud  was  one  of  the  many  artists  whose  youth 
was  adventurous  and  full  of  struggles,  and   whose  talent 
and  determination  triumphed  over  all  difficulties.     At  eight 
years  old  he  lost  his   father,  Matthias   Eigaud,  a  painter 
and  the  son  of  a  painter.      At  fourteen  his  mother — that 
valiant   Marie  Serre,  whose  noble  double  portrait  (784)  we 
all  know  in  the  Louvre — sent  the  boy  to  Montpellier  to 
study  with  Pezet,  an  inferior  painter.     Pezet  however  owned 
fine  pictures,  and  these  young  Eigaud  copied,  learning  more 
from   Eanc,  with  whom   he  made  friends,  than   from   his 
master. 

In  1681  he  came  to  Paris,  and  followed  the  classes  at 
the  Academy.  He  also  painted  thirty-three  portraits  in  two 
years.  And  Le  Brun,  who  saw  his  portrait  of  La  Fosse, 
advised  him  to  devote  himself  to  this  line  of  painting,  instead 
of  competing  for  the  Prix  de  Eome.  This  advice  he  followed. 
He  copied  Van  Dyck's  portraits,  and  became  intimate  with 
Largilliere,  and  the  elder  de  Troy.  But  Eigaud  had  ambi- 
tions, and  wished  to  be  received  as  a  historical  painter  at 
the  Academy.  The  Academy  however  wished  him  to  enter 
its  ranks  as  a  portrait  painter,  and  only  yielded  in  1700.  His 
entrance  pictures  were  the  St.  Andre,  and  the  portrait  of 
Desjardins,  (both  in  the  Louvre).  He  became  Eector  in  1733. 
In  1709  he  was  made  one  of  the  Noble  Citizens  of  Perpignan. 
And  in  1727  Louis  XV.  gave  him  the  Order  of  St  Michel. 


1()0  A  HISTORY  OF  FRENCH  ART.  Ch.  VH 

Ri^aud  was  a  painter  of  Royalty.  He  painted  portraits  on:  ^ 
five  Kings,  all  the  princes  of  the  blood,  and  the  most  dis —  = 
tinguished  personages  of  Europe ;  producing  thirty  to  fortjr^s^ 
portraits  a  year,  all  with  his  own  hand. 

He  has  seventeen  pictures  in  the  Louvre : — 
Portrait  of  Louis  XIV.     781. 
Full  length  Phihp  V.  of  Spain.     782. 
Marie  Sen-e,  mere  de  Rigaud,  two  heads  facing.     784. 
Man  and  woman,  portrait  heads,  unknown.     789. 
Presentation  in  temple,  small,  gorgeous  draperies.    780. 
Robert  de  Cotte,  premier  architecte  du  roi.     730. 
J.  F.  P.  de  Crequi,  due  de  Lesdiguieres,  enfant.    702. 
Cardinal  de  Polignac,  a  magnificent  portrait,  face  in 

bad  condition.     791. 
At  Versailles,  Rigaud  is  grandly  represented  : — 
Le  Due  de  Noailles.     4800. 
Boileau  (in  1706),  rephque  d'atelier.     4276. 
Martin  Desjardins.     3588. 
Mignard,  in  black,  in  red  chair.     3578. 
Mignard,  working,  in  full  dress.     3680. 
Dangeau,  grand  Maltre  (in  1702).     3652. 
Louis  XV.,  enfant;   twenty-four  copies  were   made 

of  this  picture  from  1716  to  1721.     This  is  the 

original,  painted  in  1715.     3695. 
Louis  XV.  (in  1730).     3750. 
Louis  XIV. ;  Armand  Jean  le  Bouthillier  de  Ranee,. 

Abb6  de  la  Trappe;   Jules  Hardouin  Mansart, 

Chantilly. 
Louis  XIV.  (1701),  in  military  dress,  with  order  of 

the  St.  Esprit,  Madrid 
Fenilon,  Buckingham  Palace. 
Three  veiy  doubtful  portraits,  certainly  not  by  Rigaud,. 

but  by  a  very  inferior  pupil,  Dulwich. 


^ 


CHAPTER   IX. 
Reign  of  Louis  XIV. — contimicd. 

ARCHITECTS  AND  SCULPTORS. 

In  the  last  chapter  I  showed  how  the  Art  of  the  reign  of 
Louis  XIV.  manifested  itself  in  theory.  In  this  we  shall  see 
its  manifestation  in  practice — that  is  to  say,  in  the  buildings 
of  the  time.  For  Sculpture  is  mainly  used  as  a  decorative 
accessory  to  the  Architecture  of  the  epoque. 

We  now  reach  one  of  those  periodic  Classic  reactions 
which  are  landmarks  in  the  history  of  French  Art.    But  each 
of  these  revivals  of  Classic  Art  has  its  own  character.     That 
of  the  **  Si^cle  de  Louis  XIV."  is  no  longer  softened  and  beauti- 
fied by  the  daring  yet  dainty  grace,  the  joyous  carelessness  of 
the  Renaissance.     A  reign  of  law  and  order,  of  oflBcial  and 
aristocratic  art,  has  taken  the  place  of  those  enchanting 
and  spontaneous  creations   of  the  earlier  Classic  revival. 
The  men  of  the  Renaissance  were  unlearned,  and  dared  to  be 
themselves.     Now  everv'  one  has  read  his  Vitruvius.     Nearlv 
everv  one  has  been  to  Rome.     He  knows  too  much  ;  and  at 
the  same  time  not  enough.     The  pedagogue  has  taken  the 
place  of  the  uncultured  artist.     And  the  architects  of   the 
day  adopt  the  severely  classic  style  which  they  suppose  to 
represent  the  architecture  of  Imperial   Rome.     With   the 
growing  knowledge  of  and  admiration  for  Classic  form  as 
evidenced  in  the  literature  of  Corneille  and  Racine,  an  imi- 
tation of  Roman   Classic   architecture  was  considered  the 
most  desirable  form  in    architecture.      The   anachronisms 
we  find  in  it,  are  not  more  startling  than  portraits  of  Louis 
XIV.  in  full  Roman  armour,  with  an  enormous  wig.      It 
was  an  imitation.      Not  a   national   and  spontaneous  art. 

But  it  reflected  the  tendencies  of  the  time.     And  as  we  find 

(161)  11 


i 

\ 

I 

\ 
\ 


162  A  HISTORY  OF  FRENCH  ART.  Ch.  IX 

all  through  the  history  of  French  Art,  the  architects  oi 
France  were  sufficiently  strong  to  impress  a  certain  nationa 
character  upon  it,  which  distinguishes  the  **  Style  Louis  XIV/ 
from  that  of  other  nations. 

What  this  style  was  at  its  verj'  best,  may  be  seen  in  th( 
North  facade  of  the  Louvre  by  Le  Vau  ;  and  in  the  Palace  o 
Meudon  by  Hardouin-Mansart.  Meudon,  **  being  withou 
**  any  pillars  or  pilasters,  avoids  all  those  shams  which  s< 
**  often  disfigure  the  designs  of  the  age.  It  is  impossible  t( 
**  study  this  building  and  the  northern  facade  of  the  Louvr^ 
"  without  feeling  that  this  was  the  true  style  of  the  age 
**  which  if  the  architects  had  only  persevered  in  cultivating 
**  they  might  have  produced  something  as  beautiful  as  i 
"  was  appropriate."  ^ 

Increased  room  was  needed  for  the  growing  exigencies  o 
a  magnificent  Court.  The  modern  recjuirements  of  light  an< 
spaciousness  for  splendid  assemblies,  ceremonies  and  recep 
tions,  were  met  by  the  large  windows,  the  lofty  ceilings,  th 
galleries  and  saloons  of  Versailles,  the  new  Louvre,  an< 
many  another  lesser  palace.  But  while  the  gain  was  im 
mense  within  the  buildings,  the  uniformity  of  ideal  withou 
often  degenerates  into  an  overpowering  monotony.  Th 
chief  fault  of  the  new  buildings  of  the  Louvre  and  Versaille 
is  their  want  of  sky  line.  The  length  of  Perrault's  famou 
Colonnade — the  eastern  facade  of  the  Louvre — splendi 
though  it  is,  is  too  great  for  its  height — 565  feet  agains 
95.  If  Perrault's  design  had  been  carried  out  in  it 
entirety  this  would  have  been  avoided.  The  Domes  h 
proposed  to  place  at  each  end,  and  the  huge  grouf 
of  statuary  upon  the  pediment  in  the  centre,  w^ould  ha\ 
broken  the  monotony  of  the  long  hne,  and  given  it  heigh 
The  same  fault  is  evident  to  a  far  greater  extent  at  Ve: 
sailles.  Supposing  Hardouin-Mansart  to  have  been  iiioi 
original  and  less  correct,  it  is  difficult  to  imagine  wht 
glorious  results  might  not  have  been  obtained  in  that  moi 
splendid  of  Palaces,  where  unequalled  opportunities  wei 
given   the   architect.      As   it   is,   though   the   effect   of   tl 

'  Fcrgusson. 


1643-1715.  REIGN  OF  LOUIS  XIY .—continued.  163 

Garden  Front  at  Versailles  is  grand  from  its  very  size,  it  is 
like  the  wall  of  some  vast  street.  It  leaves  one  utterly  un- 
moved, save  with  dismay  at  thinking  what  it  might  have 
been.  It  is  cold,  oflBcial,  monotonous.  One  longs  to  break 
down ;  to  build  up ;  to  thrust  deep  openings  through  those 
stately  walls,  which  would  give  light  and  shade,  and  break 
the  long  flat  line  of  the  balustrade  against  the  sky.  One 
yearns  for  towers  or  domes — for  one  of  those  deep  cornices  to 
crown  the  building,  which  are  the  glor}'  of  the  Renaissance — 
for  the  high  roofs  of  Maisons  and  Meudon.  For  anything  in 
fact  to  give  variety  to  the  splendid  monotony  of  that  front  of 
1300  feet.  But  when  we  look  for  originality,  it  is  not  upon 
the  exterior,  but  in  the  interior  of  the  buildings  of  this  age 
that  we  find  it. 

Owing  to   the  growing  restrictions  of   space   in   Paris, 
the  outside  of  the  Hotels  offered  but  little  inducement  for 
decoration.     But  it  was  far  otherwise  within.     Here  every 
imaginable  adornment  was  lavished  upon  the  great  saloons, 
galleries,  staircases,  vestibules.     And  nowhere  has  internal 
decoration  been  carried  to  a  further  point  of  perfection  than 
*t  Versailles,  where  we  are  oflfered  the  most  splendid  examples 
possible  of  the  Louis  XIV.  or  **  Eococo  "  style.     It  may  be 
all  wrong  in  the  eyes  of  the  architectural  purist.     But  for 
sheer  magnificence  of  effect — for  actual  beauty  and  richness 
of  detail  in  marbles  and  painting,  in  gilded  stucco,  carved 
wood,  superb  gilt  bronze,  on  all  of  which  the  greatest  artists 
of  the  day  did  not  disdain  to  work — it  cannot  be  surpassed. 
Take,  for  example,  the  Salon  de  Mars.     The  modillions  of 
the  grand  golden  cornice  are  empty  casques.    And  in  the  cov- 
ings of  the  ceiling  are  golden  trophies,  and  lovely  cupids  in 
gilt  stucco  riding  eagles  and  taming  lions.    While  golden  oak 
wreaths  frame  the  paintings  of  the  ceiling  by  Audran,  of  Mars 
in  his  chariot   drawn   by   wolves.      Or,   again,   the   Salon 
d'ApoUon,  with  its  ceiling  by  Lafosse  ;  and  its  golden  wreaths 
hanging  right  out  from  the  ceiling,  and  winged  muses  of 
extreme  beauty,  on  which  the  great  sculptor  Coysevox  did 
not  refuse  to  work. 

But  all  this  glory  of  decorative  art  culminates  in  the 


164  A  HISTORY  OF  FRENCH  ART.  Ch.  IX. 

Grande  Galerie,  dite  des  GlaceSy  and  the  Salons  de  la  Guerre 
et  de  la  Paix,  which  form  its  two  extremities.  Here  decora- 
tion, with  one  object  ever  in  view — the  glorification  of  the 
King — can  scarcely  be  carried  further.  Seventy-five  metres 
long  by  10-50  wide  and  18  high,  the  coved  roof  represents 
in  thirty  subjects  the  history  of  the  Grand  Monarque, 
painted  under  the  direction  of  Le  Brun  from  his  own  most 
carefully  painted  designs.  Boileau  and  Bacine  composed 
the  inscriptions  for  each  of  these  subjects,  which  are  set  in 
carved  and  gilded  sculpture  of  indescribable  richness  and 
variety.  The  great  trophies  of  gilt  bronze  upon  magnificent 
coloured  marbles,  the  twenty-four  groups  of  lovely  children 
in  gilded  stucco  along  the  cornice,  are  due  to  Coysevox. 
The  capitals  of  the  pilasters,  the  frames  of  the  Venetian 
mirrors — all  the  details  of  ornament — are  by  the  first 
artists  of  the  day.  While  in  the  Salon  de  la  Guerre,  in 
Coysevox*s  immortal  has  relief,  the  King,  young,  radiant, 
triumphant,  tramples  nations  in  chains  under  his  horse's 
feet.  When  we  add  to  the  decorations  that  have  survived  war 
and  revolution,  all  that  has  been  lost — the  statues,  vases,  in- 
laid tables,  carved  cabinets,  and  above  all  the  famous  silver 
mobilier  made  at  the  Gobelins  by  the  goldsmith  Ballin  to 
adorn  the  Gallery — we  get  an  idea  of  splendour  almost  un- 
equalled. Most  of  these  treasures  are  dispersed  or  destroyed. 
The  silver  furniture  was  sent  to  the  mint  in  1690,  to  defray  the 
expenses  of  the  war  against  the  League  of  Augsbourg.  Only 
Ballin's  bronze  vases  in  the  gardens — chef  d'ceuvres  which  re- 
pay the  most  careful  study — and  some  of  the  great  cartoons 
for  tapestry  in  the  museum,  in  which  many  of  these  silver 
works  of  art  are  represented,  give  us  some  faint  notion  of 
these  vanished  glories. 

But  there  is  another  example  of  this  style  of  decoration 
nearer  than  Versailles.  Le  Brun  had  already  tried  his  hand 
on  a  somewhat  similar  work,  which  every  visitor  to  Paris 
knows.  In  February,  1661,  the  **  Galerie  des  rois  "  at  the 
Louvre,  as  it  was  then  called,  was  destroyed  by  fire.  The 
King  entrusted  Le  Brun  with  its  reconstruction.  Le  Vau 
rebuilt  it.      The  two  Marsys,  Renaudin,  and  Girardon  exe- 


1643.1716.  REIGN  OF  LOUIS  XLY.-^canUnued.  165 

cuted  the  magnificent  plaster  (stiic)  ornaments  of  the  ceiling. 
The  panels  of  the  walls  were  decorated  with  flowers  by 
Baptiste,  and  divers  subjects  by  BaUin,  la  Babonnifere,  and 
Lfonard  Gontier.  While  Le  Brun  designed  the  mytholo- 
gical subjects  of  the  ceiling,  reserving  for  his  own  hand  the 
central  compartment,  representing  the  triumph  of  Apollo 
—a  fresh  delicate  flattery  to  the  King.  Every  precious 
work  of  art,  modem  and  antique,  was  gathered  together  in 
this  marvellous  gallery,  which  we  now  know  as  the  Galerie 
d'ApoUon,  where,  says  the  Mercure  <jalant  in  almost  the 
words  of  the  historian  of  Solomon's  Temple,  **  gold  was  the 
"  least  precious  thing  ". 

Such  were  the  tendencies  of  Architecture  and  decorative 
Art  under  the  **  roi-soleU  *\  Without,  severely  classic ;  within, 
the  utmost  magnificence  and  luxury  of  the  Rococo  style. 

ARCHITECTS. 

Le  Vau,  Louis  II.,  son  of  Louis  I.  (b.  1612 ;  d  1670).— 

The  favourite  architect  of  Mazarin,  of  Fouquet,  and  of  Louis 

XIV.  in  the  early  years  of  his   personal   government,   Le 

Van's  reputation  was  already  beginning  when  in  1640  he 

built  the  Hotel  Lambert  on  the  He  St.  Louis. ^     In  1653  he 

began  the  chateau  of  Vaux-le-Vicomte  for  Fouquet,  which 

was  finished  in  1660.     Although  at  times  Le  Vau  produced 

works  of  considerable  beauty — such  for  instance  as  the  north 

fa<?ade  of  the  Louvre  (see  above),  and  the  south  pavilion  of  the 

river  front — his  imaginative  faculty  was  mediocre.     And  at 

Vaux  this  showed  itself.     **  He  sought  for  effect  by  means  of 

**  mere  accumulation,  and  endeavoured  to  astonish  by  sheer 

"  splendour."     Vaux,  the  abode  of  the  rich  financier  as  well  as 

the  statesmen,  displayed  all  the  contemporary  theories — the 

park  d  la  fran^^aise,  parterres,  vast  courts,  the  Italo-classic 

style  of  the  principal  building.     **  But  it  is  no  longer,  as  at 

*'  Richelieu,  the  outcome  of  a  settled,  well-reasoned  convic- 

"  tion  ;  there  is  on  the  contrary  something  factitious,  compo- 

'*  site ;  it  would  seem  that  the  rules  are  no  longer  so  thoroughly 

'*  believed  in.*'^    But  Vaux  is  of  considerable  importance  in 

'  See  p.  109.  *  Lemonnier. 


1G6  A  HISTORY  OF  FRENCH  ART.  Ch.  I: 

the  history  of  the  period.     For  it  fonas  a  transition  betwee 
Lemercier's  Richelieu,  and  the  Versailles  of  Louis  XIV. 

In  1054  Le  Vau  succeeded  Lemercier  as  Architecte  d 
Roi.  And  hke  him,  he  was  ordered  to  continue  the  works  oi 
the  Louvre  and  the  Tuileries.  To  him  are  due  all  the  build 
ings  on  the  north  of  the  court,  and  those  on  the  interio 
\x\K>n  the  east  and  south,  as  far  as  and  including  the  centra 
pavilion.  This  pavilion,  which  was  of  considerable  merit 
faced  the  Cupola  of  the  College  des  Quatre  Nations  (now  th 
Institute),  which  according  to  the  instructions  left  by  Mazarir 
Le  Vau  began  across  the  river  in  166*2.  Unfortunately  L 
Vau  did  not  share  Lemercier*s  respect  for  the  works  of  his  pr€ 
decessors.  For  after  rebuilding  the  first  floor  of  the  Petit 
Galerie — now  the  Galerie  d'Apollon — he  disfigured  the  firs 
part  of  the  Grande  Galerie,  by  doing  away  with  the  arcad 
of  the  rez-de-chaussee. 

In  1664  he  began  his  works  of  destruction  on  the  Tuil 
eries,  destro^nng  de  TOrme's  spiral  staircase,  and  replacin 
the  circular  Dome  l)y  the  wretched  quadrangular  dom 
which  existed  till  1871.  He  further  mutilated  the  building 
by  modifying  the  wings  of  the  central  pavilion,  destroyin 
the  roofs  with  their  large  windows,  to  replace  them  by 
storey  of  a  Corinthian  order,  surmounted  by  an  attic  ;  th 
whole  set  back  to  preserve  the  terraces  on  the  garden  fron* 
He  then  pulled  down  the  rich  upper  part  of  Bullant*s  pavilioi 
replacing  it  by  a  Corinthian  order  with  attic  and  balustrade 
and  then  finished  the  corresponding  pavilion  on  the  nortl 
and  united  it  with  the  pavilion  de  Marsan,  of  which  he  wa 
also  the  author. 

In  1664  he  furnished  a  project  for  the  eastern  fa^ad 
of  the  Lou\Te.  This  was  sent  to  Italy,  and  discusse 
by  the  best  architects  there,  who  rejected  it  with  som 
warmth.  Bernini  was  then  summoned  from  Rome.  An 
it  is  fortunate  for  France  that  before  the  foundations  wer 
even  above  ground,  Bernini,  irritated  by  the  severe  criticisi 
his  plans  encountered,  returned  to  Italy,  laden  with  mone 
and  brevets,  leaving  his  favourite  pupil  Rossi  behind,  wh 
was  soon  induced — by  what  means  it  is  not  known — to  foUoi 


^^B.1715.  REIGN  OF  LOUIS  XTV.—contmued.  167 

liis  master,  Paris  was  thus  spared  the  abominable  disfignre- 
tuent  of  such  a  plan  as  Bernini's.  And  in  1667  Le  Vau  was 
aofain  summoned  to  discuss  with  Le  Brun  and  Perrault  the 
latter's  project  for  the  Colonnade  of  the  Louvre.  They  how- 
ever could  not  agree.  And  the  King  finally  chose  Perrault's 
design. 

Meanwhile,  in  1665,  Le  Vau  had  been  at  work  ut  Ver- 
sailles, where  he  added  two  pavilions  and  an  Orangery  to 
the  old  buildings.  He  also  built  a  number  of  hotels  in 
Paris.  In  the  provinces  he  constructed  the  buildings  at 
Vincennes,  now  used  as  the  officers'  quarters.  The  Chateaux 
de  Seignelay,  du  Raincy,  and  du  Saint-Sepulcre  near  Troyes. 
And  in  1668  the  enormous  works  were  begun,  which  were  to 
transform  the  hunting  lodge  of  Louis  XIII.  into  the  palace 
of  Louis  XIV.,  and  the  seat  of  court  and  government.  He 
died  at  the  Hotel  de  Longueville  in  October,  1670. 

Perrault,  Claude  (6.  Paris,  1618  ;  d.  1688). — Under 
the  fine  engraving  of  Perrault  by  Edehnck,  the  physician- 
architect  is  glorified  in  a  quaint  quatrain  : — 

"  II  n*est  point  de  secret  dans  la  Nature  entidre, 

•'  N'y  dans  les  Arts  qu'Il  n'ayt  connu, 
*'  Et  modeste  il  n'usa  de  toute  sa  Lumi^re 

**  Que  pour  voir  non  pour  estre  vu." 

The  intelligent  face  with  firm  yet  sympathetic  mouth,  gives 
a  distinctly  attractive  impression  of  the  man.  Son  of  Pierre 
Perrault,  Parliamentary  barrister,  Claude  studied  mathe- 
matics, then  medicine,  which  he  practised,  and  finally  archi- 
tecture, for  which  he  had  a  most  pronounced  taste. 

When  in  1664  Colbert  became  **  surintendant  des  Bati- 
ments,"  he  and  the  King  determined  to  give  a  definitive  shape 
to  the  various  projects  and  designs  for  the  completion  of  the 
Louvre.  Le  Van's  plans  for  the  eastern  fa<?ade  did  not  seem 
to  them  worthy  of  the  majesty  of  the  edifice.  A  model  on  a 
large  scale  was  made  in  wood  and  stucco  by  Colbert's  orders, 
exquisitely  finished  with  painting  and  gilding.  And  all  com- 
petent architects  were  called  in  to  examine  it,  and  present  their 
plans  and  suggestions  for  its  completion.  None  of  the  plans 
wholly  satisfied  the  King  and  Colbert.     They  therefore  sent 


168  .      A  HISTOBY  OF  FRENCH  ART.  •  Ch.  IX.  . 

to  Borne  for  Bernini,  who  had  just  completed  the  Colonnad 
of  St.  Peter's.  Before  Bernini's  arrival,  however,  Claud 
Perrault  through  his  brother  Charles,  the  author  of  tb 
delightful  ContcSy  and  **  premier  commis  de  la  surintendan 
des  batiments,"  sent  in  his  plan  to  Colbert.  It  was  at  firs 
rejected.  He  then  altered  it  and  submitted  it  to  Le  Brui 
and  Le  Vau.     But  the  three  were  unable  to  agree. 


Meanwhile,  Bernini  had  returned  to  Bome,  and  soo 
Charles  Perrault  contrived  —  it  is  a  little  doubtful  whatn:: 
means  were  employed  —  to  induce  the  favourite  pupil,««> 
Eossi,  to  follow  him  —  leaving  merely  the  foundations  o 
Bernini's  enormous  and  utterly  incongruous  building,  which 
would  have  necessitated  the  destruction  of  the  greater  part 
of  Le  Mercier  and  Lescot's  buildings. 

Colbert  now  returned  to  the  French  schemes,  and  chose 
two — that  of  Le  Vau,  who  was  now  more  popular  than  ever, 
after  the  defeat  of  the  Italians,  and  the  plan  by  Perrault. 
After  fresh  alterations  by  Perrault,  both  projects  were  pre- 
sented to  Louis  XIV.,  by  Colbert,  who  favoured  Perrault's, 
and  therefore  recoimnended  Le  Vau*8,  but  in  such  a  manner 
as  to  give  his  master  the  honour  of  choosing  the  other.  The 
King,  finding  Perrault's  design  **  handsomer  and  more 
majestic "  than  Bernini's,  adopted  it ;  and  the  work  was 
instantly  begun. 

Had  the  scheme  been  carried  out  in  its  entirety,  it  would 
have  been  nmch  richer  and  more  varied  than  it  is.  As  it 
was,  great  difficulty  was  experienced  in  joining  it  on  to  the 
existing  buildings  of  Le  Vau.  It  was  too  high  and  too 
long.  So  they  had  to  be  added  to.  It  overlapped  by  36  feet 
at  each  end.  The  northern  projection  was  allowed  to  remain. 
But  in  order  to  bring  the  southern  angle  into  line,  a  whole 
new  front  along  the  river  face — the  existing  river  front — was 
added  to  Le  Van's  fine  fa^*ade,  as  far  as  the  Petite  Galerie. 

In  10(57  the  main  work  of  the  Colonnade  was  finished. 

• 

But  the  pediment  was  not  placed  until  1674.  The  works 
were  all  carried  out  under  the  direction  of  d'Orbay,  Le  Van's 
son-in-law.  The  river  face  was  finished  in  1680.  But  it  was 
not  covered  in,  and  Le  Van's  domes  showed  behind  the  new 


1643-1716.  REIGN  OF  LOUIS  XIV .^-cotUinued.   '  169 

buildings.  There  was  no  sculpture,  and  the  roofless  build- 
ings remained  in  this  condition  till  1755,  like  some  palace 
stricken  with  sleep  by  the  enchanter's  wand  in  one  of  Charles 
Perrault*s  Contes,  All  money,  all  energy,  had  been  diverted 
from  the  Louvre  to  Versailles. 

In  1668  Perrault  drew  up  plans  for  the  Observatoire  and 
its  great  staircase,  finished  in  1675.  And  in  1669  competed 
with  Le  Brun  and  Le  Vau  for  the  designs  of  the  Arc  de 
Triomphe  for  the  place  du  Tr6ne.  His  plans  were  chosen ; 
and  he  began  the  work  in  1670.  But  it  was  only  com- 
pleted as  far  as  the  pedestals  of  the  columns.  The  rest, 
which  was  in  plaster,  fell  into  ruin;  and  the  whole  thing, 
which  was  engraved  by  Sebastien  Leclerc,  was  swept  away 
in  1710. 

Perrault  contributed  certain  portions  to  various  churches, 
but  these  have  been  mostly  destroyed.  The  Colonnade  of 
the  Louvre,  and  the  Observatoire  are  his  greatest  titles  to 
fame.  About  1668  he  was  made  Architecte  du  Eoi ;  and  elected 
a  member  of  the  Academy  of  Architecture  in  1673.  He  died 
in  1688.  He  published  a  VUnwitcs  in  1674  ;  and  Uordonnance 
des  cinq  especes  de  Colonnes  in  1683. 

Marot,  Jean  I.,  Architect  and  Engraver  (6.  Paris,  1619 
or  1620 ;  d.  1679), — was  the  son  of  Girard  Marot,  a  cabinet 
maker.  He  built  in  Paris,  the  front  of  the  Church  of  the 
Feuillantines ;  the  Hotels  de  Passort ;  de  Mortemart,  rue  St. 
Guillaume ;  de  Monceaux ;  and  the  Maison  Eoland,  rue  de 
Cliry.  In  the  provinces,  the  Chateaux  of  Toumy  (Yonne), 
de  Lavardin  (Maine),  and  the  fountains  (bairn)  of  the 
Chateau  de  Maisons.  With  Lemercier  he  made  a  project 
for  the  completion  of  the  Louvre.  This  was  rejected.  But 
it  was  engraved  by  him,  as  well  as  his  other  works.  In 
1669  he  made  a  contract  for  four  grottos  at  the  Chateau  of 
Saint  Germain — two  for  the  apartments  of  Mademoiselle  de 
la  Valliere,  and  two  for  those  of  Mme.  de  Montespan — at  a 
cost  of  4000  hvres. 

Marot  left  a  considerable  work  as  an  engi'aver.  His 
chief  publications  are  Le  Magnifique  Chateau  de  Richelieu  (see 
Lemercier).    U Architecture  Frayigaise,  in  which  his  son  Daniel 


170  A  HISTORY  OF  FRENCH  ART.  Ch.  IJ 

(Collaborated — it  only  appeared  in  1727.  And  Le  Petit  Maroi 
published  in  1764.  Daniel  Marot  left  France  for  Holland 
and  attached  himself  to  William  Prince  of  Orange,  layinj 
out  the  gardens  of  the  Hague  and  Loo;  and  when  th( 
Prince  succeeded  as  William  IH.  to  the  English  throne 
Marot  went  to  London  and  laid  out  the  gardens  of  Hamptoi 
Court. 

Bruant,  or  Bruani),  Liberal  (6.  about  1635 ;  rf.  Paris 
1697). — Son  of  Sebastien  Bruant  and  brother  of  Jacques  I 
Liberal  Bruant  belonged  to  a  family  of  architects.  In  1661 
he  was  already  architecte  du  roi.  And  in  1670  succeede< 
his  father  as  **  maltre  general  des  ceuvres  de  charpenterie  di 
roi/'  receiving  from  1671  to  1680,  1600  livres  a  year,  as  wel 
as  500  as  architect. 

He  made  the  plans  and  drawings  for  the  Hotel  de 
Invalides,  of  which  the  first  stone  was  laid  in  Novembei 
1671.  And  also  for  the  Church  of  the  Invalides,  of  whicl 
he  built  the  Choir  and  Nave.  The  north  faQade  and  th 
Dome  were  built  by  Mansart,  who  also  made  alterations  ii 
the  plan  of  the  buildings.  In  the  same  year  he  fumishe 
the  first  plans  for  the  Place  Vend6me,  and  began  the  work 
there.  But  here  again  Mansart  succeeded  him  in  1685,  whe: 
all  the  plans  were  changed.  In  1662  Bruant  furnished  th 
plans  and  designs  for  Richmond  Palace  in  England,  for  th 
Duke  of  York.  He  was  made  a  member  of  the  Academv  c 
Architecture  at  its  foundation  in  December,  1671.  And  i 
his  acte  de  d^ces  in  1694  is  qualified  as  escnyer,  conseillo 
sccrdtaire  du  roi  et  architecte  ordinmre  des  batiments  de  s 
Majest(^. 

Mansart,  Jules  B.  Hardouin  {b.  Paris,  1646 ;  d,  Marlj 
1708). — Son  of  Raphael  Hardouin,  painter  in  ordinary,  an 
Marie  Gauthier,  niece  of  Francois  Mansart,^  J.  B.  Hardoui 
studied  with  his  uncle  and  took  his  name.  And  on  Franvoi 
Mansart 's  death  in  1661,  he  worked  upon  the  Hotel  d 
Vendome  under  Liberal  Bruant. 

It  was  in  1672  that  the  King  remarked  him  at  work  i 
the  Place  Vend6me.    His  father  presented  him,  and  he  aske 

*  See  chapter  viii. 


^^3-1715.  REIGN  OF  LOUIS  Xl\\—contimicd.  171 

for  permission  to  compete  for  the  plans  of  Clagny  for  Mme. 
^e  Montespan.  Mansart's  plans  were  chosen,  but  he  did 
Hot  begin  Clagny  (now  destroyed)  until  1676.  Mansart  now 
Ijegan  his  works  of  destruction,  starting  wnth  the  Palace  of 
iSaint  Germain-en-Laye,  where  he  made  profound  altera- 
tions. Five  enormous  pavilions  replaced  the  charming 
tourelles  of  Pierre  de  Chambiges,  and  he  also  built  the 
great  terrace  on  the  north.  These  works  went  on  till 
1682.  In  the  next  year,  1675,  Mansart  was  admitted  to 
the  Academy,  and  appointed  Architecte  du  Eoi. 

In  1678  he  finished  the  petit  chateau^  the  mfliicujeriey  and  the 

house  of  la  Quintinie,  head  gardener,  at  Versailles.   And  in  1679 

hegan  the  great  works  of  the  Palace  of  Versailles,  the  fa(;ade 

-on  the  garden  being  finished  in  1680.     The  grand  escalier, 

i;he  grand  commun,  and  the  stables  were  finished  in  1685. 

The  Orangerie  was  built  in  1688.     And  the  Grand  Trianon, 

'with  the  exception  of  the  Colonnade,  in  the  same  year.     The 

original  Chateau  of  Louis  XIII.  was  preserved — the  brick  and 

«tone  hunting  lodge  built  by  Lemercier.     This  now  forms 

the  central  part  of  the  Palace,  known  as  the  Cour  de  Marbre. 

But  it  is  completely  enveloped  and  overshadowed  by  Man- 

sart's    enormous    buildings.      Some    extremely    interesting 

pictures    preserved    in    the    Museum,    and    engravings    by 

Israel   Silvestre,  enable  us  to  follow  the   successive  trans- 

fonnations  which  the  Chateau  and  the  Park  underwent. 

Le  Vau  had  been  working  upon  Versailles  since  1669, 
when  Louis  XIV.  determined  to  make  it  the  principal 
Eoval  residence.  And  from  1678  Mansart  continued  these 
important  constructions,  destroying,  or  modifying,  as  was 
his  wont,  much  of  his  predecessor's  work.  It  was  in 
1682  that  the  King  definitively  transferred  the  seat  of 
government  to  Versailles.  But  notwithstanding  the  presence 
of  the  Court  and  the  government,  the  building  went  on 
\^ithout  cessation. 

In  1684  Le  Van's  original  Grotte  4'Apollon  was  demohshed, 
to  make  room  for  the  new  north  wing.  The  famous  groups 
by  Girardon  of  the  *' Eoi-SoleiF'  served  by  nymphs,  and 
the  horses  of  his  chariot  stabled  below — were  moved  to  their 


172  A  HISTORY  OF  FSESCH  ART.  Ch.  D 

pnessLS  ^yfs^uOiL  Btx^  the  "  Eosqaet "  in  wfakh  they  stand 
w&s  m^dtt  <&  Laii*ired  veAis  laser  from  Hubert  Bobert" 
designs.  Ic  was  ac^mt  161^)  that  the  exterior  of  the  Chatea 
awioirueii  zk^  torm.  we  know.  The  Chapel  was  began  b 
Mazisart  in  1*5^.  the  f<:>andations  having  been  laid  te 
vcars  before :  and  was  Snished  ot  Robert  de  Cone  in  171C 

Man^arts  activitv  h-iwever  was  not  confined  to  Versailles 
In  1*>*'J  he  recoils  the  fat.^e  and  two  ^^alleries  of  th 
Chateau  de  Ihknipierre.  This  maj^ficent  building  ha 
r.*r<rG  rtsttjreii  by  :rs  'i-wner.  the  doc  de  Luynes.)  He  begai 
Marly  f^ir  th*:  Kicur.  wh*:*  als*3  ennobled  him  in  this  sam 
vear  onder  the  title  ot  C^rmte  de  Sa^-nne.  From  1684  t 
l^jV)  he  built  Notre  I>anie  de  Versailles.  The  Maison  de 
Lazaristes.  Be*jan  the  Pont  Koval.  Built  St.  Cvr.  Th 
Place  des  VictO'ires.  And  undert*.»ok  the  building,  on  nei 
plans,  of  the  Place  Vendome.  which  had  been  begun  b 
Bruant.  These  two  Places  are  the  best  examples  of  Mar 
sart's  invention,  which  bei.'ame,  as  I  have  said,  so  popula 
in  all  European  cities :  namely,  the  construction  of  a  whol 
series  of  Hotels  on  a  uniform  plan,  which  causes  them  t 
h'Xjk  like  one  izreat  Palace.  "  Having  at  Versailles  reduce 
*•  the  architecture  of  a  palace  to  that  of  a  street,  he  nej 
*•  tried  to  elevate  the  architecture  of  a  street  to  that  of 
••  palace."  ^  This  deception  did  not  find  favour  with  Frenc 
architects,  and  was  seldom  if  ever  attempted  in  Frenc 
cities  after  the  reign  of  Louis  XIV. 

Mansart  seems  to  have  l»een  an  excellent  man  of  busine$ 
as  far  as  his  o\%ti  fortunes  were  concerned.  For  in  1687  1: 
sold  his  position  as  contr^^ller  of  the  Boyal  buildings  to  h 
cousin,  Jacques  Jules  Gabriel.  His  salar}'  in  1691  wt 
raised  to  12,000  livres.  And  in  16V>^),  when  he  was  mac 
surintendant  des  Batiments  in  place  of  the  Marquis  c 
Villacerf — a  position  already  held  by  Coll>en  and  Louvois- 
he  sold  it  within  two  months  to  Francois  Blondel,  couucilk 
to  the  King,  for  130,000  livres. 

The  most  important  works  of  the  last  fifteen  years  of  h 
life  were : — 

'  Fer^ussou. 


^      '^^'iS.lTlS.  REIGN  OF  LOUIS  XJY .—contmued.  173 

The  great  Gallery  for  the  due  d'Orleans,  on  the  spot 

^here  the  Theatre  FranQais  now  stands.     The  Portail  of 

the  Invalides,  and  the  Dome  which  was  finished  in  1707. 

The  Chateau  de  Meudon,  which  he  rebuilt  for  the  Dauphin, 

having  already  made  alterations   there   for   Louvois.     The 

lower  part   of  the  Cascade  of   St.    Cloud,   and   the  grand 

staircase   of  the  Chateau.     In   1700  he  built  the  Chateau 

<ie  Boufflers  (Aisne) ;  and  his  own  Hotel  in  the  rue  de  la 

T^ompe  at  Versailles ;  having  the  year  before  built  himself 

a.    Hotel    in   Paris   (rue   des    Tournelles).      He  also  made 

journeys  into  the  provinces,   such  as  his  visit  to  the  due 

<ie   Lorraine   at    Nancy   in    1701,    for   the    beautifying   of 

"Nancy  and  Lun^ville.     And  besides  Hotels  in  Paris,  gave 

plans  for  numberless  buildings  all  over  France,  and  even 

in    Spain    and    Piedmont.      Saint-Omer,    Lyons,    Chateau 

Gaillon,    Eouen,    and    countless    Chateaux    testify    to    his 

\)oundle88  activity.     While  Chambord,  alas  !  bears  the  mark 

of  his    destructive  energy.      For  he    rebuilt   the   principal 

entrance,  and  furnished  plans  for  the  two  avaiit-corps  of  the 

facade  of  the  Place-des-Armes,  on  whose  foundations  the 

bamwiks   of  the  Mar^chal  de   Saxe   were   built   at  a   later 

date. 

Le  N6tre  (b.  Paris,   1613;    d.  Tuileries,  1700).— Any 

study  of  the  artists  who  contributed  to  the  splendours  of  the 

epoque  of  Louis  XIV.  would  be  incomplete  without  mention 

of  the  celebrated  Le  Notre.     Architecte  et  dessinateur  du  jardin 

<ln  roi,  he  was  the  son  of  Jean  le  Notre,  the  King's  chief 

gardener.     Le  N6tre  was  well  known  on  both  sides  of  the 

Channel.     He  began  by  designing  the  park  and  gardens  of 

Vaux-Ie-Vicomte  for   Fouquet,    and    made   the   grotto   and 

cascades.     These   works   introduced   him   to   the   notice  of 

Louis  XIV.,  who  took  him  into  his  service.     The  parks  and 

gardens  of  Versailles,  which  had  been  begun  under  Louis 

Xni.  by  Boyceau,  were  now  entrusted  to  Le  Notre,  who 

laid  them  out  much  as  we  see  them  now;    though  some 

alterations    and    additions    were    made   in    the    eighteenth 

century  under  the  direction  of  Hubert  Kobert.     Le  N6tre 

also   had   charge   of   the   arrangements   of  the  parks    and 


174  A  HISTORY  OF  FRENCH  ART.  Ch.  IX. 

gardens  of  the  other  Royal  Palaces,  and  created  the  gardens 
of  the  Tuileries.  He  laid  out  numbers  of  gardens  and  parks 
in  France,  England,  Prussia  and  Italy,  thus  leaving  his  mark 
in  the  **  French  Garden  "  that  became  so  popular  in  the  greater 
part  of  Europe  for  nearly  a  century.  Already  councillor  of 
the  King,  and  controller-general  of  buildings,  arts  and  manu- 
factures  in  France,  the  King  ennobled  him  and  gave  him 
the  cross  of  Saint  Michel  in  1675.  Le  Notre  died  at  the 
Tuileries,  aged  eighty-seven,  and  was  buried  in  the  Church 
of  Saint-Roch  close  by. 

SCULPTORS. 

Angitier,  Francois,  dit  L'Aine  (1()04-12  (?),  1(5(59); 
Michp:l  (1(514,  1(586).  —  The  documents  relating  to  the 
early  history'  of  Fran(,*ois  Anguier  are  not  satisfactory.  He 
studied  mider  Simon  Guillain ;  and  it  is  said  that  he  spent 
two  years  in  Italy.  The  date  of  his  birth  is  quite  undeter- 
mined, some  giving  it  as  1604,  some  as  1612.  He  however 
first  appears  in  France  about  1(545,  with  a  well-established 
reputation ;  as  he  was  at  once  entrusted  with  important 
works.  These  were  the  tombs  of  Henri  II.,  de  Montmorency^ 
beheaded  in  1632,  of  Jacques-Augustin  de  Thou,  of  the  due 
de  Chabot-llohan,  of  the  Cardinal  de  B^rulle,  etc. 

In  1652  he  was  w^orking  on  decorations  in  the  Louvre 
for  the  Queen-Mother.  Francois  Anguier  belonged  to  the 
Maitrise,  and  ahvays  refused  to  enter  the  Acade^ny.  But 
though  **  he  w-as  not  an  Academician,  he  is  very  academic  ". 
He  was  willing  to  use  the  whole  mythologic  and  al- 
legoric apparatus  of  the  day  —  Hercules  and  Fames  —  his 
soldiers  all  dressed  in  Roman  costumes,  while  they  fight 
modem  battles — as  in  the  monument  to  Henri  de  Longue- 
ville  (Louvre).  In  fact  **  he  is  as  decorative,  sometimes  as 
**  theatrical  as  anyone  else  of  the  time  '*.  In  the  fine 
tomb  of  Montmorency  —  with  its  two  Corinthian  orders, 
its  sarcophagus,  its  Hercules  and  Alexander,  Montmo- 
rency dressed  as  a  Roman  leaning  on  a  Classic  trophy, 
the  duchess  in  a  conventional  dress — we  are  very  far  away 
from  reality,  and  from  all  real  sentiment.     It  is  **  religious. 


16431715.  REIGN  OF  LOUIS  XIV .—continued.  J-TJn^ 

art,"  after  the  manner  of  Vouet  or  Bourdon.     In  the  Rohan-    ^ 

Chabot  tomb  (Versailles)  he  has  chosen  the  nude  for  the 

principal  personnage.      But  you   feel  that  this  is  not   the 

penetrating  naturalism  of  certain  of  the  funeral  monuments 

of  the  Renaissance,  but  the   nude  of  the  model.     In  one 

of  Anguier*s   works,  however,  we  get   a   most  remarkable 

departure   from   this   academic   treatment.      In  the  lovely, 

kneeling  figure  of  Gasparde  de  Ch4tre,  second  wife  of  de 

Thou   (Louvre),   the    sculptor    has    frankly   cast    aside    all 

mannerisms,    and    given    himself    honestly   and   wholly   to 

reality.     And  thereby  he  has  produced  one  of  the  most  pure 

and  charming  works  of  art  of  the  century. 

Michel  Anguier  is  more  celebrated  than  his  brother.  His 
life  was  longer,  as  he  only  died  in  1686,  thus  belonging 
to  the  most  brilhant  portion  of  the  reign  of  Louis  XIV. 
He  spent  ten  years  in  Rome ;  and  to  Rome  his  work  owes 
much.  When  about  1652  he  returned  to  Paris,  he  brought 
with  him  casts  from  the  Laocoon,  the  Wrestlers,  etc. 
The  lengthy  list  of  his  works  from  1652  to  1660,  show 
that  he  was  held  in  high  esteem,  and  that  he  worked  with 
remarkable  facility.  We  find  him  at  Saint  Mand^  and  later 
at  Vaux,  with  Fouquet — at  the  first  Chateau  sculpturing  a 
Charity,  the  likeness  of  Mme.  Fouquet  and  her  two  children 
— **  pour  marquer  la  tendresse  et  I'union  qui  regnaient  dans 
"cette  famille". 

He  was  a  favourite  of  Anne  of  Austria.  And  in  1655  he 
contributed  the  sculptures  to  the  decoration  of  her  apartments 
on  the  ground  floor  of  the  Petite  Galerie  of  the  Louvre,  Roma- 
nelli  and  Pietro  Sasso  doing  the  paintings  and  the  stucco  work. 
These  apartments  are  now  the  Galeries  des  Antiques,  and 
their  decoration  merits  close  attention,  for — with  the  Galerie 
d'Apollon — they  are  intact ;  and  are  as  admirable  examples  of 
the  pagan  ideal  of  the  decorative  art,  as  Mme.  Fouquet  and 
her  children,  or  the  Montmorency  tomb,  are  of  the  religious 
art  of  the  period.  After  1660  Michel  still  worked  for  Anne 
of  Austria,  not  at  the  Louvre,  but  at  Val-du-Grace.  To  his 
chisel  also  are  due  the  high  reliefs  on  the  Porte  St.  Uenis, 
and  some  of  the  decorations  at  Versailles.     A  very  fine  little 


176  A  HISTORY  OF  FRENCH  ART.  Ch.  /- 

Hercules  and  Atlas  in  terra-cotta  by  Michel  Anguier  is  ncr^w 
in  the  Louvre ;  and  a  graceful  Ainphitrite. 

The  An^iers  exercised  a  considerable  influence  on  tfce 
Sculpture  of  the  period,  first  by  their  own  works,  then  throu^rh 
their  pupils,  among  whom  were  Regnaudin,  Van  Cle\"€. 
Girardon,  and  the  Marsys.  It  has  been  said  they  form  tJie 
transition  l>etween  the  first  and  second  halves  of  the  centurV  *. 

m' 

belonging  to  the  time  of  Anne  of  Austria,  Mazarin,  and  tin^ 
early  days  of  Le  Brun.     And  they  may  well  be  looked  on  ^^ 
the  masters  of  the  decorative  school  of  sculpture. 
Examples.     Fran<,*ois  Anguier  : — 

Monument  of  Henri  de  Longueville,  Louvre. 
Tomb,  Jacques-Auguste  de  Thou,  Louvre. 
Gasparde  de  la  Ch&tre,  femme  de  de  Thou,  Louvre. 
Tomb,  Henri  Chabot,  due  de  Bohan,  from  Church  o  ^ 

the  Celestins,  Paris,  Versailles. 
Henri  II.,  due  de  Montmorency,  in  the  Chapel  of  the^^ 
Lycre,  Moulins. 
Alichel  Anguier : — 

Decorations,  Galeries  des  Antiques,  Louvre. 
Hercules  and  Atlas,  terra-cotta.  Louvre. 
Amphitrite,  Louvre. 

Trophies  in  high  relief,  Porte  St.  Denis,  Paris. 
GuERix,  GiLLES  (6.  1606;  d,  1678).— Though  Gilles 
Guerin  is  in  some  degree  one  with  the  naturalistic  movement 
of  the  Louis  XIII.  epoque,  yet  he  belongs  to  both  reigns,  and 
partakes  of  the  tendencies  of  both.  An  artist  of  very  varied 
qualities — strong,  and  with  undoubted  originality — his  merits 
have  not  been  fully  appreciated  by  posterity.  In  1653  he 
executed  for  the  city  of  Paris,  a  statue  of  the  young  Louis 
XIV.  trampling  the  Fronde  under  foot.  The  marble  statue 
is  now  at  Chantilly.  The  only  cast  that  was  ever  made  of 
it  is  at  Versailles.  But  long  before  this  he  had  been  employed 
by  Eichelieu  and  Mazarin. 

Among  his  works  are  the  Mausoleum  of  Henri  II.  de 
Cond6.  for  the  chapel  of  Valery  en  Gatinois.  Part  of  the  de- 
corations at  Maisons.  The  four  figures  of  the  children  who 
hold  up  the  curtains  of  the  alcove  in  the  King's  bedroom, 


1643-1715.  REIGN  OF  LOUIS  XIW .--continued.  177 

Louvre,  are  also  his.  So  are  the  decorations  of  the  Chateaux 
of  Chevemy,  du  Fayel,  and  de  Guermande.  His  portraits 
are  fine.  The  kneeling  figure  of  Charles,  due  de  Lavieuville 
(d.  1653)  from  the  Church  of  the  Minimes,  now  in  the  Louvre, 
is  of  great  merit. 

GiRARDON,  FRANgois  (6.  Troyes,  1628;  d.ni5). — Francois 
Girardon,  destined  to  become  the  most  docile  interpreter  of  Le 
Bran's  ideas,  the  chief  of  the  pleiad  of  decorators  of  Versailles, 
in  his  earliest  works  shows  his  origin.  He  was  a  Cham- 
penois,  son  of  Nicholas  Girardon,  a  master-founder  of  Troyes. 
But  once  in  Paris  he  soon  shook  oflF  his  provincialisms. 
An  order  from  Chancellor  Seguier  for  his  chateau  of  St. 
Li^baut  near  Troyes,  brought  him  rapidly  to  the  front.  He 
then  obtained  leave  to  go  and  study  in  Eome.  On  his  re- 
turn in  1652,  he  quickly  became  Le  Brun's  homine  de  cmifiunce, 
the  sculptor  who  could  most  sympathetically  translate  the 
master's  ideas.  To  this  period  is  due  the  tomb  of  Jer6me 
Bignon,  the  King's  librarian.  Girardon  then  went  back  to 
Rome  to  collect  works  of  art.  On  his  return  he  was  con- 
sidered an  important  and  thoroughly  established  artist. 

In  1665  we  find  him  employed  with  the  two  Marsys  and 

Renaudin,  upon  the  magnificent  stucco  sculpture  of  the  ceiling 

in  the  Galerie  d' ApoUon.    To  stimulate  their  zeal,  a  prize  of  300 

golden  crowns  is  oflFered  them,  which  is  awarded  to  Girardon. 

In  1669  he  is  commissioned  to  execute  the  colossal  bronze 

of  the  King  for  the  Place  Vend6me.     This  was  melted  down 

at  the  Revolution,  and  only  the  little  bronze  model  remains 

in  the  Louvre.     It  is  marked  by  an  imposing  nobility.     But 

Girardon  did  not  venture  to  depart  from  the  calm  of  his 

model,  the  Marcus-Aurelius  in  Rome.    His  two  most  famous 

works  are  the  Mausoleum  of  Richelieu  at  the  Sorbonne,  which 

was  erected  in  1694 ;  and  the  Rape  of  Proserpine  in  front  of 

the  Colonnade,  Versailles,   1699.     His  most  delicate  chef 

d'oeuvre    perhaps,    is   the    has    relief   of    nymphs    on    the 

Fontaine  de  Diane. 

Among  his  other  works  at  Versailles  are  the  famous  group 
in  marble  of  the  Bains  d'Apollon,  where  at  the  entrance  of 

her  palace,  the  six   attendant  nymphs  of  Thetis  serve  the 

12 


178  A  HISTORY  OF  FRENCH  ART.  Ch.  ir^ 


San  god  when  he  retnms  to  rest  each  evening,  while  t 
horses  of  his  chariot  are  stabled  in  a  grotto  below.  It 
sculptured  in  1672.  and  "'  le  roi  soleil  '*  poses  as  Apollo.  Th 
charminor  fontaine  de  la  Pyramide,  with  its  tritons,  dolphin 
and  cray-fish  scnlptnred  in  lead,  is  also  Girardon's  wor 
It  is  uncertain  whether  the  model  of  an  equestrian  status  -- 
of  Louis  Xr\".  in  2nnc,  in  the  CEil  de  Boeuf.  Versailles,  is  du^*  - 
to  Girardon  or  Desjardins.  With  slight  variations,  it  recall^^ 
the  latter  artist's  statue  for  the  city  of  Lyons,  and  Girardon'^ 
famous  statue  of  the  Place  Venddme.  But  the  King  ha^s=- 
grown  sad  and  old,  the  face  spread,  the  eyes  encircled  withr^ 
wrinkles.  There  is  also  a  fine  bust  of  Lamoignon  in  terra — ' 
cotta  by  Girardon.  at  Versailles. 

The  Musetmi  of  Troves  owns  some  of  his  best  works : — 
Marble  has  relief  from  the  tomb  of  Mme.  de  Lamoig- — 

non. 
Bust  of  Louis  XIV.  (marble). 
Bust  of  Marie  Ther^se  (marble). 

Bas  relief  (bronze),  St.  Charles  communiant  les  pesti- 

f^res,  from  Church  of  St.  Nicholas  du  Chaxdon- 

net,  Paris. 

A  crucifix    for   his    native    country  has    remained    the 

acknowledged    model    for   crucifixes  in   wood,   bronze    and 

ivory. 

Mausoleum  of  Louvois  by  Girardon  and  Van  Cleeve, 
now  in  the  Church  of  the  Civil  Hospital,  Ton- 
nerre. 
Bust  of  Louvois,  Louvre. 
Of  the  Mausoleum  to  his  wife  only  a  very  mediocre  Pieta 
remains  in  the  Church  of  Ste.  Marguerite,  rue  St.  Antoine, 
Paris. 

Desjardins,  Martin  {b,  1640;  d,  1694). — Desjardins,  a 
man  of  considerable  power  and  held  in  high  esteem,  may 
be  considered  Girardon's  rival  in  talent  and  reputation. 
Much  of  his  admirable  work  was  done  in  bronze  or  gilded 
lead.  Therefore  much  was  melted  down  at  the  Eevolution. 
This  was  the  fate  of  the  full  length  statue  of  the  King  in 
gilded  lead,  ordered  by  the  due  de  la  Feuillade  at  his  own 


I 


^643-1716.  REIGN  OF  LOUIS  XlW^continwd.  179 

cost  for  the  place  des  Victoires.      The  six  has  reliefs  in 

t>Tonze  from   its  pedestal  are  now  in  the  Louvre.      They 

commemorate  the  Treaty  with  Spain.     The  Passage  of  the 

Bhine.     The  Conquest  of  Franche  Comt^,  1674.     The  peace 

of  Ximeguen,  1678,  etc.      And  **show  a  rare  elegance  of 

•*hand  and  happy  judgment  in  the  composition".      Four 

slaves  in   bronze,  which  were  grouped  round  the  pedestal, 

are  now  let  into  the   facade  of  the   Hotel   des   Invalides. 

XDesjardin's    statue  was   inaugurated   with   great   pomp   in 

1.686,  preceding  Girardon's  for  the  place  Vend6me  by  twelve 

years,  and  surpassing  it  in  vigour  of  quality.     Previous  to 

this  he  had  made  the  fine  equestrian  statue  of  the   King 

for  the   Place  de  Bellecour  at  Lyons.      Some   authorities 

consider  (see  Girardon)  that  the  model  in  zinc  in  the  (Eil 

de  Boeuf  (2194)  at  Versailles  is  a  reduction  of  the  Lyons 

Statue. 

Desjardins  was  Rector  of  the  Academy,  and  **  Sculpteur 
du  roi,'*  at  his  death  in  1694.  His  bust  of  Ed.  Colbert, 
Marquis  de  Villacerf,^  and  the  admirable  bust  of  Mignard, 
of  firm  and  yet  impetuous  execution,  show  that  he  knew 
when  necessary  how  to  treat  the  portrait  with  magisterial 
authority. 

Examples — Louvre : — 

Portrait  bust,  Pierre  Mignard,  654. 

Portrait,  Ed.  Colbert,  Marquis  de  Villacerf,  653. 

Six  has  rehefs  from  Statue  of  Louis  XIV.,  Place  des 

Victoires. 
Marble  has  relief,  Hercules  crowned  by  Glory. 
Four  slaves,  bronze,  Fagade  of  Hotel  des  Invalides. 
Versailles : — 

Bronze  bust  (?),  Chambre  du  roi,  2166. 

Bas  relief,  plaster,  Justice  holding   a   medallion   of 

Antoine  d'Aubray,  from  the  Oratoire,  477. 
Model  of  Equestrian  Statue  Louis  XIV.  (?),  2194. 
Diane  chasseresse.  Cabinet  de  Diane,  Gardens. 
At  Versailles,  in  a  fine  portrait  of  Desjardins  by  Eigaud 
(3583),  the  sculptor  presents  himself  with  "  superb  assurance, 

>  This  bast  was  long  attributed  to  Coysevox  on  account  of  its  beauty. 


■  zlrz  th^yt  tzL  kZ}i  *7r:c:£  irr  rj-r  im?:'^!.  dnped  in  a  s^ 
":\.Zrz  :j:rkk.  tI:.:!  >b:Trf  ii>  Iwie  j-iIIat,  die  rigrht  hai 
"\-z\h, —  z  :ci  k  j-.-j.iiiSil  rrrrLTir  £iji  besii.  ihe  left  on  his  hi 
"  b:l-ii=^  &  I**!*^'  "^"-^  '  >i:f^v:h  Ir  ibe  biftckinrv'kiind.  ac^aiD 
"zzri-  -z^rzznr  cVt.  t^^  ui ."--ir-ifiiT  .f  the  Plioe  des  Yictoir 


V. 


Prrrr.  P:z?j=^  :  Mics^f..-<,  !-±I:  i.  lt59H.— Pier 
P::;-r^:.  i  :rz^  S: -Tbrrri-rr.  rszVterkn:.  ruiphadc,  proud. 
is-ilJT  lAkfc  ^  th-r  r«rr?*:zif  ::fcr-:-  ::  a11  Fieneh  Scnlptu 
izL  :r>e  17:h  ^erinrTr.  B:::  ::r  ib.tj^r  wh:  e?:€em  the  mventi^ 
fa^^:IITT  ani  ^  smoere  "..vr  ::  nsiTirv.  as  higher  qnaliti 
thai:  nifjne  exrci::Tr  p.Trrr  ir-.:  :A>:e  f:r  ihe  mise  en  seen 
C:t^t:x  ix-.ll  rank  higher  :r,an  h:>  il'jusiri^as  rival.  Ai 
C:t^t:x  was  a  pTirely  Frviio!:  ar-:>:.  whiie  Pa  jet  was  tl 
•irv::^ie  cf  I:al:aii:>ir..  I:  hr  >h,^y3t  himself  free  from  I 
Bm::.  ::  was  rniv  :^"  rail  ■:;n.^er  :hr  over-aiasierinir  tvrani 
of  Beniiiii.  To  rhe  end  :f  his  rvsilc'ss  life.  Pujet  iemain< 
the  p'rc*vincia3 — independen:.  disinterested,  intolerant  of  tl 
sen-ile  neeessirie?  of  the  ::fe  <^i  Pans  and  the  Conrt. 

A:  Marseilles  vonns:  Pajet  was  apprenticed  to  a  build 
of  iralleys.  and  was  soon  employed  on  their  omamentatio 
The  fashion  of  the  day  was  pomiH>ns  figures  in  ^Ided  wo< 
on  poop  and  prow.  These  were  mostly  made  at  Touloi 
and  artists  of  considerable  reputation  worked  upon  them, 
luav  be  seen  in  the  Musee  de  la  Marine.  Work  beinc^  sla^ 
at  Marseilles,  young  Pujet  set  out  on  foot  to  Genoa.  th< 
to  Florence,  and  then  to  Bome.  Here  rmfonunatelv  he  h 
in  \%"ith  the  mannerist.  Pierre  de  Cortone ;  and  learnt  fro 
him  the  elements  of  decadent  drawing,  and  deplorable  fc 
mulas.  This  left  an  indelible  mark  on  the  young  arti$ 
which  Jean  de  Bologne  and  Bernini  were  to  complet 
Happily  there  was  good  stuff  underneath :  and  in  mai 
cases  Pujet  rose  high  above  the  influences  of  the  Romi 
and  Bolognese  schools. 

In  n*43  Pujet  was  back  at  Marseilles,  working  at  t] 
carving  oTgalleys  for  his  daily  bread,  and  painting.  Thr 
years  later  he  is  again  in  Rome,  and  this  time  measures  ai 

■  De  Nolhac,  Versailles. 


1643-1715.  REIGN  OF  LOUIS  XIY .—continued.  181 

draws  from  the  antique.  In  1649  he  is  once  more  in  Toulon, 
carving  in  wood  and  stone,  and  painting  very  bad  Holy 
pictures.  But  at  last  he  gets  his  opportunity  in  an  order  for 
the  Cariatides  supporting  the  balcony  of  the  Hotel  de  Ville, 
Toulon.  A  new  idea  of  plastic  art  seizes  him.  He  turns 
his  cariatides,  struggling  under  the  weight  of  the  balcony — 
into  the  porters  on  the  quays  who  he  has  watched  panting 
beneath  their  loads.  They  are  magnificent  in  force  and  in 
reality.  Had  he  only  kept  to  such  an  ideal  of  work,  what  a 
new  and  splendid  line  of  art  might  have  opened  before  him. 
But  Italy  had  laid  too  strong  a  hand  on  his  talent,  and  tempted 
him  back  to  the  decadent  Italian  ideas  of  the  17th  century. 

Two  works  however,  are  in  the  same  line  of  thought  as  the 
cariatides — Hercules  overcoming  the  Hydra,  and  La  Terre, 
for  the  Chateau  de  Vaudreuil.  He  had  been  enticed  to  Paris 
by  M.  Girardon,  who  carried  him  off  to  Normandy  to  execute 
these  two  important  works.  The  Hercules,  which  was 
supposed  to  be  lost,  was  found  some  years  ago,  broken  and 
buried  in  the  park ;  and  is  now  in  the  Mus^e  de  Eouen. 

Fouquet,  enthusiastic  over  these  works,  would  have 
divers  groups  for  Vaux.  And  he  despatched  Pujet  to  work  at 
them  at  Genoa — notably  the  Hercule  Gaulois  (now  in  the 
Louvre).  Here  again  we  get  no  God,  but  sheer  brute  force. 
It  is  inferior  to  the  Hercules  of  Vaudreuil,  and  far  inferior  to 
the  figures  at  Toulon ;  showing  the  growing  influence  of 
Italian  formulas.  Seriously  affected  by  his  patron  Fouquet's 
disgrace,  Pujet  settled  down  for  some  years  at  Genoa,  which 
Were  the  happiest  of  his  life.  Here  he  sculptured  the  colossal 
St.  Sebastien  and  St.  Ambrose  for  Sta.  Maria-in-Carignano, 
ftnd  a  Conception  for  the  Brignoli,  which  is  now  in  the 
Albergo  dei  Poveri. 

For  ever  restless,  Pujet  wanders  back  to  France.  He 
Worked  at  Marseilles,  Aix,  Toulon  ;  and  Colbert  attached  him 
to  the  Arsenal  of  Toulon  as  decorator  of  War  Vessels.  It 
has  been  commonly  supposed  that  Pujet  invented  this  style 
of  decoration.  This,  however,  is  erroneous.  It  had  come 
into  fashion  long  before;  and  was  soon  abandoned  after 
England  gave  it  up. 


■^Tvj—    3^*"    'W  T^^i •;.— S'   ^"^yr 


IrJi'.Cit     Kill    llir      *  e'^.LTTifHr    Kill    lTi:»t?S:i£S.    3:r    V€ESAiij€S.< 

tr»cij*^  *2i.ii.iiiiksiL  Z.ir  te  ii*  vit?  ixLJT  j:ns>5fred  %  pro- 
---Zi'j^L   tt!i-;:c'c    r  .jL'tir:  rffTLiei  i:  7*7  Im  zzmrt  lijkC  6fM) 

i-jrr  zr/rjz   Tti  itT.^:::  ir  «!-  Tiizj-c  :t  ica  i^:  Lie  Hatpc,  the 

-■'T^  Ti-f  TTkr  n.  l''.>r  I  :_~:»=r:  i*ii  ii-rc  ibf  jrar  tief ore. 
Lrr  i-nz.-  t!Ij:-'  L't-iti  tttJi  ijjr  "C"-iriL  Trriu.r  5c.il"::saeiic;aI:T  to 
p-^rrc    ,^'i  ti-r  Z_i^  :-^  .h-'fe.i  it  T>=iij";hr: — ibe  Fe^c-iis  and 

m 

;;,r  >_-rXii.:r:r  ill-:  li'-j^cei  -stks  rz^iiei,  Ac-i  ifciez:  10  Paris 
.r.  I'Ar^.    T:--  fiz-   -^  rikr  rt:lt:  Li?  reez:  :*llrii  "  ihe  nimnph 

Kii'rri.r  L»T^-hi:r::x.  "Lii  j»:»j.^<t!.7<ei  ks  zi::c:h  nrfi  as  vitrour 
"  ar.':  v/.-^-ivr — '.:iiL:::ts  "Br.il  w^iici.  lis  work  atonnds — he 

•  ^onii  LiTc  jier:ie:Te5  'r«ef :re  eTer  he  :.->;k  his  loci  in  hand 

•  iha;  L:s  %t;}.-^:^  T^as  ice  :f  ihe  sirar^esi  thai  could  be 
*'  ';}y>s^i:  f',r  s-cT^lf iiire.  Ir  ih:>  niass  :f  men,  amis,  horses, 
"  aud  ever.  i:i:ld:r^'5,  he  has  fcr^otien  :ha:  he  could  not 
"  jfjiroduce  the  iLiost  essential  actor — ^ihat  ray  of  simlicrht 
"  which  Alexander  intercepts,  and  without  which  the  com- 
**  fK/siiion  has  no  meaning.  "  It  is,  however,  a  very  fine  and 
vii.forous  piece  of  work. 

P^xairiples — LouNTe : — 

Perseus  and  Andromeda. 

Milo  of  Crotona. 

Alexander  and  Diogenes  (has  relief).  ' 

Hercule  Gaulois. 

Hercule  de  Vaudreuil,  Musee  de  Rouen. 

I't'HUi  de  Milan  (relief),  Marseilles. 

Mij^lallion  of  Louis  XIV.,  Musee  de  Marseilles. 
TliiH  latUjr  in  a  magnificent  work,  only  surpassed  as  a  portrait 
of  i\n*.  King  by  tbo  wax  by  Benoist,  at  Versailles. 

Ht.  HubaHtien  and  St.  Ambrose,  Sta.  Maria-in-Cariir- 
nano,  (lenoa. 

('on<;i«ption,  Albergo  dei  Poveri,  Genoa. 


^^1716.  REIGN  OF  LOUIS  XIV .—continued,  183 

CoYSEVOX,  Antoine  (pronounce  Coezevau)  (b,  Lyons, 
1640;  d.  Paris,  1720). — A  Lyonnais,  robust,  fearless,  enter- 
prising. In  Antoine  Coysevox  we  find  the  solidity  of  the 
£urgundian  united  to  the  enterprise  and  animation  of  the 
southerner.  He  not  only  displayed  the  fine  intelligence  of 
the  artist,  the  marvellous  skill  of  the  practitioner,  but  in 
the  fullest  sense  of  the  word  he  was  an  upright  man.  **  It 
"  would  be  difficult  to  find  a  nobler  life,  a  career  better 
"employed,  and  a  more  entire  professional  dignity."^ 

At  seventeen  Coysevox  was  already  in  Paris,  completing 
his  artistic  education  in  the  studio  of  Lerambert,  one  of 
Guillain*s  best  pupils.  There  he  remained  for  ten  years. 
In  1666  he  married  Lerambert*s  niece,  who  died  a  year 
after  her  marriage.  And  in  the  certificate  of  her  death  it  is 
stated  that  Coysevox  had  that  year  been  appointed  Sculpteur 
du  rot.  In  the  same  year,  1667,  after  working  at  the  Louvre 
he  was  sunmioned  to  Saveme  by  the  Cardinal  de  Furstenberg, 
to  decorate  his  sumptuous  palace.  This  was  destroyed  by 
fire  in  1780.  But  we  know  that  Coysevox  contributed 
figures,  friezes,  and  ornaments  of  the  grand  staircase.  In 
1671  he  returned  to  Paris  with  a  brilliant  reputation.  Le 
Brun  was  at  the  apogee  of  his  power;  and  the  young 
master  was  already  on  intimate  terms  with  him,  as  is  shown 
by  the  bust  of  Le  Brun,  which  served  as  Coysevox 's  recep- 
tion work  when  he  entered  the  Academy  in  1676.  In 
this  year  he  returned  for  a  time  to  Lyons;  and  thought 
of  remaining  there  as  Director  of  the  new  School  of  Design, 
founded  under  the  patronage  of  the  Paris  Academy.  It  was 
probably  at  this  moment  that  he  executed  the  lovely  Vi^rge 
de  la  rue  du  Bat-d' Argent,  now  in  the  Church  of  St,  Nizier. 
Here  also  he  married  his  compatriote,  Claude  Bourdiet,  in 
1677. 

Le  Brun,  however,  persuaded  him  to  return  to  Paris. 
He  obtained  him  lodgings  in  the  Gobelins ;  and  entrusted 
him  with  important  works  at  Versailles  between  1677  and 
1685.  Here  Coysevox  showed  a  prodigious  activity.  To 
him  are  due  the   decorations  of  the   Salon   d'Apollon,  the 

^  Gonse. 


184  A  HISTORY  OF  FRENCH  ART.  Ch.  IX. 

Salon  de  la  Guerre,  and  the  Galerie  des  Glaces.  The 
twenty-four  exquisite  groups  of  children  along  the  cornice  in 
the  latter,  and  the  matchless  **  chutes  de  trophees  **  in  gilt 
bronze  on  marble,  which  constitute  **  the  most  magnificent 
**  decorations  in  the  world,"  were  all,  if  not  actually  executed 
by  his  hand,  carried  out  under  his  direction.  To  find  anything 
to  compare  with  his  has  relief  in  stucco  of  the  triumphant 
young  King,  with  the  superb  attendant  bronze  figures,  and 
the  Fame  below,  in  the  Salon  de  la  Guerre,  we  must  go 
back  to  Jean  Goujon. 

But  Coysevox*s  work  was  not  confined  to  the  interior  of 
the  Chateau.  He  composed  groups,  and  sculptured  marvel- 
lous vases  for  the  bosquets  and  terraces.  He  was  employed 
besides  at  Trianon,  in  ornaments  of  pilasters  and  tympanums. 
Then  at  the  Invalides.  Later  at  Marly,  where  his  creative 
genius  had  full  scope.  And  between  whiles  he  produced 
**  delightful  and  personal  imitations  of  the  antique,"  such 
as  his  **  Nymphe  i  la  Coquille  "  and  the  **  Venus  pudique  ". 

At  Versailles,  outside  the  Chateau  on  the  Parterre  d'Eau, 
we  find  the  Garonne  and  the  Dordogne,  in  bronze,  cast  by 
Keller.  And  the  great  marble  Vase  on  the  Terrace,  com- 
memorating the  **  Submission  of  Spain,  and  the  Defeat  of 
the  Turks  in  Hungary  ".  This  is  a  magnificent  work  of  art. 
The  handles  of  a  grinning  satyr's  head  with  goat's  horns 
and  crowned  with  ivy,  are  marvels  of  vigour  and  beauty  of 
chiselling. 

On  the  destruction  of  Marly  at  the  Revolution,  its  treasures 
were  dispersed.  Happily  most  of  those  by  Coysevox  were 
saved.  His  winged  horses,  bearing  Fame  and  Mercury,  had 
already  been  placed  in  1719  at  the  grilles  of  the  Tuileries, 
where  Coustou's  famous  **  Chevaux  de  Marly  "  were  put  oppo- 
site to  them  in  1793.  Coysevox's  allegoric  groups  of  Neptune 
and  the  Seine  were  given  to  the  town  of  Brest.  And  his 
Flora,  Hamadryad,  and  Berger  Fluteur  (now  in  the  Louvre) 
were  placed  in  the  gardens  of  the  Tuileries.  His  works  at 
Marly  were  very  unequal.  Indeed  it  is  probable  that  some 
attributed  to  him  were  executed  by  pupils.  In  portraiture 
Coysevox  reveals  himself  as  great  a  master  as  in  decorative 


2643-1716.  REIGN  OF  LOUIS  XIY. --cotiiinned.  185 

scuJptnre.  In  the  Compies  des  Batimeiits  at  Versailles  we 
find  that  his  first  portrait  busts  of  the  King  and  the  Dauphin 
were  in  1679.  Numerous  busts  of  the  King,  the  Queen,  and 
Monseigneur  follow.  One  (789),  larger  than  nature,  remains 
of  the  King,  in  the  rez  de  chaussez  at  Versailles.  Of  this 
M.  de  Kolhac  says,  **  What  pride,  what  authority  in  this  nobly 
^'  energetic  head,  and  how  one  feels  that  this  superb  expres- 
^'  sion  could  only  belong  to  the  one  and  only  Coysevox  ** ! 
One  of  the  two  busts  of  the  Dauphin,  sculptured  either  in 
1679  or  1682,  is  preserved  in  the  Salon  de  Diane.  He  also 
made  an  equestrian  statue  of  the  King  for  the  Etats  de 
Bretagne  at  Rennes.  And  for  the  Echevins  de  Paris  a  full 
length  statue,  which  is  now  in  the  Cour  d'Honneur  of  the 
Hotel  Camavalet.  His  bronze  bust  of  the  Grand  Conde, 
now  in  the  Louvre,  is  a  magnificent  work  of  art.  Coysevox 
returned  many  times  to  that  strange  and  disquieting  physi- 
ognomy— the  face  as  of  a  bird  of  prey,  of  the  Victor  of  Rocroy. 
Of  these  a  bust  and  a  medallion  at  Versailles  are  chef 
d'oeuvres.  In  all  these  portraits  we  find  vigour,  precision, 
acuteness. 

If  Colbert  and  Louvois,  Le  Brun  and  Mansart  practically 
made  his  fortune,  Coysevox  was  great  artist  enough  to  be 
able  to  free  himself,  when  necessary,  from  those  tendencies 
of  w^hich  they  were  the  high  priests.  And  one  of  his  highest 
titles  to  honour  is  that  he  remained  through  life  true  to 
national  ideals — that  he  never  allowed  his  purely  French 
genius  to  be  affected  by  Italy  or  any  other  outside  influence. 
Both  in  portraiture  and  in  decoration  he  is  one  of  the  chief 
masters  of  the  French  School — one  of  those  whose  talent  is 
the  most  varied,  the  most  supple,  the  most  abundant.  The 
touch  of  his  chisel  is  of  incomparable  skill. 
Examples — Louvre : — 

Nymphe  a  la  Coquille.     555. 

Berger  Fluteur,  signed,  1709.     5G0. 

Le  Rhone.     558. 

Venus,  on  tortoise,  signed,  1686.     55(). 

Marie  Adelaide,  duchesse  de   Bourgogne,   as  Diana, 
1710.     561. 


186  A  HISTORY  OP  FRENCH  ART.  Ch.  IX. 

Tomb  of   Mazarin,  from  Chapel  of   the  College  des 

Quatre  Nations. 
Busts  of  Marie  Serre,  mother  of  Eigaud,  559 ;  Charles 

Le  Brun,  554 ;  Louis  II.  de  Bourbon,  le  Grand 

Conde    ^bronze),    552 ;    Bossuet,    marble,    562 ; 

Michel  le  Tellier,  bronze,  from  St.  Germain  des 

Pr^s,  563. 
Tomb  of  Le  Brun,  St.  Nicholas-au-Chardonnet. 
Tomb  of  Colbert,  Saint-Eustache. 
Tomb  of  Nicholas  de   Bautru,    Marq.   de  Vaubrun, 

Chateau  de  Serrant  (Maine  et  Loire). 
Kneeling   statue  of  Louis  XIV.,  for  monument   of 

VcBU  de  Louis  XIII.,  now  behind  Altar,  Notre 

Dame,  Paris. 
Winged  horses.  Gates  of  the  Tuileries. 
Bust  Eobert  de  Cotte,  1707,  Bib.  St.  Genevieve. 
Versailles : — 

Stucco  bas  relief  Louis  XIV.,  Salon  de  la  Guerre. 
Busts  of  Louis  XrV.,  Vestibule  38;  Grand  Dauphin 

at    twenty.    Salon   de    Diane ;    Colbert ;    Marie 

Adelaide,    duchesse  de  Bourgogne,  Chambre  du 

roi,  one  of  the  marvels  of  Versailles,  dated  1710. 
Vase   of    the   Soumission   de   I'Espagne,  Terrace  of 

Parterre  d'Eau. 
Garonne  and  Dordogne,  Parterre  d*Eau. 
Statue  of  Louis  II.   de  Bourbon,  le  Grand  Conde. 

Chantilly. 


CHAPTEE  X. 

THE  ART  OF  THE  EIGHTEENTH  CENTURY. 

Each  epoch,  as  I  have  already  said,  contains  the  germ  of 
the  succeeding  one.  But  this  genn  is  not  always  of  the 
same  nature,  nor  is  it  to  be  found  in  the  same  place.  In 
the  epoch  of  Louis  XIV.  we  have  already  perceived  signs 
of  a  desire  for  something  softer,  gayer,  less  rigid,  and  more 
in  keeping  with  the  traditions  of  the  French  race  than 
the  **  Grand  Style  '*.  This  desire  showed  itself  neither  in 
painting  nor  in  architecture,  which  were  the  one  severely 
official  and  decorative  on  an  enormous  scale,  the  other 
severely  classic.  But  it  was  hinted  at  in  decorative  sculpture 
— in  those  delightful  gilt  bronzes  and  plaster  work  of  the 
ceilings  at  Versailles — in  some  of  Girardon  and  Coysevox's 
graceful  nymphs  and  fountains. 

Now,  however,  the  **  grand  siecle  "  is  over.  Louis  XIV. 
is  dead.  And  France,  so  long  held  bound  by  the  legend  of  his 
age  in  a  path  that  was  contrary  to  her  genius — pompous, 
magnificent,  and  at  last  sad,  serious,  conventional — breathes 
again.  After  Mme.  de  Maintenon,  Mme.  de  Pompadour.  After 
Le  Brun,  Boucher.  After  the  huge  wigs  and  voluminous 
draperies  of  Eigaud  and  Largilliere,  the  powder  and  satin 
coats  of  Nattier  and  Tocque.  The  mere  portraits  of  the  Mar« 
quis  de  Dangeau  and  the  Marquis  de  Marigny,  painted  less 
than  fifty  years  apart,  reveal  two  different  worlds. 

France,  kept  within  the  rigid  bounds  of  officialism  in 
thought,  in  action,  for  sixty  years,  cries  aloud  for  fresh  air^ 
for  light,  for  life,  for  amusement.  Away  with  pomposity. 
Away  with  Greece  and  Eome.  We  live  in  France.  Life  is 
short.  Let  us  enjoy  it  while  we  can.  **  The  farandole 
**  succeeds  the  procession.*' 

No  more  science.     No  more  theology.     Life  is  what  we 

(187) 


188  A  HISTORY  OF  FRENCH  ART.  Ch.  >C 

want.  We  have  been  caged  too  long — now  the  doors  are  open. 
Our  Oh-mpus  shall  be  the  Olympus  of  Ovid,  not  of  Homer 
or  Virgil.  We  will  worship  the  Goddess  of  Love.  But  she 
shall  be  a  light-hearted  Goddess  of  our  own — a  Goddess  of 
Love  without  jwison  and  daggers — of  Love  that  brings 
smiles,  not  tears — of  Love  that  amuses — Love  adorned  with 
ribbons  and  roses — with  soft  rosy  flesh  and  a  httle  pink  nose, 
and  pouting  red  lips  that  always  laugh  and  ask  to  be  kissed  ; 
Love  that  we  meet  in  our  Fetes  galajites,  where,  with  chann- 
ing  manners  and  charming  clothes,  we  embark  for  Cythfere 
in  the  midst  of  an  enchanting  landscape,  while  the  clouds 
above  only  shower  little  Loves  upon  us  instead  of  thunder 
and  rain. 

Instead  of  magnificence  the  eighteenth  century  gives  us 
•\  grace.  Instead  of  great  ideals,  we  get  every  note  in  the  scale 
of  gallantry,  of  coquetry,  of  all  that  is  gay,  that  is  superficial, 
that  is  amusing  in  human  life.  Earth  and  sky  are  made  to 
lend  themselves  to  this  universal  worship  of  love  and  life.  A 
love  that  is  merely  of  the  lips  and  eyes.  A  life  that  only  lives 
tor  the  moment — that  is  at  best  but  a  life  of  sentiment. 
Life  is  turned  into  a  dainty  poem.  And  that  poem  is  painted 
by  Watteau. 

And  thus  the  century  dances  on,  with  its  shepherds  and 
shepherdesses  in  silk  and  satin  ;  its  fair  ladies  and  their 
gallant  lovers  in  powder  and  paint ;  its  Cupids  and  Hearts 
and  Darts.  And  it  never  hears  or  heeds  the  terrible  under- 
tone of  suffering  and  sorrow  and  coming  retribution,  as  it 
transforms  nature  herself  into  one  vast  d^cor  de  theatre. 

It  is  in  painting  that  the  art  of  the  eighteenth  century 
finds  its  most  complete  expression.  And  four  great  painters 
in  a  manner  sum  up  the  tendencies  of  the  time :  Watteau, 
Boucher,  Fragonard,  Greuze. 

In  Watteau  we  find  the  Poet  of  the  eighteenth  century. 
Watteau,  the  great  poet  of  Love — of  a  serene  and  gentle  love 
with  no  note  of  passion — of  a  tender  and  tranquil  paradise. 
Watteau,  who  had  the  genius  to  create  a  world  and  a  race 
of  his  own ;  a  dreamland  as  of  one  of  the  kingdoms  of 
"  Shakespeare's   Comedies.      "  Watteau  a  renouvele  la  grA.ce. 


1'?15.1789.  ART  OF  THE  EIGHTEENTH  CENTURY.  189 

"La  gr&ce  chez  Watteau,  n'est  plus  la  gr&ce  antique  ;  un 

"  charme  rigoureux  et  solide,  la  perfection  de  marbre  de  la 

"  Galatee,  la  seduction  toute  plastique  et  la  gloire  materielle 

"  des  Venus.      La  gr4ce  de  Watteau  est  la  grace.     Elle  est 

'*  le  rien  qui  habille  la  femme  d'un  agrement,  d*une  coquet- 

**  terie,  d'un  beau  au-dela  du  beau  physique.     Elle  est  cette 

*'  chose  subtile  qui  semble  le  sourire  de  la  ligne,  Vkme  de 

**  la  forme,  la  physionomie  spirituelle  de  lamatiere."^ 

Boucher,  the  Amuser,  **  bom  brush  in  hand,**  reflects  the 
very  spirit  and  life  of  his  time.  He  shows  his  century  its 
own  face  in  a  **  mirror  wreathed  with  roses  " — **  the  ideal  of 
**  the  world  about  him,  the  dream  of  a  society  crazy  for 
'*  pleasure,  whirled  along  in  a  perpetual  carnival  '\'^  A 
society  that  only  cares  to  Jook  on  the  joyous  semblance  of 
life ;  on  nature  arranged  to  suit  an  endless  play.  This  side 
of  the  eighteenth  century  is  rendered  by  the  painter  par  ex- 
cellence of  La  Pompadour  and  Louis  XV. 

With  Fragonard  a  deeper  note  is  struck.  He  also  is  a 
poet.  But  Fragonard,  the  Proven9al,  the  man  of  the  South, 
writes  a  poem  of  different  meaning  to  that  of  the  great 
Watteau,  the  man  of  the  North.  Fragonard  is  the  son  of 
Tasso,  of  Cervantes,  Boccacio,  Ariosto.  He  writes  the 
poem  of  desire.  "  The  breath  of  a  sigh  turns  in  it  into  a 
**  kiss.'*  The  century  is  moving  on — the  change  is  coming. 
Fragonard  laughs  and  mocks,  and  sighs  and  laughs  again, 
with  his  pagan  spirit,  his  Gallic  wit.  For  he  knows  that 
life  is  not  merely  a  play — that  nature  is  not  merely  a  set 
scene  for  that  play.  And  in  Fragonard  we  get  at  times  a 
note  that  cuts  right  across  the  prettiness,  the  follies,  the 
loves,  the  gallantries,  the  powder  and  paint  of  the  18th 
century,  as  the  swift  blaze  of  a  sword-cut  through  the  air 
of  a  spring  morning.  A  note  that  startles  and  sobers  us — 
a  note  of  truth  and  vigour  that  foreshadows  the  aims  of  the 
great  painters  of  the  19th  century,  not  only  in  thought,  but 
in  actual  method.  Few  pictures  can  be  more  **  Impres- 
sionist "  than  some  of  his  portraits.  And  his  **  Orage," 
now  in  the  Louvre — a  really  great  picture,  with  loaded  ox- 

'  De  Qoncourt.  *  Andre  Michel. 


190  A  HISTORY  OF  FRENCH  ART.  Ch.   :^ 

cart,  terrified  sheep,  stnigglinc:  men,  against  the  great  storm- 
cloud — conveys  to  the  luind  a  sense  of  haste  and  terror 
seldom  surpassed.  While  of  his  **  Callirrhoe,"  de  Goncourt, 
that  past  master  of  all  that  pertains  to  the  18th  centur}', 
says :  '*  The  cr\*  of  a  picture  so  novel  for  the  18th  centur}' 
"is  Passion.  Fra^onard  bring^s  it  to  his  times  in  this 
"  picture,  full  of  a  tragic  tenderness,  where  one  might  think 
"  one  saw  the  entombment  of  Iphigenia.  ...  It  points  out 
**a  future  path  to  French  painting — that  of  pathos." 

There  was  however  another  tendencv  in  France  besides 
the  perpetual  Carnival.  The  Philosophers  were  preaching 
loudly.  As  against  the  corruption  in  those  of  high  degree, 
thev  exalted  the  virtues  of  the  lowlv  ones  of  the  earth. 
Powder  and  paint,  silk  and  satin  were  anathema.  The 
honest  heart  could  only  beat  under  home-spun.  The  happy 
ignorance  of  the  Savoyard,  gnawing  his  crust  and  his  garlic 
by  the  roadside,  is  more  to  be  desired  than  the  wealth  of 
the  Fermier  General  and  the  consolations  of  his  Cordon-bleu , 
This  crj'  for  simplicity  was  but  one  of  many  affectations 
that  marked  the  real,  deep,  growing  love  of  humanity. 
"  The  last  century,"  says  M.  Guizot,  "  had  this  merit,  that 
'*  it  loved  man  and  men.  It  reallv  had  a  true  affection  for 
**  them,  and  desired  their  welfare.  The  love  of  justice  and 
**  humanity,  of  justice  and  humanity  for  all,  which  character- 
**  izes  this  epoch,  what  is  its  source  if  it  does  not  come  from 
"  a  lively  sympathy  with  man,  and  a  tender  interest  in  his 
**  welfare."  This  love  of  man,  these  doctrines  of  humanity 
and  simplicity  introduced  a  new  element  into  Art. 

The  18th  centurv  is  nothing  if  not  literan'.  Art  criticism, 
or  at  all  events  **  Art  journaHsm,"  had  begun  with  Diderot's 
famous  "  salons  ".  And  they  mark  the  beginning  of  a  new 
state  of  things.  Such  art  criticism  is  too  literary-.  It  seizes 
upon  the  subject,  the  idea  merely ;  and  uses  it  as  a  text  on 
which  to  develop  a  series  of  thoughts,  of  reflections,  which 
have  nothing  to  do  with  Art. 

Diderot's  salons,  however,  had  a  very  considerable  effect 
on  the  relations  of  Art  and  literature — an  effect  far  more 
widespreading  than  their  intrinsic  critical  value.     He  used 


1715.1789.  ART  OF  THE  EIGHTEENTH  CENTURY.  191 

pictures  and  statues  as  worthy  objects  for  literature ;  while 
hitherto  Art  and  literature  had  lived  in  two  separate  worlds, 
separated  by  insunuountable  barriers.  Artists  and  writers 
saw  little  of  each  other.  Mine.  Geoflfrin  had  separate  dinners 
for  her  artists  and  her  men  of  letters,  they  knew  so  few 
people  in  common  !  **  Diderot  breaks  down  all  these  barriers. 
"  A  man  of  letters  himself,  he  haunts  the  studios,  he  talks,  he 
**  disputes,  he  rubs  up  his  ideas  against  their  theories,  his  poetic 
**  aesthetics  against  their  plastic  or  picturesque  aesthetics. 
**  To  the  public,  hitherto  closely  shut  away  from  such  things 
**  in  hterary  taste,  he  opens  the  windows  upon  art ;  through 
**  all  his  sentimental  expressions,  and  the  dissertations  of 
**  the  thinker,  he  educates  his  reader's  understanding ;  he 
'*  teaches  them  to  see  and  to  enjoy,  to  appreciate  the  truth 
**  of  an  attitude,  the  dehcacy  of  a  tone.''^ 

But  Diderot  may  well  be  pardoned  for  being  too  literary 
in  his  Salons.  Painters  and  sculptors  were  moved  by  the 
same  impulse.  And  most  of  the  pictures  and  sculptures  of 
which  he  speaks  were  full  of  literary  intention.  They  were 
intended  to  move  the  public  by  the  subjects  and  the  ideas 
they  suggested.  And  the  philosophers,  with  Diderot  and 
Kousseau,  found  an  exponent  of  their  ideas  and  ideals  in 
Greuze.  "  Fais  nous  de  la  morale,  mon  ami !  **  cries 
Diderot.  Greuze  replies  with  the  ''  Pere  de  Famille,"  with 
*'  La  Malediction  Paternelle,"  with  ''  Le  Fils  puni,"  with 
^*  Le  retour  de  Nourrice  ".  And  Society — weary  of  its  Fetes 
galantes,  and  taking  its  philosophy  with  hardly  greater 
seriousness  than  its  mythology — claps  its  hands  with  en- 
chantment at  this  new  and  delightful  morahty. 

PAINTERS. 

Watteau,  Antoine  {b.  Valenciennes,  1684;  d.  Nogent 
(Vincennes),  1721). — "  Watteau,  I'homme  du  Nord,  Tenfant 
**  de  Flandres,  le  grand  poete  de  1' Am  our,  le  maitre  des 
**serenites  douces  et  des  paradis  tendres,  dont  I'oBuvre 
**  ressemble  aux  Champs  Elysees  de  la  Passion !  Watteau 
*'le  melancolique  enchanteur,  qui  met  un  si  grand  soupir 

^  Gustave  Lanson 


^i=-T.H  :  .E  ras3::2:  t.^"^  Ch.  x. 


'    it:     jk      '    LUD^rr      -  ELiI^rTir^  TitTI-H:     ^     J  fruawr :>H,      Otc     1a 

cc*  "jinj  c.  T.  xjiu  ^ir  ;•  ELSjatT-f  :iirt  ^rjih^ssi-'ii.  :c  JiZi  idler. 
J  i:  t  ~"^-t-  Ujr  zlizi:  i^tiLT  ,Ljf  -i*..!!  ::..  Ai  .csscnz^  ^at^i^-t  but 
:ie  r*  •.11  zir-l  .£  ;:it^ji:£  i.c  i^aj»  js^jhi  '*rAc:rtEa,i  izificd  up 
-    ?i-ZiT  i.;».in  1~.-1  T-_"LL  4^  cinjr  ijifcssdr.  vi:  iai  a  talent 

TitT  X  :ir£  Tks.  ^.i.ii  ijLjsxifnL  Zbr  uitfCcr  reuTUitcd  to 
Vi^cji'jtcji»:^  jlZj:  Hit  Ti.i.i:  a:.  :»fcr±LT  rw-tiHT.  ielicaie, 
i«i«:    Liiji'rc.:.    xiks   jrn   icriC!i:*.i  ::z.  J'ats^  "aiibrc::  ixJ  or 

.-'.'ul'^        -^tI:    IT'  _l^    iJ-r-ILkT-rC..    "W-lil    TTIi.lI.   1;=:     j^Um    and 

:_:^k^:Li4i:^nrrii  To.nrr*   :t  iltr   io.rr   i:c  ^c:T:z!^zii   leaders. 

jr.,::-  ^r  ■5r.rvz-.-r~.  .ii-r  Zihinz^L  <sz:is^  AZj.ii-ri:  be*is.  another 
i.'^c-^r.TS  Al  ijuiu  Ir  rv^:L_rr^i  -t-as  Iasuc.  Wa^ea;!  was  a 
::-:*ri  -i^i^'.-:  i. j^:ii^:i: . n  :•:  lir  '.Ar.ifA^ :»; tj.  His  rapid 
rxr:*:rii;::i.  1:2  x*:-*ri  .:  i.uic  "  i^l  ;:iins  ::  a  rxT:!!^,"  made 
?.,:r-  tr-:»r.::L-  :-  :lr  rjrs  ::  L:>  :jisk-uias:er.  He  was  given 
i:.zrK  ir^z.^.  a  -a^Trrk.  ar.i  sc-i  everr  iav  "as  a  eharitv  *\ 
\zA  h\  :i.r:  L-.i^^i.:  Wis  kei:  lo  Saini  Nicholas — who  he 
vx.ji  icL-^-*  f/T  LrATi.  and  c::ild  da>h  d  withoui  a  model. 

Ho"A  ih^  ^^ra:  anis:  escap^ed  tpcm  :h:s  den  is  not  quite 
';^;rta;ij.  fca;  GiUot.  jus:  ihen  eiecied  to  ;he  Academy,  saw 
v^jij^:  of  hi-!  drawing,  and  invited  him  to  come  and  hve  with 
hirii,  Thouf^h  he  »taved  but  a  short  time,  his  eniianoe  into 
(/illot'n  Studio  had  a  marked  induenee  up^^n  him.  With 
(HIUa  h';  gained  his  love  of  onmedv  and  modem  scenes.     He 

m 

th<:fi  }i«:l]M:d  Audrau,  the  decorator,  who  was  painting  the 
^nHfii\U:Hf  aral^cftques,  and  grotesques,  so  much  in  fashion  for 
]rt%wMirii^H  anrl  ceilings.  Here  Watteau  for  the  first  time 
i'ti'ioyij]  a  fairly  comfortable  existence.  But  tired  of  work- 
ing for  others,  Watteau  now  painted  a  small  picture,  •*  Un 

'  De  Goncourt. 


1716-1789.  ART  OF  THE  EIGHTEENTH  CENTURY.  193 

depart  de  troupes  *'.  He  showed  it  to  Audran.  Amazed 
and  alarmed  at  the  talent  of  his  gifted  assistant,  Audran 
made  light  of  it.  Fearing  to  lose  his  valuable  help,  he 
begged  Watteau  not  to  **  spoil  his  real  talent"  by  such 
pictures.  Watteau  happily  saw  through  his  motives. 
Through  his  friend  Sponde,  a  painter  and  a  compatriot, 
he  sold  the  picture  to  M.  Sirois,  who  not  only  gave  him 
60  francs,  but  ordered  a  pendant,  and  remained  one  of  his 
warmest  patrons.  The  second  picture,  **  Une  Halte  d'Armee,*' 
was  taken  from  nature  at  Valenciennes,  where  Watteau  now 
w^ent.  For  this  he  received  200  francs.  Both  pictures  have 
been  engraved  by  Cochin,  and  are  now  in  the  Corporation 
Art  Gallery,  Glasgow. 

On  his  return  to  Paris,  Watteau,  whose  two  pictures  had 
already  given  him  some  reputation,  fell  in  with  the  well- 
known  amateur  Crozat.  He  was  engaged  to  do  some 
decorations  in  his  splendid  Hotel,  where  he  not  only  had 
food  and  lodgings,  but  Crozat  placed  his  inestimable  col- 
lection of  paintings  and  drawings  at  his  disposal.  Here 
Watteau  lived  with  the  works  of  the  finest  masters,  Italian 
and  Flemish.  And  was  specially  drawn  to  the  studies  of 
Rubens  and  Van  Dyck.  His  restless,  irritable,  and  inde- 
pendent nature,  however,  soon  made  him  leave  his  protector. 
And  his  melancholy,  solitary  temperament  caused  him  to 
shut  himself  up  in  a  tiny  and  obscure  lodging,  only  known 
to  M.  Sirois.  But  the  beauty  of  those  Italian  masters  he 
had  grown  to  know  and  love  at  M.  Crozat*s,  had  filled  him 
with  a  wild  desire  to  go  to  Italy.  His  only  resource  was  to 
compete  for  the  Prix  de  Rome.  This  he  did.  A  subject 
less  suited  to  the  poet  of  the  18th  century  than  **  David  and 
Abigail  "  can  hardly  be  imagined.  He  only  won  a  second 
prize.  This  meant  a  further  delay.  With  the  desire  for 
Rome  stronger  than  ever  upon  him,  he  was  ready  to  risk 
any  adventure.  He  determined  to  try  to  obtain  the  King's 
Pension  through  the  intercession  of  the  Academy.  He 
therefore  placed  the  two  little  pictures,  all  his  stock-in-trade, 
in  one  of  the  passage  rooms  of  the  Academy.     They  were 

seen  and    admired    by   the   Academicians.      De   la    Fosse 

18 


194  A  HISTORY  OF  FRENCH  ART.  Ch.  X« 

lingered  before  them  longer  than  the  rest ;  and  after  hearing 
the  story,  invited  Watteau  into  the  Salle  des  Seances.     Here 
he  gently  reproached  the  young  artist  with  want  of  faith  in 
his  own  talent ;  and  assured  him  that  the  Academy  would 
be  honoured  in  receiving  him  as  one  of  its  members.     He 
was  elected  on  the  spot.     This  was  in  1712. 

Watteau  took  this  extraordinary  success  with  his  usual 
insmiciance  and  distrust  of  his  own  powers.  He  had  neither 
pride  nor  ambition.  And  saw  little  in  his  membership  save 
that  the  door  to  Italy  was  closed  for  ever.  He  still  lived 
in  retreat,  constantly  changing  his  dwelling.  He  studied 
harder  than  ever.  He  refused  to  believe  in  his  great  genius, 
though  fame  and  orders  almost  overwhelmed  him.  Dis- 
satisfied with  his  work,  he  spent  much  time  in  rubbing  out 
and  repainting.  And — as  with  Rousseau  a  hundred  years 
later — his  friends  had  considerable  difficulty  in  dragging  his 
pictures  from  him.  The  seeds  of  consumption  were  already 
undermining  his  health,  and  increasing  his  restless  irritability 
and  wandering  habits.  He  never  took  the  trouble  to  send 
in  the  necessary  picture  for  his  reception  at  the  Academy, 
until  five  years  after  his  election.  But  it  was  worth  waiting 
for.     It  was  the  **  Embarquement  pour  Cy there  *\ 

Two  years  later  Watteau  went  to  England,  where  he  was 
received  with  all  honour,  and  made  a  considerable  monetar^'^ 
success.  But  the  climate  and  the  coal  smoke  were  disastrous 
to  his  delicate  chest,  and  after  a  year  he  returned  to  Paris. 
His  first  work  on  his  return  was  a  sign  for  his  friend  Ger- 
saint,  the  picture  dealer.  The  composition,  painted  entirely 
from  nature  in  eight  days,  by  the  dying  man,  had  a  pro- 
digious success.^  But  it  was  the  last  important  work  of 
the  great  master.  His  days  were  numbered.  At  the  end  of 
six  months  he  was  seized  with  a  desire  for  his  native  air. 
Leaving  Gersaint*s  house,  his  friend  TAbbe  Haranger,  canon 
of  St.  Gennain  TAuxerrois,  took  him  as  far  as  M.  le 
Febvre*s  house  at  Nogent,  near  Vincennes.  And  here,  on 
the  18th  of  July,   1721,  Watteau  expired.     On   his  death- 

1  It  found  its  way  to  M.  de  Julienne's  Collection.  A  fragment  was  of  late 
in  the  Sohwitzer  Collection.    Where  the  other  half  is,  is  not  known. 


1715.1789.  ART  OF  THE  EIGHTEENTH  CENTURY.  196 

bed  he  tried  to  make  up  for  his  injustice  to  Pater,  saying  he 
had  feared  his  talent  (see  Pater).  And  his  estate,  which  he 
left  to  his  four  friends,  Gersaint,  TAbbe  Haranger,  M.  de 
Julienne,  and  M.  Henin,  consisted  of  9000  francs,  and  a 
number  of  drawings. 
Examples — Louvre  : — 

^  L'Embarquement  pour  Cythere.     982. 

"  Gilles,"  a  great  picture,  Salle  la  Gaze.     983. 

Jupiter  and  Antiope,  spoilt  by  bitumens.     991. 

La  Finette.     985. 

L'indiflferent.     984. 

L'Automne.     990. 

Le  donneur  de   Serenades,  L'amante  inquiete,  and 

several  others,  Chantilly. 
Picture  in  the  SJglise  St.  Medard,  Paris, 
L*homme  a  la  Guitare,  Windsor  Castle. 
Bal  Champ6tre,  and  F^te  Champetre,  Dulwich, 
Three  pictures,  Fitzwilliam  Museum,  Cambridge. 
Six  pictures.  National  Gallery,  Edinburgh. 
The  Encampment,  and  Breaking  up  the  Camp,  Cor- 
poration Art  Gallery,  Glasgow. 
Pastoral  Group,  Hertford  House. 
F^te  under  trees,  Hertford  House. 
These  last  are  two  of  the  most  superb  pictures  ever 

painted  by  Watteau. 
The  Duet,  Sir  Francis  Cook. 
La  Gamme  d'Amour,  Julius  Wernher,  Esq. 
Actors  of  Italian  Comedy,  Asher  Wertheimer,  Esq. 
A  Garden  Scene,  and  A  Garden  Scene  with  Pierrots, 

Charles  Morrison,  Esq. 
Vue  prise  dans  le  pare  de  Saint  Cloud;  F^te  Champetre, 
the  original  of  the  one  in  the  Arenberg  Coll.  at 
Brussels,  Madrid  Gallery. 
Collection  of  drawings,  British  Museum. 
Lancret,  Nicholas  (b,  Paris,  1690 ;  d.  Paris,  1743). — 
Destined  at  first  to  become  a  die-sinker,  Lancret  soon  obtained 

^  A  replique  of  this  picture,  considered  by  some  authorities  to  be  finer 
than  the  original,  is  in  the  Royal  Collection  at  Potsdam. 


196  A  HISTORY  OF  FRENCH  ART.  Ce. 

leave  from  his  parents  to  abandon  this  profession  for  painting  ; 
and  entered  the  studio  of  Duhn,  a  professor  at  the  Academy. 
Charmed   with   Watteau's   methods,    he   then   entered    the 
studio  of  Gillot,  Watteau's  master.     Watteau,  who  at  first 
was  very  intimate  with  Lancret,  "  advised  him  to  leave  the 
**  studio  and  to  take  no  further  guide  but  nature,  to  draw 
"  ^^ews  of  the  landscapes  in  the  environs  of  Paris,  and  to 
**  invent  compositions  in  which  he  could   use  his  studies  ".^ 
This   excellent   advice  Lancret  followed  ;  and  painted  two 
pictures  which  received   the  approbation  not  only  of  Wat- 
teau but  of  the  Academy,  to  which  he  was  admitted  as  atjre'e. 
Delighted  with  his  success,  he  worked  with  enthusiasm,  and 
exhibited  two  pictures  in  the  place  Dauphine,  at  the  F^te 
Dieu.     These  were  so  completely  after  Watteau*s  manner, 
that  he  was  complimented  on  them  as  his  own  work.     The 
success  made  Lancret's  reputation  :  but  embroiled  him  with 
Watteau,  who  was  furious,  and  never  forgave  him.     In  1719 
Lancret  was  received  at  the  Academy  under  the  same  title 
as  Watteau,  **  peintre  de  f^tes  galantes  **. 

His  life  was  absorbed  by  his  art.  In  the  country  he 
sketched  everything  that  came  under  his  eye,  and  it  was  only 
in  his  last  years  that  his  friends  could  induce  him  to  give  up 
drawing  in  the  winter  with  the  pupils  from  the  model  at  the 
Academy. 

Examples  : — 

Twelve  pictures  in  the  Louvre. 

The  four  seasons,  very  charming,  with  lovely  land- 
scapes, Winter  especially.     462-65. 

Le  nid  d'oiseau.     467. 

Les  Tourterelles.     466. 

Le9on  de  Musique.     468. 

L 'Innocence.     469. 

Le  Gascon  puni.      471. 

La  Cage,  charming  landscape.     472. 

Le  dejeuner  de  Jambon,  Chantilly. 

The  four  ages.     Four  pictures,  National  Gallery. 

A  kitchen,  Hertford  House. 

» Villot. 


^"^^S-nsg.  ART  OF  THE  EIGHTEENTH  CENTURY.  197 

Mile.  Camargo,  dancer,  Hertford  House. 
Les  deux  amis  ;  and  Nicaise,  J.  Pierpont  Morgan,  Esq. 
L'EscarpoIette ;  and  L*Hiver,  Marquise  de  Lavalette. 
A  Garden  party,  Lord  Wantage,  V.C. 
Pater,  Jean-Baptiste-Joseph  {b.  Valenciennes,  1696 ; 
d.  Paris,  1736). — Pater's  father,  a  sculptor,  sent  him  when 
very  young  to  Paris  to  study  painting.     Here  he  entered  the 
studio  of  his  compatriot,  Watteau.     But  Watteau*s  difficult 
temper,  and  irritable,  uncertain  character,  prevented  the  un- 
fortunate lad  remaining  long  with  him.     Watteau  repented 
of  his   injustice   towards   his   pupil  at  the  end  of  his   life. 
He   sent   for  him,  confessed  he  had  feared  his  talent,  and 
made  him  work  with  him.     But  these  precious  lessons  only 
lasted  for  a  month,  when  Watteau's  death  put  an  end  to 
them. 

Never  was  artist  more  assiduous  in  his  profession  than 
Pater.     He  was  haunted  by  the  fear  of  becoming  infirm  be- 
fore he  had  secured  enough  to  live  on,  and  worked  day  and 
night.     This  broke  down  his  health,  and  he  died  before  he 
could  enjoy  the  fortune  for  which  he  had  sacrificed  his  life. 
Examples — Louvre  : — 
F^te-Champ^tre.     689. 
Com^diens  dans  un  pare.     690. 
La    Toilette,    charming    interior    with    red    lacquer 

mirror  and  boxes.     691. 
Conversation  dans  un  pare.     692. 
Pictures  in  the  Trianon,  Valenciennes,  Nantes,  Angers, 
and  in   the   collections   at   Cassel,  Dresden,  the 
Hermitage,  Berlin,  etc. 
Pastoral  Group,  Hertford  House. 
Mons.  de  Pourceagnac,  Arlequin  et  Pierrot,  La  f^te 
champ^tre,    Le    joueur    de    flute,   Buckingham 
Palace. 
Ladies  bathing  (366),  National  Gallery,  Edinburgh. 
Carnival  Scene,  Corporation  Art  Gallery,  Glasgow. 
The  Pleasure  Barge,  Baron  Alfred  de  Rothschild. 
Le    desir   de   plaire,    or    La   Toilette,    Marquise   de 
Lavalette. 


198  A  HISTORY  OF  FRENCH  ART.  Ch.  X.    - 

Lemoyne,  FRANgois  {b.  Paris,  1688 ;  d,  Paris,  1737).— 
At  the  age  of  thirteen,  Lemoyne  entered  the  studio  of 
Galloche.  And  in  1711  gained  the  Grand  Prix  de  TAca- 
demie.  But  he  did  not  go  to  Borne,  as  the  state  had  for 
some  years  been  obliged  to  stop  sending  pensionnaires,  on 
account  of  the  wars  at  the  end  of  Louis  XIV.^s  reign.  In 
1716  he  was  elected,  and  in  1718  received  into  the  Academy. 
His  diploma  work  was  Hercules  and  Cacus.  In  1723  he 
travelled  with  two  friends  for  six  months  in  Ifaly,  and  there 
was  much  struck  with  the  ceilings  of  Michael  Angelo,  Pietro 
de  Cortona,  and  Lanfranc.  During  this  journey  he  painted 
the  Hercules  and  Omphale,  now  in  the  Louvre.  And  on  his 
return,  finished  the  roof  of  the  Church  of  the  Jacobins.  He  then 
competed  for  the  Prix  du  roi  to  the  members  of  the  Academy, 
dividing  it  with  Troy;  and  was  made  Professor.  Two 
years  later  he  painted  the  allegorical  picture  of  the  young 
King,  Louis  XV.,  giving  peace  to  Europe.  This  was  placed 
in  1729  over  the  mantelpiece  in  the  Salon  de  la  Paix, 
Versailles,  where  it  still  exists. 

But  his  most  celebrated  work  at  Versailles  was  begun  in 
1732  and  finished  four  years  later — the  ceiling  for  the 
Salon  d'Hercule.  This  splendid  room  was  built  for  the 
ballroom  under  Louis  XV.  Vasse  worked  from  1729  to 
1734  on  the  decorative  gilt  bronzes,  including  the  beautiful 
cornice  with  trophies  of  arms  between  each  modillion,  the 
exquisite  capitals  of  the  pilasters  of  coloured  marbles,  the 
ornaments  of  the  grand  chimney-piece  on  pink  marble, 
and  the  magnificent  frame  that  once  contained  Veronese's 
**  Kepas  chez  Simon  '*.  To  Lemoyne  was  entrusted  the 
enormous  ceiling,  for  which,  on  a  huge  canvas,  18  metres 
50  by  17  metres,  he  painted  the  Apotheosis  of  Hercules.  It 
was  well  restored  in  1885,  and  is  certainly  a  chef  d'oeuvre  of 
decorative  painting.  The  Grisailles  round  the  edge  above 
the  cornice  are  particularly  fine.  It  contains  142  figures 
much  larger  than  life.  The  king  was  so  much  pleased  with 
this  great  work,  that  he  made  Lemoyne  his  premier  peintre 
in  the  place  of  Louis  de  Boulogne.  But  the  fatigue  of  this 
gigantic  work  and  another  ceiling  for  a  chapel  in  Saint-Sulpice, 


^^  X5.1789  ART  OP  THE  EIGHTEENTH  CENTURY.  199 

"^^X^Ji  both  of  which  he  had  been  working  for  neaxly  seven  years 

added  to  the  vexation  of  not  enjoying  as  premier  peintre  all 

ttie  privileges  Le  Brun  had  been  allowed  under  Louis  XIV. — 

a.s  well  as  the  death  of  his  patron,  the  due  d'Antin,  affected 

X^emoyne's  reason.     And  ten  months  after  his  appointment, 

during  a  bout  of  fever,  he  stabbed  himself  nine  times  with  a 

sword,  imagining  he  was  going  to  be  arrested  and  imprisoned, 

and  died.     Among  his  pupils  were  Natoire,  Boucher,  and 

^onotte. 

Examples  in  Versailles : — 
Ceiling  of  Salle  d'Hercule. 

Louis  XV.  donnant  la  Paix  a  TEurope,  Salon  de  la 
Paix. 
Louvre : — 

L*01jrmpe,  sketch  for  ceiling.     535. 
Junon,  Iris,  et  Flore.     536. 
Hercule  et  Omphale.     537. 
L 'education  de  T Amour.     538. 
Desportes,  Francois  {b.  Champigneul,  Champagne,  1661 ; 
d'  Paris,  1743). — Son  of  a  wealthy  cultivator,  Desportes  was 
s^nt  to  an  uncle  in  Paris  when  twelve.    Showing  an  aptitude 
for  drawing,  he  was  placed  with  a  drunken  old   Flemish 
animal  painter,  Nicasius.     But  when  Nicasius  died,  the  lad 
determined  to  study  from  nature,  and  from  the  antique  at 
the  Academy.     To  support  himself  he  helped  other  painters, 
putting  scenery,  ceilings,  etc.,  into  their  pictures. 

In  spite  of  considerable  talent  for  portraits,  he  did  not 

get  on.     So  in  1695  he  went  to  Poland.     Here  he  painted 

Sobieski,  the  Queen,  and  nobles,  and  made  a  great  success. 

On  Sobieski 's  death  Louis  XIV.  recalled  him   to   France. 

And  he  now  almost  abandoned  portraits   for   paintings  of 

animals  and  hunting  scenes.     In  1699  he  was  received  at 

the  Academy  with  his  own  portrait  (249,  Louvre).      The 

King  gave  him  an  allowance  and  rooms  in  the  Louvre.    And 

he  worked  at  Anet,  Clichy,  I'Hotel  de  Bouillon,  and  the 

Menagerie,  Versailles.     He  now  began  to  paint  the  finest 

dogs  in  the  King's  pack.    And  always  accompanied  Louis  XIV. 

on  his  hunting  parties.     He  also  painted  for  Monseigneur 


200  A  HISTORY  OP  FRENCH  ART.  Ch.  X. 

at  Meudon.  And  about  this  timd  he  began  painting  flowers, 
fruit,  and  gold  and  silver  vases  for  Lord  Stanhope — the 
King  ordering  a  similar  series.  In  1712  he  obtained  six 
months'  leave  of  absence,  and  went  to  England,  taking  a 
number  of  pictures  with  him,  which  were  eagerly  bought. 
On.  his  return  to  France  he  painted  all  the  rare  animals  in 
the  King's  menagerie.  A  great  favourite  with  the  Eegent, 
he  painted  for  the  Palais  Eoyal,  and  La  Muette,  and  fur- 
nished designs  for  screens  and  tapestries.  Louis  XV.  and 
all  his  nobles  employed  him  in  turn. 

A  hard  worker,  gifted  with  extraordinary  facihty,  he 
produced  an  immense  number  of  pictures,  though  all  were 
carefully  and  faithfully  studied  from  nature.  His  last  work 
was  a  great  stag  hunt,  and  dessus  de  partes  for  Choisy.  His 
admirable  drawing,  his  vivid  and  harmonious  colour,  his 
truth  to  nature,  stand  comparison  with  the  best  Flemish 
masters  of  his  style. 

Twenty-six  pictures  in  Louvre : — 

Desporte's  portrait  with  gun,  dogs,  and  game.     249. 

Portraits  of  Sporting  Dogs  of  Louis  XIV.     229-30. 

Fruit  and  dead  birds,  very  beautiful.     245. 

The  Stag  Hunt.     227. 

Four  fine  examples  on  the  Escalier  de  la  Reine, 
Fontainebleau. 
OuDRY,  Jean-Baptiste  {b.  Paris,  1686 ;  d,  Beauvais, 
1755). — Son  of  Jacques  Oudry,  a  maitre  peintre  who  sold 
pictures  on  the  Pont  Notre  Dame  —  Jean-Baptiste  learnt 
the  elements  of  drawing  from  his  father.  He  subsequently 
studied  under  de  Serre ;  and  then  with  LargiUifere.  Laxgillifere 
treated  him  like  a  son,  made  him  stand  by  his  easel  when 
he  was  painting  interesting  heads — and  they  were  many  from 
the  hand  of  such  a  master — and  gave  him  the  reason  for 
every  stroke  of  the  brush.  His  father,  who  was  Director  of 
the  Guild  of  St.  Luke,  made  Oudry  and  his  two  brothers 
enter  the  Maitrise.  At  first  he  painted  portraits.  But  the 
fruits  and  animals  he  introduced  into  them  so  impressed 
Largilliere,  that  he  advised  Oudry  to  devote  himself  to 
animals  and  still  life.     This   he  did.     But   meanwhile  he 


1715-1789.  ART  OF  THE  EIGHTEENTH  CENTURY.  201 

had  to  live,  and  painted  a  **^ Nativity  "  and  a  **  St.  Gilles  '*  for 
the  Choir  of  Saint-Leu,  and  an  '*  Adoration  "  for  the  Chapter 
of  St.  Martin  des  Champs. 

In  1717  he  was  made  professor  of  the  Maitrise.  But  two 
years  later  he  deserted  the  Guild,  and  entered  the  Academy 
as  an  historical  painter,  with  a  picture  of  **  I'Abondance  et  ses 
attributs  **.  His  first  great  success  was  a  full-length  of  Peter 
the  Great,  who  wanted  to  carry  him  off  to  Kussia.  The  Due 
d'Antin,  however,  persuaded  him  to  remain  in  France ;  and 
Louis  XV.  gave  him  a  studio  in  the  Tuileries",  followed  by 
rooms  in  the  Louvre ;  while  Fagon,  intendant  des  Finances, 
ordered  an  important  series  of  pictures  for  Fontenay-aux- 
Eoses. 

His  success  was  now  great.  The  King  mad^  Oudry 
paint  his  dogs  in  his  presence.  He  accompanied  the  Eoyal 
hunts,  making  endless  studies  in  the  forest  in  order  to  give 
his  pictures  the  greatest  possible  exactitude.  Though  his 
reputation  was  great  abroad,  he  refused  to  leave  France, 
where  he  was  indeed  fully  occupied.  For  Fagon  first  made 
him  superintendent  of  the  manufactory  of  Beauvais,  founded 
by  Colbert,  which  he  wished  to  reconstruct.  And  he  was 
later  appointed  superintendent  of  the  Gobelins.  He  suc- 
ceeded, thanks  to  his  extraordinary  energy,  in  both  these 
tasks.  For  a  long  while  he  himself  made  all  the  models  for 
tapestries  at  Beauvais — hunting  scenes,  country  amusements, 
Molifere's  comedies.  La  Fontaine's  fables,  etc.  And  then 
called  Boucher  and  Natoire  to  his  aid.  But  he  managed,  in 
spite  of  the  work  of  both  these  great  establishments,  to  paint 
a  host  of  pictures;  and  spent  his  time  on  f^te  days  and 
Sundays  in  making  studies  of  landscape  in  the  Forfet  de  St. 
Oermain,  at  Chantilly,  in  the  Bois  de  Boulogne  and  the 
Gardens  of  Arceuil.  He  drew  all  the  evening,  and  it  was 
thus  that  in  1729-30  he  made  275  drawings  in  white  on  blue 
paper  for  La  Fontaine's  fables  in  four  volumes,  which  were 
printed  in  1760.  He  also  read  two  remarkable  lectures  at  the 
Academy.  One,  upon  the  method  of  studying  colour  by 
comparing  objects  one  with  another — it  reads  like  a  bit  of 
Zola's  monograph  on  Manet — was  published. 


202  A  HISTORY  OP  FRENCH  ART.  Ch.  X. 

Eight  pictures  in  Louvre  : — 

Blanche,  Chienne  de  la  Meute  de  Louis  XV.     666.   * 

La  Ferme,  a  charming  landscape.     670. 

Paysage.     672. 

**  Le  Cerf  force  par  Louis  XV.  a  la  Roche  qui  pleura^ 
Fontainebleau,"  Escalier  de  la  Heine,  Fontaine- 
bleau. 

Two  magnificent  pictures,  Chantilly. 

Six  pictures,  Barnard  Castle,  etc. 
Nattier,  Jean  Marc  (b.  Paris,  1685 ;  d,  Paris,  1766). — 
The  favourite  portrait  painter  of  the  court  of  Louis  XV., 
was  son  of  Marc  Nattier,  also  a  portrait  painter,  who  died  in 
1705.  At  fifteen  Nattier  gained  a  first  prize  at  the  Academy. 
And  in  1709  Jouvenet,  who  w^as  his  godfather,  wished  to 
obtain  a  place  for  him  in  the  French  School  in  Eome.  But 
Nattier  refused.  He  was  already  engaged  on  drawings  of 
the  Eubens  Gallery  at  the  Luxembourg;  having  obtained 
leave  from  Louis  XIV.  to  have  them  engraved  by  the  best 
engravers  of  the  day.  Elected  to  the  Academy  in  1713,  he 
went  to  Amsterdam  in  1715,  where  Peter  the  Great  was 
then  staying.  Here  he  remained,  painting  the  Czar  and  all 
the  Russian  court,  till  Peter's  visit  to  Paris  in  1717.  The 
next  year  Nattier  was  received  into  the  Academy,  on  his 
diploma  picture  of  **  Perseus  bringing  Medusa's  head  to  the 
marriage  of  Phineus  "  (Musee  de  Tours).  But  it  was  not 
till  1720  that,  having  lost  all  his  savings  through  Law's 
speculations,  he  turned  definitively  to  portraiture — painting 
all  the  celebrated  personnages  of  the  day. 

Nattier,  who  for  many  years  was  the  favourite  portrait 
painter  of  the  House  of  France,  has  left  us  at  Versailles  a 
charming  and  interesting  series  of  pictures  of  the  Royal 
family.  He  painted  every  member  of  it ;  most  of  them  more 
than  once.  We  get  the  poor  little  due  de  Bourgogne,  son 
of  the  Dauphine  Marie  Joseph,  at  four  years  old,  who  died 
sadly  when  he  was  ten — a  charming  portrait  in  his  little  blue 
coat  and  orders  of  the  Saint-Esprit  and  Toison  d'Or.  A 
still  more  brilliant  picture  is  that  of  another  grandchild  of 
Louis  XV.,  the  little  daughter  of   Mme.  Elizabeth  iMnie, 


1715-1789.  ART  OP  THE  EIGHTEENTH  CENTURY.  203 

Infante),  then  nine  years  old.     Her  grandfather  evidently 

wished  for  a  souvenir  of  the  little  maiden's  visit  in  1749. 

He  never  saw  her  again,  for  she  never  returned  to  France, 

and   died  wife  of   Joseph   H.,  and  Empress  of   Germany. 

Then  come  numbers  of  portraits  of  Mesdames,  the  daughters 

of  Louis  XV.,  from  their  childhood  on.     Madame  Henriette 

as  Flora.     Little  Mme.  Louise,  holding  flowers.     Madame 

Adelaide  as  Diana — a  delicious  picture.     The  lovely  colour 

of  the  background  reminds  us  of  Boucher  at  his  very  best. 

These  three  are  now  in  the  Petits  Appartements ;  and  are 

of    the   highest   interest   and   beauty.      Perhaps,    however, 

Nattier's  triumph  is  the  channing  portrait  of  the  amiable 

Queen,  Marie  Leczinska,  who  was  so  often  painted  by  many 

of   the   excellent   portrait   painters   of   France.      No   other 

picture  of  her  can  exceed  this  in  charm  and  quality.     It 

was  exhibited  in  the  Salon  of  1748.     The  Queen  is  sitting, 

dressed  in  a  dark-red  dress  trimmed  with  fur.    A  **  marmotte" 

of  black  lace  is  loosely  tied  over  a  white  lace  cap.     Her  lelt 

arm  rests  on  a  console,  upon  which  we  see  the  crown,  the 

regal  mantle,   and   the   Gospels.      The   expression   of    the 

Queen's  face  is  delightful  in  its  kindly,  motherly  gentleness. 

Another  very  important  work  is  the  portrait  of  Mme.  Henriette 

plajring  the  bass  viol  (3800).     This,  Nattier  considered  one 

of  his  best  works.     So  is  the  well-known  three-quarter  length 

of  Mme.  Adelaide  in  a  crimson  and  white  shot  silk  dress 

powdered  with  embroidered  stars,  and  holding  a  shuttle  and 

gold  thread  (3801).     This  is  signed  ''  Nattier  pinxit,  1756  ". 

Chief  Examples : — 

Mile,  de  Lambesc  et  le  Jeune  Comte  de  Brionne. 
She  as  a  Goddess  arming  the  boy,  Louvre.  659. 
Versailles : — 

Queen  Marie  Leczinska. 

Due  de  Bourgogne,  dated  1754.     3887. 

Dauphine  Marie  Joseph  de  Saxe,  dated  1751.     2197. 

Daughter  of  Mme.  Infante,  afterwards  Empress  of 
Germany,  date  1749.     4464. 

Mme.  Elizabeth  (Mme.  Infante),  Duchess  of  Parma, 
about  1759.     3875. 


204  A  HISTORY  OF  FRENCH  ART.  Ch.  X. 

Mine.  Henriette  as  Flora,  dated  1742.     3818. 

Mine.  Adelaide  as  Diana,  dated  1745.     3805. 

Mme.  Louise.     4428. 

Mme.  Henriette  playing  a  Bass  Viol.     3800. 

Mme.  Adelaide  singing,  (a  replique  by  Nattier).    4456. 

Mme.  Adelaide  with  shuttle,  date  1756.     3801. 

Nattier  and  his  family,  begun  when  the  four  children 
were  young,  1730.  Finished  1762,  long  after  the 
death  of  the  young  woman  at  the  clavecin.    4419. 

Queen  Marie  Leczinska,  Buckinghsun  Palace. 

Lady  as  Diana.  51.  Lady  with  powdered  hair.  570. 
Barnard  Castle. 

Due  de  Penthi^vre,  H.  L.  Bischoffsheim. 

Hebe,  Chantilly. 

Mme.  de  Bovuille,  Lord  Burton. 

Several  portraits  to  which  it  is  diflScult  to  assign 
names,  Madrid  Gallery. 
Van  Loo,  Charles  Andr6,  dit  Carle  (b,  Nice,  1706 ;  d. 
Paris,  1765). — As  a  mere  child  Carle  Van  Loo  was  taken  to 
Italy  by  his  eldest  brother,  Jean-Baptiste,  who  stood  in  the 
place  of  father  and  master.  The  brothers  went  first  to 
Turin,  summoned  by  the  Duke  of  Savoy,  and  then  to  Rome. 
Here  at  nine  years  old  little  Carle  was  placed  with  Luti ;  then 
with  Le  Gros,  who  taught  him  to  model  and  carve  in  wood 
and  marble.  And  in  1719  the  brothers  returned  to  Paris, 
where  they  were  lodged  by  the  Prince  de  Carignan  in  his 
Hotel  de  Soissons.  Carle  was  now  able  to  help  his  brother 
Jean-Baptiste,  sketching  in  his  pictures,  painting  draperies ; 
and  was  one  of  the  students  who,  with  Chardin,  helped  him 
to  restore  the  paintings  of  Eosso  and  Primaticcio  in  the 
Galerie  Fran9ois  I.  at  Fontainebleau ;  and  his  love  of  huge 
w^orks  now  led  him  to  compose  and  paint  scenery  for  the 
Opera  House. 

In  1724  he  won  the  premier  prix  de  peinture  at  the 
Academy.  But  before  starting  for  Rome  he  painted  a  number 
of  small  portraits,  some  of  them  full-lengths,  which  were 
much  sought  after.  It  was  in  1727  that  he  set  out  for  Rome, 
accompanied  by  his  nephews,  Louis  and  Francois,  and  by 


17151789.  ART  OF  THE  EIGHTEENTH  CENTURY.  205 

Boucher.     In  Borne  he  threw  himself  with  enthusiasm  into 

fresh  studies ;  and  at  the  age  of  twenty-four  had  produced 

some  remarkable  works,  such  as  the  Apotheosis  of  St.  Isidore 

for  the   Church    of    San   Isidoro,   being  created  Chevalier 

by  the   Pope   in  1731.      On  his  return  to  Paris  in  1734, 

Carle  Van  Loo  was  elected  to  the  Academy,  and  received  the 

following  year  upon  his  **  Flaying  of  Marsyas  *'.     He  became 

Professor  in  1737,  and  in  1763  was  made  Director.    Honours 

came  thick  upon  him.     The  King  gave  him  the  order  of  St. 

Michel  in  1751,  and  in  1762  made  him  premier  peintre,  with 

6000  livres  a  year.     His  reputation  was  immense,  and  he  was 

oven^^helmed  with  orders.    The  King  of  Prussia  endeavoured 

to  tempt  him  to  the  Prussian  Court,  but  he  sent  his  nephew, 

Charles  Amadee,  in  his  place.    In  1764  he  was  commissioned 

to  paint  the  history  of  St.  Gregory  in  the  Cupola  of  the 

Invalides.      His   sketches  —  all   made   from   nature  —  were 

prepared,  and  were  exhibited  in  the  Salon  of  1765.     But  he 

died  before  the  work  could  be  begun. 

Examples  in  Louvre : — 

Van  Loo's  portrait  by  himself.     904. 

Une  halte  de  chasse.     899. 

Institution  of  the  order  of  the  St.  Esprit  by  Henri  III. 
895. 

Queen  Marie  Leczinska,  a  superb  portrait.     900. 

Louis  XV.,  the  well-known  portrait  in  armour,  about 
1750,  Versailles.     3751. 

Mile,  de  Clermont  aux  Eaux  min^rales  de  Chantilly, 
Chantilly. 

Louise     Henriette     de     Bourbon  -  Conti,     Duchesse 
d*Orl^ans,  Chantilly. 

Marquise  de  la  Ferronays,  M.  Sedelmeyer. 

Louise  Isabelle  de  Bourbon,  Madrid  Gallery. 
TocQui,  Louis  (b.  1696;  d,  1772).— This  excellent 
portrait  painter,  who  entered  the  school  of  Nicholas  Bertin 
at  an  early  age,  soon  gained  a  considerable  reputation.  In 
1731  he  was  elected  to  the  Academy,  and  received  three 
ye€u:s  later.  In  1739  he  painted  the  Dauphin,  son  of  Louis 
XV.,  then  ten  years  old;  the  very  charming  portrait  is  now 


206  A  HISTORY  OF  FRENCH  ART.  Ch.  X. 

in  the  Louvre,  and  shows  the  strong  likeness  between  Louis 
de  France  and  Mesdames  his  sisters.  The  next  year  Tocqu6 
painted  Queen  Marie  Leczinska,  the  great  official  full-length 
that  faces  Van  Loo's  portrait  in  the  Lou\Te.  But  perhaps 
his  chef  d'oeuvre  is  the  superb  portrait  at  Versailles  of  the 
Marquis  de  Marigny,  in  his  blue  fur-trimmed  coat  (4333) — a 
most  remarkable  and  striking  work  of  art.  His  success  was 
immense,  and  he  was  much  in  request  abroad.  The  Empress 
summoned  him  to  St.  Petersburg  in  1757,  where  he  stayed 
for  a  year,  returning  by  way  of  Stockholm  and  Copenhagen 
in  1760,  painting  Royal  and  Court  portraits.  He  married 
the  daughter  of  Nattier. 
Examples  in  Louvre : — 

Queen  Marie  Leczinska.     865. 

Louis  de  France,  dauphin,  son  of  Louis  XV.     868. 

Portrait  presumed  to  be  Mme.  de  Graffigny.     869. 

Dumarsais.     870. 

Portrait  d'un  homme,  brown  coat,  red  waistcoat.     875. 
Versailles : — 

Empress  Elizabeth  Petrovna,  sketched  in,  only  hands 
and  face  finished.     3853. 

Marquis  de  Marigny.     4333. 

Marquis  de  Matignon.     3771. 

Gresset.     3805. 

Mme.  Salle,  Coll.  Lord  Hindlip,  England. 
Drouats,  FRANfOis-HuBERT  {b.  Paris,  1727  ;  d,  Paris, 
1775), — the  portrait  painter,  was  pupil  of  his  father,  Hubert, 
the  miniature  painter,  and  in  turn  of  Carle  Van  Loo, 
Natoire  and  Boucher.  Elected  to  the  Academy  in  1754,  he 
was  received  as  Academician  four  years  later  on  his  portraits  of 
Coustou  and  Bouchardon,  now  in  the  Lou\Te.  After  the  death 
of  Nattier  he  became  premier  peintre  du  roi,  and  the  official 
Court  painter  of  Louis  XV.,  and  of  Monsieur  and  Madame. 
Several  excellent  portraits  of  the  daughters  of  Louis  XV. 
are  to  be  seen  at  Versailles,  notably  one  of  Mme.  Sophie 
(3810).  And  some,  which  have  been  attributed  to  Nattier, 
may  well  be  by  him.  The  Louvre  has  one  of  his  best  works, 
the  charming  picture  of  the  Comte  d'Artois  (Charles  X.),  and 


1715-1789.  ART  OP  THE  EIGHTEENTH  CENTURY.  207 

Mme.  Clotilde  (Queen  of  Sardinia),  as  children,  with  a  goat 
<266).  There  is  also  an  interesting  portrait  by  him  at 
Chantilly,  of  the  Dauphine  Marie  Antoinette,  as  Hebe. 

Chardin,  J.  B.  Simon  (b,  Paris,  1699 ;  d.  Paris,  1779). 
— Chardin,  after  a  long  period  of  neglect,  has  of  late  been 
restored  the  position  his  admirable  work  deserves.  Noel 
Cojrpel  was  the  first  to  instil  an  admiration  for  truth  into 
the  yoimg  painter.  Coypel  employed  him  to  paint  a  gun  in 
one  of  his  portraits — that  of  a  chasseur.  And  the  care  the 
master  took  in  arranging  the  light  and  position  of  this 
accessory,  revealed  instantly  to  Chardin  the  importance  of 
close  attention  to  nature,  of  exactitude  in  place,  colour, 
chiaroscuro.  When  asked  for  a  sign  for  a  surgeon's  shop, 
Chardin,  instead  of  representing  the  surgical  implements  of 
the  day,  painted  a  quaint  bit  of  contemporary  life.  A  man 
wounded  in  a  duel  is  brought  to  the  surgeon's  door,  who 
bandages  him,  while  all  round  the  crowd  of  passers  by  are  in 
a  state  of  violent  excitement;  dogs  bark,  the  water-carrier 
stares,  the  lady  in  the  vinaigrette  puts  her  head  out  of  the 
door  in  a  state  of  alarm ;  haste,  catastrophe,  pervades  the 
whole  picture.  It  made  an  immense  success.  Chardin  and 
some  other  Academy  students  were  then  taken  by  J.  B.  Van 
Loo  to  restore  a  gallery  at  Fontainebleau,  and  Van  Loo 
bought  one  of  his  pictures  closely  imitating  a  bas  relief, 
^which  Chardin  had  exhibited  in  the  Place  Dauphine. 

Chardin's  first  picture  in  the  style  of  w^hich  he  was  soon 
to  be  a  master,  was  of  a  dead  rabbit.  This  induced  him  to 
devote  himself  to  **  Still  Life";  to  which  he  later  added 
living  animals.  A  member  of  the  Corporation  of  St.  Luke, 
and  encouraged  by  the  praises  of  its  artists,  Chardin  sent  ten 
pictures  to  the  Academy.  They  were  placed  haphazard  in 
one  of  the  outer  rooms  ;  and  Largilliere,  Louis  de  Boulogne 
and  Cazes  took  them  for  Flemish  masterpieces.  When  the 
young  artist  was  discovered,  he  was  proposed  and  received 
in  the  same  day  as  a  full  member  of  the  Academy,  rising  in 
1755  to  the  post  of  Treasurer,  which  he  occupied  for  twenty 
yeajrs.  In  1757  he  obtained  lodgings  in  the  Louvre  and  a 
pension   of    1200    livres;    and    in    1765    succeeded    Michel 


208  A  HISTORY  OF  FRENCH  ART.  Ch.  X. 

Ange  Slodtz  at  the  Royal  Academy  of  Rouen.  Chardin 
worked  to  extreme  old  age.  His  pictures  are  remarkable  for 
truth  of  gesture  and  expression,  harmony  of  colour  and 
knowledge  of  chiaroscuro,  mellowness  and  firmness  of  touch. 
After  great  popularity,  they  fell  much  out  of  favour  till  of 
late.  But  Chardin  was  not  only  the  painter  of  natures 
nwrtes.  He  was  the  historian  of  the  Petite  Bourgeoisie. 
**  No  woman  of  the  tiers  etat  looks  at  his  pictures,"  says  a 
curious  little  pamphlet  of  the  day,  "  but  thinks  that  she  sees 
**  herself  and  her  surroundings.'*  With  the  Classics  and 
Romantics  the  bourgeoisie  soon  fell  out  of  favour;  and 
Chardin  with  it. 

Twenty-eight  of  his  pictures  are  in  the  Louvre.     Among 
those  of  special  value  are  : — 

Le  Singe  Antiquaire.     97. 

Le  Chateau  de  Cartes,  1741.     103. 

Peaches  and  grapes.     110. 

And  several  admirable  **  Natures  Mortes  ".     106. 

Girls  at  work,  Dulwich.     307. 

Bread  and  wine.  National  Gallery. 

La  Fontaine,  and  La  Blanchisseuse,  Sir  Francis  Cook. 
Boucher,  FRAN901S  (b.  Paris,  1703 ;  cZ.  Paris,  1770). — 
**  Le  Peintre  des  Graces  et  des  Amours,"  the  future  premier 
peintre  du  roi  and  Director  of  the  Academy,  son  of  a 
humble  painter  who  sold  cheap  prints  and  drew  designs 
for  embroideries,  had  no  real  master  but  Lemoyne.  And 
with  Lemoyne  he  only  stayed  about  three  months.  Lemoyne, 
however,  made  so  profound  an  impression  on  the  lad,  that 
Boucher's  earlier  pictures  were  often  taken  for  those  of  his 
master. 

About  1721  Francois  Boucher  went  to  live  with  the 
father  of  Cars  the  engraver,  who  carried  on  a  trade  in 
theses,  the  sort  of  placards  or  cartouches  then  greatly  in 
favour.  These  Boucher  designed ;  and  they  w^ere  at  once 
engraved  by  Laurent  Cars,  who  became  his  intimate  friend, 
and  later  on  his  chief  engraver.  For  this  work  the  pere 
Cars  gave  him  food  and  lodging,  with  60  francs  a  month — 
a  little  fortune  !     The  most  important  of  these  thises  were 


^715-1789.  ART  OF  THE  EIGHTEENTH  CENTURY.  209 

^or  England.  One  is  dedicated  to  Marlborough — **  forti,  felici, 
invicto  ".  Mars  is  seen  above  with  Fame,  surrounded  with 
Loves,  and  gives  orders  to  Vulcan  and  his  Cyclops,  forging 
arms  below. 

In  1723  Boucher  gained  the  premier  prix  at  the  Academy. 
But  did  not  go  to  Kome.  This  secured  him  food,  lodging, 
instruction,  and  300  francs  a  year  for  three  years ;  with 
time  besides  to  work  at  24  francs  a  day  for  the  well-known 
amateur,  M.  de  Julienne,  the  friend  of  Watteau  who  was 
bringing  out  his  CEuvre  de  Watteau ;  and  Boucher  engraved 
125  of  Watteau's  pictures  for  it.  He  also  exhibited  several 
small  pictures  in  1725  in  the  Place  Dauphine.  And  two  years 
later  he  went  to  Eome  at  his  own  cost,  with  Carle  Van  Loo 
and  his  two  nephews.  He  was  elected  to  the  Academy  on 
his  return  in  1731;  and  received  in  1734,  as  **Peintre 
d'Histoire,"  his  picture  being  **  Eenaud  aux  pieds  d'Armide  '*. 
The  year  before,  he  had  married  Marie-Jeanne  Busseau,  then 
only  seventeen,  a  very  lovely  woman.  La  Tour  exhibited 
an  exquisite  pastel  of  her  in  1737.  And  in  1761  Koslin 
exhibited  another  portrait  of  Mme.  Boucher,  **  qui  est 
toujours  belle,"  said  Diderot.  The  celebrated  beauty  was 
not  only  of  use  to  Boucher  as  his  model,  but  turned  her 
hand  to  work  in  the  studio,  engraving,  and  copying  some  of 
his  pictures  in  miniature ;  while  a  rare  ea%L  forte  of  hers 
also  exists. 

Boucher's  success  now  grew  apace.     In    1735 — already 

professor-adjoint — he  painted  the  four  charming  grisailles  for 

the   Chambre   de   la   Reine   at   Versailles.     And   was   soon 

employed  under  Oudry  on  designs  for  tapestry  for  Beauvais, 

such  as   the   well-known    **  BalauQoire,"    the    '*  Chasse   au 

Tigre,"  and  '*  Chasse  au  Crocodile  ".     In  the  Salon  of  1737 

—the  first  that  had  been  held  since  1704 — he  had  several 

pictures   **pour   le   Roy".      In   1742   he    received   a   royal 

pension,   and  began  the  decorations  of  the  Hotel  Soubise. 

And  his  Goddesses,  his  Dianas,  his  Auroras — above  all  his 

Venus — his  swarms  of  little  loves — all  the  fantastic  mythology 

of  the  time — alternate  with  landscapes,  with  pastorales,  with 

shepherds  and  shepherdesses  who  seem  to  step  off  the  boards 

14 


210  A  HISTORY  OP  FRENCH  ART.  Ch.  X. 

of  the  Opera,  with  all  the  pretty  follies  and  falsehoods  in 
which  the  18th  century  delighted.  No  one  knew  how  to 
render  them  with  more  absolute  conviction  than  Boucher. 
And  they  succeed  one  another  with  incredible  rapidity  in 
those  ten  triumphant  years  from  1742  to  1753.  For  he  is 
now  the  favourite  painter  of  the  Femme  ministre.  And  Mme. 
de  Pompadour's  favourite  was  not  likely  to  lack  employment. 
1752  had  brought  him  a  pension  of  1000  livres,  and  the 
much-coveted  lodgings  and  studio  in  the  Louvre.  Three 
years  later  he  succeeds  Oudry  at  the  Gobelins.  Though  his 
'  patroness,  la  Pompadour,  died  in  1764,  her  influence  on  the 
King  was  strong  even  after  she  was  gone.  And  in  1765,  on 
Van  Loo's  death,  the  King  appointed  Boucher  his  premier 
peintre ;  and  he  also  became  Director  of  the  Academy. 

It  is  impossible  to  give  any  idea  of  the  prodigious  quantity 
of  pictures  the  artist  produced  in  his  long  and  successful 
career.  He  tried  all  styles — Religious,  mythological,  fantastic 
subjects.  Landscapes,  animals,  decorations.  Scene  paintings 
for  the  Opera,  for  the  Foire  de  St.  Laurent,  and  the  Foire 
de  St.  Germain.  Dessus  de  portes,  ceilings,  panels  for 
carriages,  models  for  tapestry.  A  Pantin  for  the  Duchesse 
d'Orleans  that  cost  1500  livres.  Fans,  watch  cases,  ostrich 
eggs,  chinoiseries — nothing  was  too  trivial  for  his  brush. 

His  drawings  form  an  enormous  and  important  part  of 
his  work.  He  himself  calculated  his  illustrations  and 
drawings  at  over  10,000.  For  Boucher  was  the  first  to  raise 
original  drawings  into  a  lucrative  part  of  the  artist's  work ; 
and  his,  produced  so  rapidly  in  sancjuiiie,  in  pencil,  in  chalk, 
were  eagerly  sought  after  by  his  admirers. 

Amid  the  general  laudation  with  which  Boucher's  genius 
was  acclaimed  by  his  contemporaries,  only  one  voice  was 
persistently  raised  against  the  Pompadour's  favourite,  and  this 
was  Diderot's.  The  mere  sight  of  his  pictures  threw  Diderot 
into  a  frenzy  of  anger,  and  violent  and  brutal  criticism.  But 
there  was  a  more  profound  reason  than  mere  fashion  for  Bou- 
cher's enormous  popularity.  **  He  is  one  of  those  men  who 
"  signify  the  taste  of  a  century,  who  express  it,  personify  it 
"  and  incarnate  it.     French  taste  of  the  eighteenth  century 


'XS-1789.  ART  OF  THE  EIGHTEENTH  CENTURY.  211 

is  manifested  in  him  in  all  the  specialism  of  its  character. 

Boucher  will  remain  not  only  its  painter,  but  its  witness, 

*  its  representative,  its  type."^     He  does  not  represent  the 

rhole  of  the  eighteenth  century  art.      **  He  is  not  equal 

*  either  to  Watteau  or  Chardin  :  but  he  is  par  excellence  the 

^*  painter  of  Louis  XV.  and  of  the  Pompadour.  "^ 

By  one  of  those  strange  but  common  revolutions  in  art, 
the   names   of   Boucher  and   Van    Loo    became   terms   of 
reproach  in  the  mouths  of   critics   and   classical   fanatics. 
Though  David  might  say  **N'est  pas  Boucher  qui  veut,'*  no 
one   heeded   him.      In  1812  the  Journal  de  VEmpire  warns 
Prud'hon  not  to  imitate  the  style  of  "  Boucher  de  ridicule 
m^moire  " — **  de  Boucher  maudit  ".    In  1822  one  of  his  land- 
scapes  fetched  twenty-two   francs ;  a  shepherd   teaching  a 
shepherdess  to  pipe,  forty-one  francs.     The  detractors  have 
now  disappeared  in  turn.    And  Boucher  has  once  again  taken 
his  rightful  place  among  French  artists,  because  he  was  a 
bom  painter  and  the  creator  of  a  type. 

Examples.    Among  twenty-one  pictures  in  the  Louvre  : — 
Diane  sortant  du  Bain.     30. 

Venus  conmiande  de  Vulcain  les  armes  d'Enee.     31. 
Vulcain  donne  a  Venus  les  armes  d'i^n^e.     36. 
Le  But,  the  celebrated  picture  of  Loves  shooting  at  a 

Heart.     42. 
Toilette  de  Venus.     43. 
Venus  d^sarme  I'Amour.     44. 
Lever  du  Soleil ;  Coucher  du  Soleil,  bought  by  Mme. 

de  Pompadour,  1753.     Hertford  House. 
CeiUng  Salle  de  Conseille,  1753,  Fontainebleau. 
Four  Grisailles,  Chambre  de  la  Eeine,  Versailles. 
A  number  of  pictures  for  Tapestry,  Trianon. 
Pan  and  Syrinx,  National  Gallery. 
Vteus  et  TAmour,  Windsor  Castle. 
Three   pictures.  Corporation  Art   Gallery,   Glasgow. 

49,  50,  51. 
Pictures    at    National    Gallery,    Edinburgh ;    Castle 
Barnard;    Art    Museum,    Bath;    collections    of 

^  De  Goncourt.  '  Andr6  Michel. 


212  A  HISTORY  OF  FRENCH  ART.  Ch.  X. 

Mme.  de  Falbe,  Asher  Wertheiiner,  Esq.,  Alfred 

de  Rothschild,  Esq.,  etc.,  etc. 
Portrait  of   Mme.  de  Pompadour,  painted  1757  on 

porcelain,  Lord  Pirbright. 
Arion  sauv^  des  Eaux,  Metrop.  Art  Mus.,  New  York. 
Fragonard,  Jean  Honore  (6.  Grasse,  1732;  d.  Paris, 
1806). — Honore  Fragonard  before  all  else  is  a  Proven9al. 
**  La  gueuse  parfmnee,"  as  his  native  land  has  well  been 
called,  was  his  fairy  godmother.  Till  eighteen  he  grew  up 
under  the  southern  sun,  in  all  the  joy  of  light  and  warmth, 
of  gracious  and  enchanting  natural  surroundings.  His  work 
reflects  his  race  and  his  country.  And  his  gay  confidence  in 
Providence  and  in  himself,  is  expressed  in  his  laughing 
answer  when  questioned  on  his  early  life  and  the  way  in 
which  he  had  formed  himself:  **Tire-toi  d*affaire  comme  tu 
**  pourras,  m'a  dit  la  Nature  en  me  poussant  dans  la  Vie  '\ 

At  eighteen  the  family  came  to  Paris  about  a  law  suit 
which  ruined  them ;  and  Fragonard  became  clerk  to  a 
notary.  But  he  detested  the  profession,  and  instead  of 
figures  made  caricatures  in  his  books.  The  notary  had  the 
sense  to  see  his  talent.  And  his  mother  took  him  to  Boucher. 
Boucher  however  said  Fragonard  did  not  know  enough — he 
might  come  back  when  he  had  learnt  the  elements  of  drawing. 
He  went  on  to  Chardin,  who  only  gave  him  prints  of  the 
day  to  copy.  And  the  lad  spent  half  his  time  wandering 
among. the  churches  of  Paris,  looking  at  the  pictures,  and 
often  painting  them  from  memory  at  home.  At  the  end 
of  six  months  he  took  some  of  these  memory  sketches  to 
Boucher.  Amazed  at  his  progress,  Boucher  at  once  received 
him,  and  set  him  to  work  on  his  own  great  paintings  for  the 
manufactory  of  the  Gobelins.  This  was  his  whole  appren- 
ticeship. At  the  end  of  t\vo  years  Boucher  made  him  com- 
pete for  the  Prix  de  Kome — not  as  an  Academy  student — 
but  as  his  own  pupil.     This  he  gained  in  1752. 

Once  in  Rome  his  head  was  turned  by  all  he  saw.  He 
hardly  knew  what  line  to  take,  and  did  so  badly  at  fii*st  that 
no  one  believed  in  his  talent.  Natoire  was  then  chief  of  the 
Academy.     And   the   pupils   were  so  idle   under  his  weak 


^T' 15-1789.  ART  OF  THE  EIGHTEENTH  CENTURY.  213 

^txathority  that   M.  de   Marigny  was   obliged   to  intervene. 

Tw^o  years  later  Fragonard  was  mentioned   as  gifted,  but 

too  versatile.     The  truth  was  that  Rome  was  too  much  for 

tiiin,  as  it  was  for  Goethe.      He  confessed  later  that  the 

genius  of  Michael  Angelo  frightened  him.     Raphael  brought 

tears  to  his  eyes.     And  he  turned  to  the  17th  century,  to 

Baroccio,  Solimfene,  Pierre  de  Cortone,  Tiepolo,  feeling  that 

he  might  some  day  hope  to  rival  their  work.     After  a  time 

he  regained  his  equilibrimn ;  and  his  masters  soon  began  to 

recognise  the  fire  and  vigour  of  his   work.     He   obtained 

leave  to  stay  an  extra  year  in  Rome.     And  here  his  close 

relations  with  Hubert-Robert,  the   landscape  painter,  and 

the  amiable  and  accomplished  Abb6  de  Saint-Non  began. 

Some  of  Saint-Non's  etchings  from  the  drawings  of  the  two 

young  artists,  who  went  with  him   to   Naples   and   spent 

ixionths  with  him  in  the  Villa  d'Este,  show  the  Abb6  as  a 

remarkable  artist.    And  to  this  period  are  due  many  exquisite 

'vvorks  of  **  Frago,"  as  his  friends  called  him. 

1761  saw  Fragonard  back  in  Paris  after  five  years' 
ixicessant  labour  and  study.  As  it  was  only  possible  then 
C  ^ee  next  chapter)  for  elected  Academicians,  professors,  and 
f  viU  members,  to  exhibit  in  the  Salon,  the  first  step  was  to 
elected.  Fragonard *s  picture  w^as  the  **  Callirrhoe  '*  of  the 
lOUvre.  Though  he  treated  it  in  a  theatrical  fashion — for 
was  taken  from  Rameau's  opera — it  is  a  great  picture. 
le  colour  is  exquisite,  with  the  red  draperies  below  the  group 
i  white  and  beautiful  figures.  And  through  it  rings  that 
ovel  cry  of  passion  and  pathos  of  which  de  Goncourt  speaks. 
Xt  was  a  triumph  for  the  artist.  '*  M.  Fragonard,"  writes  de 
ISlarigny  to  Natoire,  *'  has  just  been  received  at  the  Academy 
with  a  unanimity  and  applause  of  wliich  there  have  been 
few  examples."  Fragonard,  however,  contented  himself 
^'ith  the  title  of  **  agre^  ".  He  did  not  attempt  to  become  an 
Academician.  And  the  Salon  of  1767  was  the  second  and  last 
in  which  he  exhibited.  Disgusted  with  official  work,  after  the 
difficulties  he  had  experienced  with  regard  to  the  payment  for 
his  Callirrhoe  by  M.  de  Marigny,  he  henceforth  w^orked  only 
for  amateurs,  who  strove  to  secure  his  smallest  compositions. 


214  A  HISTORY  OF  FRENCH  ART.  Ch.  X. 

Fragonard  married  in  1769.  And  in  1773,  Bergeret,  the 
Fermier-Gen^ral,  took  him  and  his  wife  back  to  Italy,  on  one 
of  those  stately  journeys  of  the  last  century,  where  theatres, 
picture  galleries,  Naples,  Vesuvius  and  the  Pope,  were  all 
visited  in  leisurely  fashion ;  and  a  year  was  spent  in  study 
and  observation  where  now  we  give  a  month.  Fragonard 
began  to  draw  before  they  reached  the  frontier,  and  drew 
without  ceasing  the  whole  time.  But  when,  on  the  friends' 
return  by  Venice,  Vienna,  Leipzig  and  Dresden,  **  Frago  " 
requested  to  have  his  drawings  returned  to  him,  there  was  a 
dispute.  They  even  went  to  law ;  and  Bergeret  w^as  con- 
demned to  return  the  drawings,  or  pay  30,000  francs,  which 
he  preferred  to  do.  The  quarrel,  one  is  glad  to  know,  was 
made  up,  and  the  old  friendship  restored. 

In  Fragonard's  lodging  at  the  Louvre  his  studio  was 
arranged  in  harmony  with  the  subjects  he  delighted  in.  He 
decorated  it  with  paintings  of  wreaths  of  flowers,  shrubs,  a 
fountain,  a  swing,  rich  draperies.  And  there,  in  a  fantastic 
light,  he  produced  those  rapid  and  brilliant  pictures  which 
have  made  de  Goncourt  say,  that  he  is  **  Un  esquisseur  de 
genie  ".  Some  of  his  subjects  which  may  now  be  considered 
somewhat  indecent,  were  then,  it  must  be  remembered,  in 
accordance  with  the  extremely  broad  taste  of  the  time.  But 
his  portraits,  his  exquisite  pictures  of  children  and  scenes  of 
child-life,  his  decorations,  and  very  many  of  his  pictures,  are 
without  a  touch  of  offence.  He  tried  all  styles,  working 
without  ceasing  and  with  extraordinary  facility.  Miniatures, 
which  he  imbued  with  a  grace  and  brightness  all  his  own  ; 
pastels,  gouaches,  water-colours,  charming  eaux  fortes  and 
drawings  a  la  sanguine.  His  drawings  are  a  most  important 
part  of  his  work. 

The  Revolution  ruined  Fragonard.  The  fashion  deserted 
him  for  David's  school.  And  though  David  himself  was 
always  faithful  to  him,  he  died  in  comparative  poverty  in 
1806,  obscure  and  forgotten. 

Examples  in  Louvre  : — 
Callirrho^.     290. 
Le9on  de  Musique.     291. 


1715-1789.  ART  OF  THE  EIGHTEENTH  CENTURY.  215 

La  Musique.     296. 

L'etude.     297. 

L 'Inspiration.     298. 

Figure  de  Fantaisie.     299. 

Jeune  Femme  et  enfant.     800. 

L'ora^e.     301. 

Portrait  de  Fragonard.     302. 

Un  Buveur.     303. 

L'Heure  du  Berger. 

It  is  supposed  that  Fragonard  painted  the  forty- 
two  little  portraits  of  Princes  and  Princesses  of 
the  House  of  Bourbon  at  Chantilly,  as  his 
name  figures  in  the  accounts  of  payments  for 
them. 

Young  Scholar,  and  La  Lettre,  Hertford  House. 

Day,  and  Night,  Mme.  de  Falbe. 

Head  of  Girl,  James  Knowles,  Esq. 

F^te  Champetre,  Corporation  Art  Gallery,  Glasgow. 

Fragonard's    chef    d'oeuvre,    however,    has     only    just 

been   revealed   to   the  public,   in   the   series   of  decorative 

pictures  known  as  the  '*  Roman  d'Amour  de  la  Jeunesse  ". 

These    were    painted    for    Mme.   du    Barry    about    1772 ; 

but  she   returned   them   to   the  painter.     And  in   1793  he 

transported  them  to  the  salon  of  his  friend  M.  Malvilan 

at  Grasse,  where   they  have   remained  ever  since,  unseen 

except  by  a  favoured   few.      Messrs.  Agnew  in  exhibiting 

them,  November,  1898,  have  made  known  the  charm  and 

beauty  of  one  of   the  most  important   works   of   the   18th 

century. 

Tbinquesse,  L.,  a  very  interesting  painter  of  the  school 
of  Watteau  and  Fragonard,  a  pupil  of  Largillifere,  is  now 
almost  unknown.  His  works  are  extremely  rare.  The  only 
example  I  know  of  in  England,  is  the  **  Scfene  d'Amour,'* 
in  the  possession  of  Reginald  Vaile,  Esq.  It  is  signed 
and  dated  1786,  and  was  exhibited  at  the  Guildhall, 
1898. 

Greuze,  Jean  Baptiste  (6.  Toumus,  near  Macon,  1725  ; 
d.  Louvre,  1806). — **  To  personify  an  epoch,  however  short. 


216  A  HISTORY  OP  FRENCH  ART.  Ch.  X, 

**  is  a  happiness  which  at  the  same  time  is  a  warrant  of 
**  duration.  Greuze  knew  this  happiness,  which  perhaps 
*'was  beyond  his  deserts.**  His  talent  manifested  itself 
early.  But  his  father,  a  master  tiler,  intended  him  to  he 
an  architect,  and  at  eight  years  old  forbade  him  to  draw. 
A  pen  and  ink  drawing  however  of  the  head  of  St.  James, 
done  in  secret,  at  last  softened  the  father's  heart.  The  boy 
was  allowed  to  go  to  Lyons  and  work  with  M.  Grandon, 
the  father  of  Mme.  de  Gretry.  Here  he  only  learnt  how  to 
manufacture  a  picture  a  day.  Longing  for  a  wider  sphere 
he  set  out  for  Paris,  where  he  worked  industriously  from 
the  model  at  the  Academy  under  Natoire,  painting  small 
pictures  to  earn  his  bread. 

Pigalle  now  became  interested  in  him.  And  Greuze*s 
first  important  picture,  which  had  been  exhibited  at  the 
house  of  the  well-known  amateur,  M.  de  la  Live  de  Jully, 
created  a  sensation  at  the  Salon  of  1755.  It  was  **Le  Pere 
de  Famille  expliquant  le  Bible  a  ses  enfants**.  Here  was 
a  wholly  new  style.  The  familiar  scene,  the  everyday  details, 
the  personnages  resolutely  taken  from  a  humble  bourgeoisie, 
fell  in  exactly  with  the  new  philosophic  ideas  of  simplicity 
and  morality.  Greuze  was  famous  at  once.  He  was 
presented  at  the  Academy  by  Pigalle,  and  elected  upon  his 
*'  Aveugle  tromp^  '*.  At  the  end  of  the  same  year  he  went  to 
Italy  with  the  Abbe  Gougenot.  And  in  1757  brought  back 
a  certain  niunber  of  Italian  scenes.  But  though  Italy  had 
no  great  influence  upon  him,  the  journey  disturbed  him  ;  and 
it  was  some  time  before  he  recovered  his  own  style.  In  the 
Salon  of  1759,  where  he  had  sixteen  pictures  and  drawings, 
Diderot  is  discontented  with  his  apostle,  and  declares  he 
cares  for  him  no  longer.  While  in  the  next  one  (1761) 
all  is  forgotten  and  forgiven.  He  raves  over  the  famous 
"  Accord^e  du  Village'*.  And  in  succeeding  years  becomes 
positively  lyric  over  la  peintiire  morale  of  '*  mon  ami 
Greuze  ".  *'  Ah  !  mon  Dieu  !  comme  il  me  touche  !  mais 
'*  si  je  le  regarde  encore  je  crois  que  je  vais  pleurer,"  he 
cries  before  *'  Le  Paralytique  ou  la  Piete  fihale  "  (now  in  the 
Hermitage).     And   over  the   '*  Malediction  Paternel  *'    and 


1715-1789.  ART  OF  THE  EIGHTEENTH  CENTURY.  217 

*'  Le  Fils  puni,"  Diderot  and  the  public  can  hardly  find 
epithets  to  express  their  rapture. 

Although  Greuze  was  elected  to  the  Academy  in  1755, 
he  did  not  take  the  trouble  to  paint  his  reception  picture 
for  many  years.  After  several  warnings  to  conform  to  the 
statutes,  the  Academy  forbade  him  to  exhibit  in  the  Salon 
of  1767.  And  after  this  mark  of  displeasure,  Greuze  at  last 
decided  in  1769  to  paint  his  picture.  He  foolishly  chose  a 
subject  w^hich  would  admit  him  to  the  professorships  and 
other  privileges  of  Historical  painters — *'  Septimus  Severus 
and  Caracalla  "  (Louvre,  368).  It  was  so  thoroughly  unsuited 
to  the  painter  of  tearful,  sentimental  women,  and  chubby- 
iaced  children,  that  he  failed  hopelessly  to  do  himself 
justice.  The  Academy  did  not  refuse  it.  But  Lemoyne, 
who  was  Director  that  year,  made  a  severe  little  speech, 
and  announced  to  Greuze  that  in  consideration  of  his  earlier 
pictures,  which  were  **  excellent,'*  he  was  received  as  a 
**  genre  painter".  Here  was  a  terrible  blow  to  Greuze.  It 
also  gave  a  legitimate  opportunity  to  the  many  enemies 
his  unbounded  vanity  and  self-infatuation,  as  well  as  his 
success,  had  created.  The  public  for  once  was  thoroughly 
in  sympathy  with  the  Academy.  All  agreed  that  **  Greuze, 
**  tnithful  in  what  is  simple,  and  sublime  in  what  is  naif 
^'  (which  is  still  tolerably  strong  praise),  was  incapable  of  the 
**  heroic  style  ". 

Greuze  was  furious ;  and  refused  to  exhibit  again  in  the 
Salon,  until  the  Revolution  threw  open  the  doors  of  the 
Louvre  to  all  artists.  But  this  was  too  late  for  his  glory 
and  his  fortune.  For  twenty-five  years  his  vogue  had  been 
immense.  Times  and  taste  alike  had  changed.  After  having 
amassed  considerable  sums,  most  of  which  had  been  squan- 
dered by  his  wife,  he  found  himself  at  seventy-five  ruined, 
without  resources,  imploring  in  vain  for  orders.  And  in 
1806  he  died  in  indigence.  Many  of  Greuze's  portraits  are 
really  fine.  The  portrait  of  M.  de  Wille  is  a  chef  d'ceuvre. 
So  is  that  of  Fabre  d'Eglantine  in  the  Salle  la  Gaze.  And 
the  sketch  of  himself  in  the  same  room,  as  well  as  his  great 
portrait,  are  very  fine  works. 


218  A  HISTORY  OF  FRENCH  ART.  Ch.  X- 

Among   the   fifteen  pictures  in   the  Louvre,   the  mos 
important  are  : — 

Portrait  de  Jeaurat,  peintre.     373. 

Greuze  peint  par  lui-meme.     65. 

Greuze,  sketch,  Salle  la  Gaze.     382. 

Fabre  d*Eglantine.     379. 

L'Accordee  du  Village.     369. 

Le  Malediction  patemel.     370. 

Le  fils  puni.     371. 

La  Cruche  Cassee.     372. 

Portrait  de  Fontenelle,  Versailles.     4374. 

Napoleon  I.,  Consul  (a  replique),  Versailles.     4634. 

Head  of  girl ;  Girl  with  apple ;  Girl  carrying  a  lamb^ 

National  Galleiy.     206,  1020,  1154. 
Two  pictures,  Fitzwilliam  Museum,  Cambridge.    318, 

332. 
Five   pictures.    National   Gallery,    Edinburgh.      554, 

344.  379,  356,  386. 
Two    pictures.    Corporation   Art    Gallery,   Glasgow. 

200,  201. 
La    fiUe    paresseuse ;    Le    Silence ;    T^te    d'Enfant,, 

Buckingham  Palace. 
Louis  XVI.,  ilme.  de  Pompadour,  Hampton  Court. 
Portrait  of  Eobespierre,  Lord  Rosebery. 
Two  girls*  heads,  Baron  Alfred  de  Rothschild. 
Three  very  beautiful  examples,  Chantilly. 
Lord  Wantage,  V.C,  Lord  Pirbright,  E.  A.  Leatham,. 
Esq.,  C.  J.  Galloway,  Esq.,  etc.,  etc.,  have  speci- 
mens of  Greuze  in  their  collections. 
Of  many  other  painters  of  less  importance  space  will  not 
allow  me  to  speak  at  length.     Among  them  are  the  three 
Coypels.     Noel   Coypel    [1628-1707] ,  the  director  of   the 
Academy  of  Rome.     Antoine  [1661-1722] ,  who  painted  the 
roof  of  the  Chapel  at  Versailles.     And  his  more  celebrated 
son,  Charles  Antoine    [1694-1752],  who  was  one  of  the 
first  to  give  the  vogue  to  literary  painting  in  the  18th  cen- 
tury.    His    Perseus    and    Andromeda    (Louvre,    180)    is  a 
curious   mixture   of  Le   Brun   and    Boucher;    with    naked 


1715-1789.  ART  OF  THE  EIGHTEENTH  CENTURY.  219 

nymphs,  agonized  King  and  Queen  in  pseudo-Eoman  dress, 
lightnings,  clouds,  and  Loves  with  torches.  Pierre  Sub- 
LEYRAS  (1699-1749),  who  painted  for  Popes  and  Cardinals 
in  Rome,  and  a  great  picture  for  St.  Peter's,  to  be  repro- 
duced in  mosaic,  an  unknown  honour  for  a  living  artist. 
Claude  Joseph  Vernet  (1714-1789),  the  marine  and 
landscape  painter,  who  was  born  at  Avignon;  and  going 
to  Rome  at  eighteen  spent  twenty  years  there.  Who, 
though  his  colour  is  less  warm,  his  style  less  lofty  than 
that  of  Claude  Lorraine,  always  tries  to  render  nature  with 
breadth,  truth,  and  simpHcity.  His  famous  series  of  sea- 
ports were  ordered  by  Louis  XV.  in  1753.  Some  of  these 
are  in  the  Louvre.  There  are  also  three  of  his  pictures  at 
DuJwich.  And  many  others  in  different  collections,  pubHc 
and  private,  in  England. 


CHAPTEE  XI. 
Art  of  the  Eighteenth  Century. — continued, 

SCULPTORS  AND  ARCHITECTS. 

France  has  never  struck  a  more  purely  personal  note  in  Art 

since  the  Middle  Ages  than  that  of  the  eighteenth  century'. 

And  although,  as  I  have  said,  the  most  complete  artistic 

expression   of  the  period   is  to  be  found  in  painting,  the 

sculptors  of  the   eighteenth  century  were  more  absolutely 

French    than  they  had  been  for  three  hundred  years.     For 

with  the  end  of  the  Grand  Si^cle,  in  Sculpture  as  well  as  in 

painting,  a  new  ideal  appears,  charming  and  original.     This 

new  tendency  in  Sculpture  had  begun  even  under  the  rigid 

officialism  of  the  reign  of  Louis  XIV.    Once  more  Sculpture 

had  led  the  way  to  a  purely  national  art.     Girardon  suggests 

it.    Coysevox  develops  it.     With  the  Coustous,  Eobert  Le 

Lorrain,  J.  B.  Lemoyne,  it  waxes  strong.      Till  with  their 

pupils,  with   such    artists   as   Bouchardon,   Pigalle,   Pajou, 

Clodion,  Houdon,  it  reaches  its  full  expression.      Statuary 

has  shaken  itself  free  from  pedantry.     It  becomes  instinct 

with  life,  with  movement,  with  that  special  grace  that  is  the 

hall-mark    of    the    eighteenth    century   Art.      If    reUgious 

sculpture   remains  feeble   and  conventional,  it   is  because 

religious   life   has   lost   its  fervour.      Humanity  is  what  is 

occupying  the  minds  of  men  in  the  eighteenth  century ;  and 

portrait  sculpture  redeems  the  weakness  of  religious  sculpture. 

It  is  par  excellence  the  age  of  portrait  busts ;  and  these  show 

qualities   of   rare   merit.      **  Flesh   quivers   in   marble    and 

'*  bronze  ;  technique  assumes  an  infinite  *  brio ' ;  the  rendering 

"  of   the  epidermis,  that  ultimate  object  of   the  sculptor's 

*'  attainment,  that  authentic  signature  of  the  great  masters, 

'*  whether  they  are  called   Phidias,  Praxiteles,  Beauneveu, 

(220) 


1715.1789.    ART  OF  THE  EIGHTEENTH  CENTVBY .—continued,    221 


<<  01 


Sinter,    Donatello,    Colombe,    Michael-Angelo,    Goujean, 

"Cojrsevox  or  Pujet,  becomes  current  coin  of  the  trade." 

In  Architecture  the  same  tendencies,  though  in  a  less 

degree,  are  observed.      Architecture  for  a   time  loses   the 

severity,   the   pomposity   of  the   seventeenth   century.      It 

becomes  humanized,  intimate,  familiar,  livable.     The  facades 

take  elegant   curves.      They   are   decorated   with    rounded 

balconies  of  rich,  bulging  iron  work.     The  storeys  are  lower. 

The  gentle  ascent  of  the  staircase  seems  to  welcome  the 

visitor  in  powder  and  satin,  who  arrives  in  a  vinaigrette  or  a 

Sedan  chair. 

Much  was  done  during  the  eighteenth  century  towards 
the  embellishment  of  Paris.  The  Bourg  du  Roule  became 
one  of  the  Faubourgs  in  1722,  adding  a  large  and  important 
district  to  the  city ;  and  the  Avenues  d'Antin  and  de 
Marigny  were  opened  in  the  Champs  Elysees.  Under 
Louis  XTV.  the  northern  Boulevards  had  been  planted. 
Under  Louis  XV.  the  southern  were  planted,  and  finished  in 
1761 ;  and  those  between  the  Invalides,  the  ficole  Militaire 
and  Vaugirard  were  traced  out  and  planted.  In  1770  the 
Champs  Elysees  were  entirely  replanted ;  and  the  splendid 
avenue  was  prolonged  to  the  famous  Pont  de  Neuilly,  which 
Perronnet  completed  in  1772,  to  replace  the  old  wooden 
bridge  ruined  by  ice. 

Under  Louis  XVI.  the  architect  Goudoin  built  the  ficole 
de  M^decine ;  Peyre  and  de  Wailly,  the  Odeon  ;  Desmaisons, 
part  of  the  Palais  de  Justice ;  Le  Noir,  the  Theatre  de  la 
Porte  St.  Martin ;  Louis,  the  Galleries  of  the  Palais  Eoyal, 
and  the  The&tre  Frantjais.  The  Palace  of  the  Elys^e  is  one 
of  the  most  important  buildings  of  the  epoque.  Begun  in 
1718  for  the  Comte  d'Evreux,  it  was  enlarged  by  Mme.  de 
Pompadour  and  her  brother,  the  Marquis  de  Marigny  ;  then 
again  by  the  financier  Beaujon  ;  and  took  its  final  form  under 
the  ownership  of  the  Duchesse  de  Bourbon-Cond^,  who 
gave  it  her  name,  **  Elysee  Bourbon  ".  A  good  example  of 
domestic  architecture  of  the  end  of  the  reign  of  Louis  XV. 
and  beginning  of  Louis  XVI.,  is  the  Petit  Trianon  at 
Versailles.     This  was  built  by  Gabriel  in  1768.     And  six  or 


222  A  HISTORY  OF  FRENCH  ART.  Ch.  XL 

seven  years  later  Marie  Antoinette  added  the  charming 
Jardin  Arujlais  about  it,  under  the  influence  of  the  universal 
Anf^lomania  of  the  day. 

But  with  the  latter  part  of  the  century  a  fresh  influence 
made  itself  felt.     The  discovery  of  the  Greek  Temples  ot 
Pcestum    was  destined  to   produce   an   immense   effect   on 
French   Architecture.      They   created    intense    enthusiasm 
among  French   architects.     M.   Lagardette  had  measured 
these  buildings,  and  published  his  measurements  and  draw- 
ings in  a  folio  volume.    And  for  a  time  the  Order  of  Paestum 
columns  was  used  with  wild  prodigality  on  buildings  of  all 
sorts.     The  Lyc^e  Bonaparte  was  built  under  this  influence 
in  1780  by  Brongniard.     The  Classic  tendencies  that  were 
to  reign  supreme  during  the  Empire,  were  already  beginning 
to  make  themselves  felt.    But  this  important  and  interesting 
subject  belongs  to  another  chapter. 

ARCHITECTS. 

Gabriel,  Jacques  Ange  (6.  1698;  d,  1782). — Why. 
except  that  he  was  son  of  Jacques-Jules  Gabriel,  and  great- 
nephew  of  J.  Hardouin  Mansart,  Gabriel  should  have  been 
made  a  member  of  the  Academy  when  barely  thirty,  is  not 
known.  At  thirty  he  was  appointed  Controller  of  the 
Buildings  at  Fontainebleau.  In  1742  he  was  made  Architecte 
du  roi ;  and  later  in  the  same  year,  on  the  death  of  his  father, 
premier  Architecte  to  Louis  XV.  Before  his  father's  death 
he  had  taken  over  the  building  of  the  front  and  towers  of  the 
Cathedral  of  Orleans.  And  in  1745  he  became  Inspecteur- 
g6neral  des  Batiments,  and  furnished  plans  for  the  restoration 
of  Rheims;  for  carrjring  on  the  Palais  des  6tats,  Dijon, 
which  he  eventually  built  between  1775  and  1784 ;  and  for 
the  ftcole  Militaire,  Paris.  In  1752  he  made  the  plans  for  the 
Place  Louis  XV.,  which  was  inaugurated  in  1763.  But  the 
Colonnades  and  the  rue  Koyale  were  not  finished  till  1772. 
Between  1753  and  1774  he  rebuilt  the  central  Pavilion  of 
the  Cour  d'Honneur  at  Versailles,  now  known  as  "  TAile 
Gabriel  **.  And  also  built  the  Theatre.  It  was  inaugurated  in 
1770,  and  was  considered  at  the  end  of  the  eighteenth  century 


1715-1789.     ART  OF  THE  EIGHTEENTH  CENTURY.— ccwi^inM^d.    223 

as  one  of  the  most  sumptuous  in  Europe,  with  its  sculptures 
by  Pajou  and  Guibert,  and  its  exquisite  decorations.  Having 
been  much  altered  by  Louis  Philippe,  it  now  belongs  to  the 
Senate,  and  is  not  open  to  the  public. 

In  1755  M.  de  Marigny  confided  to  Gabriel  a  work  of  the 
utmost  importance — the  restoration  of  the  Louvre.  Perrault's 
wing  had  never  been  roofed  in,  and  was  becoming  absolutely 
ruinate.  Gabriel  began  by  restoring  Perrault's  Colonnade ; 
and  then  undertook  the  reconstruction  of  the  opposite  fa9ade, 
looking  on  the  court.  This  was  in  so  perilous  a  condition 
that  it  was  necessary  actually  to  rebuild  it ;  which  was  done 
carefully.  And  Gabriel  then  proceeded  to  unite  the  fa9ade  upon 
the  river  with  the  western  wing  upon  the  court,  destroying 
what  remained  of  Le  Van's  work.  He  then  added  the 
sculptures  to  the  greater  part  of  Perrault's  building.  These 
form  the  ornamentation,  so  worthy  of  admiration,  which 
now  exists.  About  the  same  time,  he  rebuilt  the  Chapel 
of  Compifegne.  And  in  1759  he  decorated  the  great  anti- 
chambre  du  roi  at  Fontainebleau  after  his  own  designs. 
Besides  these  works,  he  finished  the  Palais  Bourbon ; 
added  to  the  Grand  Chateau  de  Choisv,  and  built  the 
small  one. 

SouFFLOT,  Jacques-Germain  (b.  Trancy,  Yonne,  1709 ; 
d.  Paris,  1780). — This  celebrated  architect  began  his  studies 
at  Lyons.  He  then  went  to  Eome,  where,  through  the 
interest  of  Saint- Aignan,  then  Ambassador,  he  was  appointed 
Pensionnaire  du  roi}  After  three  years  in  Rome,  Soufflot 
went  to  Asia  Minor.  And  in  1737  returned  to  Lyons  to 
superintend  the  building  of  the  Church  of  the  Chartreux, 
for  which  he  had  already  sent  plans  from  Italy.  He 
also  built  the  new  buildings  of  the  Hotel  Dieu,  enlarged 
the  Loge  de  Change,  restored  the  Archev^che  in  Lyons ; 
and  in  1747  received  500  livres  for  the  levelling  of  the 
Rhone  from  Saint-Clair  to  Ainay.  In  1749  he  was  admitted 
to  the  Academy  of  Architecture,  and  the  following  year 
accompanied  M.  de  Marigny  to  Rome.  But  he  was  obhged 
by   his  health   to  return   to   France,   and  halted   again  at 

^  See  Vien,  chap.  xii. 


224  A  HISTORY  OF  FRENCH  ART.  Ch.  X  ^• 

Lyons,  where  he  furnished  plans  for  the  old  Grand  Theatr"^ 
and  for  a  Concert  Hall. 

Soufflot  took  part  in  the  open  competition  in  1752  fo:^' 
the  Place  Louis  XV.,  which  was  gained  by  Gabriel.    And  twc^ 
years  later  was  entrusted  with  the   reconstruction   of   the? 
Cathedral  of  Rennes.     In  the  sanie  year  his  plans  for  the- 
Lyons  theatre  being  accepted,  he  was  given  a  salary  of  6000' 
livres   and   travelling   expenses.      The   theatre,   which   was- 
finished  in  1756,  was  rebuilt  in  1828.     In  1755  he  prepared 
plans  for  the  Hotel  de  Ville  at  Bordeaux ;  was  made  con- 
troller of   the   works  at  Marly ;   and,  a  Httle  later,  of  th^ 
Monuments  de  Paris.      In  the  following  year  he   fumishei 
plans  for  the  6cole   de  Droit,  though   the   work  was   not> 
begun  till  1771,  and  for  the  Tr^sor  and  Grande  Sacristie  oC 
Notre  Dame.      In   1757  he  was  created  Chevalier  of   th^^ 
Order  of  Saint  Michel,  and  prepared  the  plans  for  Sainte — 
(Tcnevi^ve   (the  Pantheon).      The  first  stone  of  this  greats 
church  was  laid  in  1764,  Soufflot  carrying  on  the  works  as- 
far  as  the  beginning  of  the  Dome. 

Few  parts  of  France  are  untouched  by  the  popular 
architect's  hand.  He  superintended  the  building  of  the 
Cathedral  of  Kennes  in  1760,  for  which  he  had  given  the 
plans  six  years  before  ;  and  in  1770  was  called  to  Sens 
to  decide  with  Coustou  upon  the  place  for  the  Dauphin's 
tomb :  finishing  the  Hotel  Dieu  at  Macon  in  the  same 
year.  In  1771  he  had  the  temerity  to  **  improve**  the 
principal  door  of  Notre  Dame,  repairing  it  and  removing 
the  central  pillar !  This,  happily,  has  since  been  restored 
under  the  vigilance  of  M.  Viollet-le-Duc.  Lyons  was 
the  chief  provincial  centre  of  his  work;  and  in  1772  he 
was  made  controller-general  of  the  embellishment  of  the 
city,  **en  recompense  de  ses  travaux  a  THotel  de  Ville, 
**a  rh6pital  general,  a  la  loge  de  change,  et  a  la  salle  de 
**  spectacle,  et  pour  son  desinteresscvient  *'.  Again,  the  follow- 
ing year,  he  was  summoned  to  Lyons  to  direct  the  works 
on  the  place  Royale,  and  granted  leave  of  absence  for 
this  purpose.  On  the  suppression  of  the  appointments  of 
controleurs-g^neral,   he   was   made   *'intendant-general   des- 


17151789.    ART  OF  THE  EIGHTEENTH  CENTURY.— ca»t/inu«d.    225 

batiments  du  roi,*'  and  lodged  at  first  in  the  rue  de  Champ- 
fleury;    afterwards    obtaining   a    house   in    the    enclos    de 
rOrangerie  at  the  Louvre,  where  he  died  in  1780. 
Among  his  many  works  were  : — 

The  Guichet  de  Marigny  in  the  Grande  Galerie  du 

Louvre  (now  destroyed). 
Twenty  pavihons  of  the  Pont  Neuf  (also  destroyed). 
Hotel  Lauzun,  au  Eoule. 
Some  works  at  the  Louvre. 
Chateau  de  Chatou  for  Bertin. 
The  Orangerie,  Chateau  de  St.  M^nan. 
The  Church  of  the  Visitation,  Le  Mans. 
Parts  rebuilt  of  the  Abbey  of  St.  Germain  d'Auxerre. 
He  also  wrote  two  books :  1,  Plafis  and  cuts  of  the 
three    Temples   at   Pcestum,    1750  ;    2,    CEuvres  ou 
recueils  de  plusimirs  parties  d^ architecture ,  1767. 
Couture,  Guillaume  Martin  (6.  Eouen,  1732 ;  d.  1799), 
^after  completing  his  education  in  Italy  came  to  Paris,  and 
there  built  the  Hotels  de  Saxe  and  de  Coislin.     In  1773  he 
was  admitted  to  the  Academy  of  Architecture.      And  two 
years  later  built  the  Jube  of  the  Cathedral  of  Eouen  upon 
designs  of  Le  Carpentier,  who  had  just  died.     In  1776  he, 
with  Moreau  and  Antoine,  undertook  the  rebuilding  of  the 
portions  of  the  Palais  de  Justice  in  Paris,  which  had  been 
burned  down.     But  he  was  replaced  by  Desmaisons.     In 
1777,  having  succeeded  Constant  d*Ivry  as  architect  of  the 
Madeleine,  he  modified  the  original  plans,  adding  two  bays, 
as  he  did  not  consider  the  nave  of  sufficient  length.     The 
works,  however,  were  interrupted  by  the  Revolution,  and  the 
Madeleine  as  we  now  know  it  was  not  completed  until  1842, 
by  Huv6,^  who  was  appointed  in  1828,  Pierre  Vignon  having 
carried  on  the  works   during  the  first   Empire.      Couture 
built  the  great  Barracks  at  Caen,  which  were  not  finished 
until  1835.    He  was   made  premier  Architecte  du   roi  and 
Grand  Cordon  of  Saint  Michel.     And  died  in  1799. 

Desmaisons,   Pierre, — was  admitted   to   the  Academy 
and  appointed  Architecte  du  roi  in   1762.     In  1770-72  he 

^  See  chap.  xxii. 

15 


226  A  HISTORY  OP  FRENCH  ART.  Ch.  XI. 

furnished  plans  for  the  double  staircase  of  the  Archev^he. 
Assistant  to  Couture  in  rebuilding  the  burnt  parts  of  the 
Palais  de  Justice,  upon  his  retirement  Desmaisons  with 
Moreau,  finished  the  Cour  de  Mai  ;  and  he  continued  archi- 
tect of  the  Palais  de  Justice  until  1791. 

Wailly,  '  Charles  de  (6.  1729;  d.  1798), — a  pupil  of 
Blondel,  and  later  of  Servandoni,  gained  the  Grand  Prix 
d 'Architecture  in  1752,  and  two  years  later  his  brevet  as 
*'  elfeve  de  Rome  '*.  He,  however,  obtained  leave  to  divide 
this  privilege  with  his  friend  Moreau,  who  had  only  gained 
the  second  prize  after  four  attempts.  In  Italy  de  Wailly  was 
made  member  of  the  Institute  of  Bologna.  And  on  his 
return  to  France  he  was  admitted  in  1767  to  the  first  class 
of  the  Academy  of  Architecture  without  the  usual  prelimi- 
naries of  passing  through  the  second  class.  In  1771  he  was 
admitted  to  the  Academy  of  Painting  upon  the  same  favour- 
able terms.  And  next  year  was  appointed  architect  of  the 
Palace  of  Fontainebleau  in  conjunction  with  Peyxe,  who  was 
henceforth  associated  with  him  in  many  of  his  best  known 
works.  In  1773  de  Wailly  obtained  a  prolonged  leave  of 
absence,  in  order  to  complete  the  decoration  of  the  Hotel 
Spinola  at  Genoa.  And  he  returned  to  Italy  afterwards  for 
other  works.  In  1779  he  and  Peyre  built  the  Theatre  of  the 
Od^on,  one  of  their  best  known  works.  And  de  Wailly  later 
on  built  the  Hotel  de  Voyer,  rue  des  Eons  Enfants,  w^hich 
became  the  Chancellerie  du  due  d'0rl6ans,  etc.  Among  his 
other  works,  he  modified  the  plans  of  the  Op6ra  Comique, 
then  the  Italian  Opera  House — finished  the  Chapel  of  the 
Virgin,  St.  Sulpice — and  built  a  chapel  at  Versailles,  which 
is  now  a  Protestant  church.  Such  was  his  popularity  that 
Catherine  of  Russia,  ever  on  the  lookout  for  fresh  talent, 
offered  him  the  Presidency  of  the  Academy  of  Architecture 
in  St.  Petersburg,  with  a  large  income.  But  he  refused  to 
expatriate  himself.  After  the  conquests  of  Holland  and 
Belgium,  he  was  sent  to  those  countries  to  chose  works  of 
Art  for  the  French  museums.  And  on  the  creation  of  the 
Institute  he  became  one  of  its  original  members. 

Peyre,  Marie  Joseph   (b,  1730), — gained  the  Grand 


1716-1789.    ART  OP  THE  EIGHTEENTH  CENTURY.— con^inwed.    227 

Prix  de  Eome  in  1751,  the  year  before  de  Wailly.  In  1769 
he  entered  the  Academy.  In  1772  was  appointed  architect 
of  Fontainebleau  with  de  Wailly.  And  in  1779,  again  in 
association  with  de  Wailly,  he  furnished  fresh  plans  for  the 
Od^on,  began  by  his  brother-in-law  Moreau,  which  was 
finished  in  1782. 

Moreau-Desproux,  Louis  Pierre  (d,  1793). — For  four 
years  Moreau  gained  the  second  and  third  prizes  at  the 
Academy.  And  it  was  not  until  1754  that  he  obtained  the 
brevet  of  **  El^ve  de  Eome,"  thanks  to  his  friend  de  Wailly  (see 
ante).  In  1762  he  was  admitted  to  the  Academy,  and  made 
director  of  buildings  to  the  Ville  de  Paris.  In  the  same  year 
he  began  the  fa9ade  of  the  Palais  Royal,  looking  upon  the 
Cour  d'Honneur  and  the  rue  St.  Honor6.  And  also  began 
the  rebuilding  of  the  Opera  House  at  the  corner  of  the  rue 
de  Valois,  which  was  burnt  down  in  1781  after  a  representa- 
tion of  OrpMe. 

In  1772  Moreau  was  ordered  to  continue  work  on  the 
front  of  St.  Eustache,  which  had  been  begun  by  Man- 
sart  de  Jouy.  And  upon  this  he  worked  until  1788,  when 
the  works  were  stopped  afresh,  and  the  front  left  as  it 
remains  to-day.  The  triangular  fronton  which  exists,  was 
added  by  Moreau.  Appointed  Architecte  du  roi  in  1783,  he 
perished  on  the  guillotine  ten  years  later. 

SCULPTORS. 

Nicholas  Coustou  (1658-1732) ;  Guillaume  Coustou 
(1677-1746), — nephews  and  pupils  of  Coysevox,  came  from 
Lyons,  where  their  father  had  married  Coysevox's  sister. 
From  1700  Nicholas  was  his  uncle's  most  active  collaborator. 
To  the  two  brothers  are  due  the  delicious  allegoric  marble 
of  the  Passage  du  Rhin,  in  the  vestibule  of  the  Chapel  at 
Versailles.  It  was  begun,  under  Louis  XV.,  by  Nicholas, 
and  finished  after  his  death  by  his  brother.  Coysevox  had 
intended  that  the  brothers  should  render  his  magnificent 
"stuc"  in  the  Salon  de  la  Guerre  in  marble.^  But  funds 
ran  short,  and  the  whole  scheme  was  never  carried  out. 

^  See  Coysevox. 


228  A  HISTORY  OP  FRENCH  ART.  Ch.  XI. 

Two  of  Nicholas  Coustou's  best  works  are  at  Lyons — the 
bronze  figures  of  the  Saone  and  the  Rhone.  He  also  is  the 
artist  of  the  splendid  **  Jules  Cesar*'  in  the  Louvre,  and  the 
statue  of  Louis  XY.  as  a  Boman. 

Guillaume,  the  younger  brother,  is  the  most  famous. 
For  to  him  we  owe  the  charming  '*  Marie  Leczinska " 
with  a  peacock,  while  an  amour  offers  her  the  Cro^Ti  (Louvre, 
543).  The  *'  Adonis  resting  from  the  chase  **  (547).  The 
decoration  of  the  portail  d*honneur  des  Invalides.  The 
Tomb  of  Cardinal  Dubois  in  the  Church  of  St.  Roch.  The 
Tomb  of  the  Dauphin  in  the  Cathedral  of  Sens.  And  lastly, 
the  famous  '*  Chevaux  de  Marly,'*  now  on  the  Place  de  la 
Concorde,  at  the  entrance  to  the  Ave.  des  Champs  Elsyees. 

Le  Lorrain,  Robert  (b.  1666,  d.  1743),  was  pupil  of 
Girardon,  and  master  of  Pigalle.  Girardon  looked  on  him  as 
his  right  hand.  He  employed  him  first  on  figures  for  the 
tomb  of  Richelieu.  Le  Lorrain  won  the  prize  of  the  Aca- 
demy, and  went  to  Rome  as  Pensionnaire  du  Roi :  but  on 
account  of  fever  he  was  obliged  to  return  immediately  to 
France.  He  entered  the  Academy  in  1701,  becoming 
Professor  in  1717,  and  Rector  in  1737.  He  was  much 
occupied  at  Versailles  and  Marly.  He  exhibited  groups  in 
several  Salons  from  1704  to  1737.  The  Prince  de  Rohan- 
Soubise  employed  him  on  the  iiv^ch^  de  Strasbourg — the 
palais  de  Saveme — and  on  his  vast  hotel  (now  the  Archives 
Nationales),  where  most  of  his  sculptures  happily  remain — 
Force,  Wisdom,  Hercules,  Pallas,  and  the  Four  Seasons. 
But  his  chef  d'oeuvre  is  on  the  Hotel  de  Rohan  (now  the 
Imprimerie  Nat.).  This  is  his  famous  group  in  high  relief 
of  **Les  chevaux  du  Soleil  a  I'Abreuvoir  **.  It  is  a  work  of 
extraordinary  verve  and  vigour,  quite  outside  the  classic 
lines,  as  indeed  was  all  Le  Lorrain's  work.  He  shows  a 
completely  novel  sentiment,  with  **the  most  free,  most 
**  spirited,  most  living  execution  ". 

Michel-Ange  Slodtz  (6.  1705;  d.  1764), — the  most 
famous  of  the  numerous  family  of  Slodtz,  was  the  pupil  of 
Girardon,  and  the  master  of  Houdon.  He  spent  fourteen  years 
in  Rome,  returning  to  Paris  in  1747.     His  St.  Bruno  in  St. 


1715-1789.    ART  OF  THE  EIGHTEENTH  CENTURY.— conrtntt^d.    229 

Peter's  is  considered  one  of  the  best  modern  statues  in  Eome. 
But  his  chef  d'oeuvre  is  the  tomb  in  marble  and  bronze  of  the 
Abbe  Languet  (Diderot's  b^te  noire),  at  St.  Sulpice  in  Paris. 
Speaking  of  the  central  figure,  Diderot  says,  ''  I  know  of  no 
"  sinner  who  would  not  be  inspired  bj'-  it  with  some  belief  in 
**  divine  mercy  !  *'  Slodtz  was  much  absorbed  by  his  functions 
as  designer  to  the  King  of  decorations  for  public  rejoicings 
and  for  "pompes  funebres/*  which  left  him  little  time  for 
sculpture.  Among  his  works  are  a  bas  relief  in  bronze  for 
the  altar  of  one  of  the  side  chapels  at  Versailles,  and  the  fine 
**  Hannibal  **  in  the  Garden  of  the  Tuileries. 

Lemoyne,  Jean  Baptiste  (6.  1704;  d.  1778). — Le- 
naoyne,  grandson  of  Monnoyer  the  flower  painter,  and  the 
talented  pupil  of  Le  Lorrain,  was  the  heir  of  the  manner  of 
the  Coustous.  And  though  somewhat  affected,  he  had  a  real 
sentiment  for  nature,  which  is  specially  seen  in  his  busts. 
His  faults  were  the  faults  of  an  excessive  imagination.  But 
these,  when  face  to  face  with  the  portrait,  disappear. 

Lemojme  was  the  master  of  Pigalle,  one  of  the  Caflieri, 
Pajou,  Falconet,  etc.  His  two  most  important  works  were 
the  Tonib  of  Louis  XV.  in  the  ifecole  Militaire.  And  the 
Tomb  of  Mignard,  with  his  beautiful  daughter,  Mme.  de 
Feuquiferes,  kneeling  before  her  father's  bust  (by  Desjardins). 
This  was  in  the  Church  of  the  Jacobins.  Its  debris  are  now 
in  St.  Roch,  where  the  Uvely  Mme.  de  Feuqui^res  has  become 
a  Magdalen  at  the  foot  of  the  cross,  in  the  Chapel  of  Calvary. 
There  is  also  an  important  Baptism  of  Christ  by  Lemoyne 
in  St.  Roch.  A  beautiful  balcony,  rue  des  Saints  P^res. 
Busts  of  Comte  de  St.  Florentin,  due  de  la  Veilliere,  Versailles, 
1908 ;  Fontenelle,  one  of  his  best  works,  Versailles,  850  ; 
Mile.  Clairon,  1761,  Theatre  Fran9ais ;  Cr6billon,  Musee  de 
Dijon. 

BoucHARDON,  Edme  (b.  1698,  Chaumont  en  Bassigny ; 
d,  1762). — If  the  works  of  Lemoyne  and  Slodtz  were  too 
exuberant,  what  they  lacked  was  found  in  excess  in  Bour- 
chardon.  He  possessed  that  correctness,  balance,  and  distinc- 
tion which  please  the  semi-cultivated  public.  No  one  of  his 
time  was  more  admired,  more  acclaimed.    **  He  has  known,** 


230  A  HISTORY  OP  FRENCH  ART.  Ch.  XI. 

said  Mariette,  '*  how  to  unite  the  grace  of  Corregio  with  the 
**  purity  of  the  antique.'*  **  He  is  the  Phidias  of  France,** 
cried  Voltaire.  A  learned  and  cultivated  man,  a  fervent 
disciple  of  the  Ancients,  he  was  a  consummate  draftsman, 
knowing  every  secret  of  his  trade.  But  Coustou*s  teaching 
enabled  him  to  be  something  more  than  a  mere  imitator  of 
the  Classics. 

His  most  important  work  is  undoubtedly  the  great  Foim- 
tain  in  the  rue  de  Grenelle.  The  well-known  bas  relief  on  it 
of  Winter,  with  delightful  naked  babies  and  a  dog  wanning 
themselves  before  a  fire  of  sticks,  is  a  charming  work.  His 
**  Love  carving  a  bow  from  Hercules  club  **  is  another  of  his 
most  popular  works.  But  the  head  and  wings  make  the 
figure  appear  top-heavy  (Louvre,  508).  The  model  in 
bronze  of  the  equestrian  statue  of  Louis  XV.  for  the  Place 
Louis  XV.,  on  a  pedestal  ornamented  with  bas  reliefs,  has 
been  replaced  in  its  original  position.  Cabinet  du  Roi, 
Versailles.  There  is  also  a  bas  rehef,  bronze,  date  1747, 
side  chapel,  Versailles. 

PiGALLE,  Jean  Baptiste  (6.  1714 ;  d.  1785). — It  has 
been  cleverly  said  that  **  Bouchardon  was  only  a  talent ; 
**  Pigalle  is  a  temperament,  and  one  of  the  most  lively,  one  of 
**  the  most  brilliant  of  the  eighteenth  century.  As  an  actual 
**  practitioner  in  marble,  no  one  could  teach  him  anything; 
**  he  is,  like  Houdon,  a  sculptor  of  the  epidermis,  a  virtuoso 
**of  the  chisel.**^  His  vigorous,  fertile  imagination  gives 
all  his  works  a  certain  accent  of  life  and  originality.  He 
has  many  defects ;  when  he  makes  a  mistake  it  is  often  a  big 
one.  But  his  qualities  are  those  which  make  the  masters — 
the  true  artists — the  **lumineux,**  as  Fromentin  calls  them. 

Pigalle  was  the  seventh  son  of  a  humble  joiner  in  Paris. 
Robert  le  Lorrain,  who  was  a  neighbour,  took  the  child  at 
eight  years  of  age  into  his  studio ;  where  he  made  the 
acquaintance  of  Lemoyne,  whose  teaching  completed  what 
Le  Lorrain  had  begun.  And  his  natural  instincts  for  life 
and  movement  were  fostered  by  two  such  vigorous  masters. 
About  twenty  he  became  a  student  at  the  Academy.     But 

'  Gonse. 


1715-1789.    ART  OP  THE  EIGHTEENTH  CENTURY.— con^nued.    231 

he  failed  to  obtain  the  Prix  de  Rome,  from  a  certain  want 
of  faith  in  his  own  talent.  Some  friends  however  enabled 
him  to  go  to  Rome.  And  there  he  was  fortunate  in  obtaining 
the  friendship  and  protection  of  the  son  of  G.  Coustou, 
himself  a  successful  artist,  who  secured  him  several  orders 
in  Italy. 

On  his  return  to  Paris  he  set  to  work  on  his  *'  Mercure 
attachant  ses  talonniferes  **.  When  Lemoyne  saw  it  he  cried, 
"  Would  that  I  had  done  it !  *'  It  is  indeed  a  delightful 
thing.  And  one  is  not  surprised  that  on  the  mere  sight  of 
the  model,  Pigalle  was  elected  to  the  Academy.  The 
small  marble  (Louvre,  720)  was  his  diploma  work  in  1744, 
when  he  was  received  with  enthusiasm.  Louis  XV.  was 
so  enchanted  with  the  Mercury,  that  he  ordered  Pigalle 
to  reproduce  it  in  marble  on  a  seven-foot  scale,  and  to  make 
a  pendant  to  it.  This  was  the  **  Venus  giving  orders  to 
Mercury".  The  plaster  model  was  in  the  Salon  of  1747. 
The  King  had  small  reproductions  made  of  both  in  BisciUt 
de  Sevres ;  and  sent  the  marble  statues  as  a  present  to 
his  ally,  Frederick  II.     They  are  now  both  at  Potsdam. 

Among  Pigalle's  other  celebrated  works  is  the  extraor- 
dinary **  Voltaire  nu,'*  now  at  the  entrance  of  the  Library  of 
the  Institute.  It  seems  to  have  been  a  caprice,  possibly  a 
wager.  The  naked  figure  sits  on  a  rock,  pencil  in  hand, 
with  eyes  uplifted  in  inspiration.  Another  important  work 
is  the  monument  of  Louis  XV.  at  Rheims,  still  in  the  centre 
of  the  Place  Royale.  The  original  statue  of  the  King  was 
melted  down  at  the  Revolution.  But  the  most  interesting 
part  of  the  monument,  the  two  great  bronze  statues  of 
"France"  and  *' Commerce"  on  the  pedestal,  were  happily  pre- 
served. The  latter,  with  his  Mercury,  is  Pigalle's  finest  nude 
— a  magnificent  countryman,  sitting,  gravely  contemplative, 
on  a  sack  of  com,  while  the  wolf  and  the  lamb  lie  down 
together  at  his  feet.  The  Tomb  also  of  the**Marechal  de 
Saxe  *'  in  Strasbourg  Cathedral  is  an  important  work. 
Though  the  accessories  may  be  too  exuberant,  the  dignity 
of  the  fine  statue  of  the  Marechal,  stepping  calmly  down 
into  the  tomb,  redeems  all. 


>ii:y 


A  -EZsZ'.-^T  :t  JiZxiH  jLsn 


yi^r:-zz-r,  Ikrr-r  •.'Li^Tir  11.  J   m.}  :  h  reprriiin  for  th^^ 
?r— r  -if  tIt  ?  tsLi-i  KJkr:;^.  ijjf  cTen  £i:er.    782 — 

i-r-.-'Z/r  fn?*,  'j   M.  Gi-^r^.  S':::rr^::i-M"aj':'r.     7S5. 

TrTTr-c'iiirr  rrTriciii-T:  1 1.  LiDiriirc:  Tandtie.  Cabinets- 

L:ii:^  XV.  i?  Riiiir.  Enj:»er:r.  PMaciion  in  terre- 
cuii^  :f  ^lAnie  f  :r  BellrVLlIr  idesrrLved^, Versailles. 

Vojta.rr  mi.  B:bi:':ihe:3Ur  '3r  rinsrimt. 

T'^/iiiL  of  the  Harcouns.  Xc-rre  Dame. 

Narcisse.  Chateau  de  Sa^n.  Conriande. 

Jenne  fille  a  I'epine.  Mn?^  Conde. 

Le  Negre  Paul.  Mus^x-  d 'Orleans. 
The  Cap'fieri. — Philippe  I.,  the  head  of  this  distinguished 
and  *;xtrenjelv  interesting  faniilv  of  artists,  came  to  France 
in  the  tinif  of  Louis  XIV.  He  was  employed  on  the  deco- 
rations of  Versailles.  He  did  much  of  the  carved  and  gilt 
wo^^rlwork  in  the  Km^'s  appartements,  metal  capitals  for  the 
Grande  Galerie  and  Cabinet  des  Bains,  frames  for  pictures, 
furniture,  etc. 

jAcgrES  Caffieri  {b.  1678  ;  d.  1755),— his  third  son 
was  '*/f/n/Ieur  et  cufcleur  du  roi'\  He  is  the  artist  to  whom 
iH  duo  the  famous  gilt  bronze  case  of  Passement's  celebrated 
clock,  in  the  Salon  de  THorloge,  Versailles ;  the  fine  bronzes 
of  Zephyr  and  Flora  on  the  mantelpiece  in  the  chambre  k 
couclKjr  du  Dauphin  are  his.  And  so  is  the  marvellous  toilet 
table,  **  la  reine  des  commodes  a  ventre  rebondies,"  of  the 
Wallace  Collection.  He  was  the  father  of  Philippe  H.  and 
of  Jean  Jacques. 

JMhlippe  II.  (6.  1714  ;  d,  1774)  was  an  artist  of  rare  merit. 
He  made  tin;  great  gilt  bronze  Cross  and  six  Candlesticks  for 
the  High  Altar  of  Notre  Dame,  to  replace  the  exquisite  silver 


a.715.1789.    ART  OF  THE  EIGHTEENTH  CENTURY.— «w«nM«d.    233 

garniture  of  Claude  Ballin  which  was  sent  to  the  mint  in 
1 760.  The  Seven  Years*  War  had  so  completely  exhausted  the 
lEloyal  treasury  that  the  King  had  to  appeal  to  the  Churches 
"for  assistance.  This  was. the  worst  blow  that  ecclesiastical  art 
"fcreasures  sustained.  The  Eevolution  only  finished  the  work 
•of  destruction  the  Monarchy  had  begun.  Nothing  of  this  set 
of  gilt  bronze  now  remains.  Happily  the  set  Caffieri  made 
for  the  Cathedral  of  Bayeux  is  still  intact.  He  also  worked 
on  the  decorative  bronzes  of  Versailles. 

Jean  Jacques  (6.  1725;  d.  1792),  his  younger  brother, 
yras  **a  man  and  a  master*'.  He  is  the  last  and  most 
illustrious  of  the  numerous  family,  and  is  too  often  con- 
fused with  his  brother,  the  ciseleur-doreur.  His  life  was 
one  of  extraordinary  success.  Though  he  spent  five  years  in 
Eome,  it  in  no  way  modified  his  great  and  original  talent. 
In  1759  he  was  received  at  the  Academy  upon  the  delicious 
little  **  Fleuve  "  of  the  Louvre.  His  busts,  however,  are  the 
most  important  and  personal  part  of  his  work.  These  were 
mostly  in  terra-cotta  or  plaster.  He  only  worked  to  order 
in  marble,  and  charged  a  high  price,  3000  francs.  For  these 
superb  marble  busts,  his  chief  patron  was  the  Com^die 
Fran9aise.  In  the  Foyer  a  magnificent  series  is  to  be  seen, 
of  the  deepest  interest  to  historian  and  artist  alike.  Caffieri 
died  in  1792  in  the  same  house  in  which  he  was  born,  rue  des 
Canettes. 

Examples : — 

Fleuve,  small,  1759,  Louvre.     518. 

Portrait  d'homme,  painted  terra-cotta.  Louvre.     520. 

Statues  Comeille,  and  Moliere,  Institut. 

Pingri,  terra-cotta,  Bibliotheque  St.  Genevifeve. 

Busts,   Kameau,   plaster.       Du   Peirsac,   terra-cotta, 

Bibliothfeque  de  I'lnstitut. 
Busts,  marble,  at  the  Com^die  Fran9aise. 
Buirette  de  Belloy.     Piron.     P.  Corneille,  1777.     La 
Chauss6e,  1785.     J.  B.  Kousseau,  1787.     Kotrou, 
a  strange  and  magnificent  work  of  art. 
Pajou,  **  CiTOYEN  DE  Paris  "  (6. 1730  ;  d,  1809).— Pajou 
incarnates  in   marble  the  taste  and  grace  of  his   time,  as 


234  A  HISTORY  OF  FRENCH  ART.  Ch.  XX 

did  Boucher  and  Fragonard  on  canvas.  He  was  a  pnpf/ 
of  Lemoyne.  At  eighteen  he  gained  the  Prix  de  Rome; 
and  twelve  years  later  he  became  an  Academician.  His 
antique  is  antique  after  the  fashion  of  Ch^nier.  His 
grace  is  the  grace  of  Clodion,  his  son-in-law.  His  best 
period  is  about  1770.  To  that  belong  what  I  must  consider 
his  two  chefs  d'oeuvres — the  enchanting   bust  of  Mme.  du 

• 

Barry  in  the  Louvre ;  and  the  bust  of  Marie  Antoinette  in  the 
Salon  des  Cabinets  de  la  Reine,  Versailles.  **  Toute  jeune 
*'  encore,  mais  devenue  d6ja  la  *  petite  reine '  qui  fait  Torgueil 
*'  et  rinquietude  de  Marie-Th^rese,  Pajou  a  fix6  sa  gr&ce  en 
**  ce  buste  frais  et  nerveux,  digne  pendant  du  marbre  de  Le- 
**  moyne  qui  est  au  Musee  de  Vienne."  ^ 

Pajou's  '*  Psyche ''  (Louvre,  776)  is  probably  his  most 
popular  work.  It  is  indeed  the  most  completely  eighteenth 
century  Pysch^  one  can  imagine,  without  a  touch  of  Greek 
feeling  about  it.  As  M.  Andr6  Michel  well  says :  **  The  flowing 
**  curls  of  her  hair  seem  waiting  for  a  cap  of  the  national 
**  colours,  .  .  .  the  opulent  softness  of  her  bosom  from  which 
**  before  she  stabs  herself  she  has  cast  off  the  great  soft  gauze 
'*  veil — the  very  nuance  of  her  sorrow — all  is  deliciously  in 
'*  sympathy  with  the  style,  the  taste,  the  ideas  of  the 
**age". 

Examples  in  the  Louvre : — 

Queen  Marie  Leczinska  as  Charity,  ordered  after  the 
Queen's  death,  Salon,  1769.     777. 

Pluto  and  Cerberus,  small,  diploma  for  Academy.    771. 

Psyche,  1790.     776. 

Bacchante,  1774.     774. 

Busts,  M.  Labile.     775.     Mme.  du  Barry.     773.     De 
Buffon.     772. 

Carlin  Bertinazzi,  terra-cotta,  Com^die  Fran9aise. 
Versailles : — 

High  reliefs.  Foyer  of  Theatre. 

Sculptures,  theatre,  now  Salle  du  Senat. 

Turenne,  statue,  marble.     2836. 

De  Buffon,  statuette,  bronze.     2155. 

J  De  Nolhac. 


1715-1789.    ART  OP  THE  EIGHTEENTH  CENTURY.— continued    235 

Louis  XVI.,  bust,  in  annour,  1779,  Petit  Trianon. 

2212. 
Marie  Antoinette,  bust,  marble.  Salon  des  Cabinets  de 

la  Reine.     2213.     The  clay  model  of  this  is  at 

Sfevres. 
Clodion.  Claude  Michel,  dit  Clodion  (6.  Nancy,  1738 ; 
d,  Paris,  1814), — tenth  child  of  Claude  Michel  and  Anne 
Adam,  learnt  the  first  elements  of  sculpture  from  his  uncle, 
Lambert-Sigisbert-Adam,  who  had  become  famous  by  the 
central  group  of  the  Bassin  de  Neptune  at  Versailles.  On 
his  uncle's  death  in  1759,  Clodion  entered  Pigalle's  studio ; 
and  shortly  obtained  the  Grand  Prix.  But  being  obliged  by 
the  rules  to  spend  a  certain  period  in  the  Ecole  des  Aleves 
prot^g^s,  founded  by  M.  de  Marigny,  he  only  reached  Rome 
in  1762.  His  natural  instincts  led  him  to  the  production  of 
charming  little  models,  which  delighted  his  fellow  pupils. 
But,  in  truth,  he  cared  little  for  the  great  masters  of  the  past. 
His  success  was  rapid.  M.  M.  Julienne  and  La  Live  de 
Jully,  who  greatly  admired  his  works,  set  the  fashion  for 
them  ;  and  between  1767  and  1771  he  had  already  sold  much. 
Indeed  it  is  probable  that  the  easy  life  and  facile  success 
which  Italy  brought  him  would  have  kept  him  there  in- 
definitely, had  not  M.  de  Marigny  recalled  him  to  France  in 
1771  to  imdertake  work  for  the  King.  From  this  moment 
his  life,  according  to  his  historians,  becomes  dual.  On  one 
side  the  clever  modeller  in  terra-cotta,  who  allows  his  fancy 
to  run  riot  in  pretty  follies.  On  the  other  the  serious  and 
cultivated  artist  sometimes  gets  the  ascendency  in  **  ceuvres 
longuement  m^dit^es  **.  So  enormous  was  the  number  of  his 
commissions,  that  he  had  to  arrange  his  whole  existence  with 
a  view  to  carrying  them  out.  In  the  great  house  of  the 
Place  Louis  XV.  his  old  aunt  sees  to  his  material  needs, 
while  he  directs  his  assistants  and  carries  on  half-a-dozen 
works  at  the  same  time.  No  artist  was  more  in  fashion — 
more  sought  after.  Despite  his  numerous  assistants,  loud 
complaints  are  made  by  his  patrons  because  he  will  not 
work  fast  enough ;  and  he  is  too  busy  even  to  send  a  recep- 
tion piece  to  the  Academy. 


'23»?  A  HI5T0BY  OF  FREXCH  ART.  Ch.  XI. 

Beside?  portraits,  nymphs,  bacchantes  and   statues  of 
Saincs,  and  b^s  rtliefs  sacred  and  profane,  Clodion  executed 
numbers  of  dectrrarive  works  for  prirate  houses  in  Paris. 
AmoniT   these  '.^ne  of  the  most  admirable  is  the  beautiful 
mantelpiece,  in  Mme.  de  Serilly's  K"»udoir  now  in  the  South 
Ken>ins;n:on  Museum.     This  little  gem  of  eighteenth  century 
decoration  is  not  as  well  known  as  it  deserves  to  be,  although 
it  has  been  manv  vears  in  the  museimi.     J.  J.  Lagrenee,  dit 
le  Jeime.  painted  the  subjects  on  the  panels,  lunettes,  and 
ceiling.    Jean  Simon  Rousseau  de  la  Rottiere,  carved  the 
gilt  and  painted  decorative  sculptures  in  low  relief,  on  the 
pilasters   and  ceiling.    And   the  gilt  metal  ornaments  on 
Clodion *s  mantelpiece  are  bv  the  famous  Gouthiere.     The 
white    marble    thermale    figures    supporting    the    mantel- 
piece, are  certainly  one  of  Clodion's  chefs  d'oeuvres.     An- 
other remarkable  specimen  of  his  decoration  is  to  be  seen  in 
the  Hotel  de  Chambrun,  rue  de  Monsieur.     But  the  most 
famous  of  his  works  of  this  order  was  the  Salle  des  Bains, 
in  the  Hotel  of  Baron  de  Bezenval.  rue  de  Grenelle.    Clodion 
had   a  free  hand  as  to  the  decoration  of  this  sumptuous 
nymphaeum.      Stone    vases    ornamented    with    arabesques, 
forming    fountains,   filled    the    niches.      Long    bas  reliefs 
representing  n^Tuphs  and  Tritons  decorated  each  side.     And 
a  life-size  *'  Source."  leaning  on  an  um,  occupied  the  end 
of  this  marvellous  room.    Happily  this  remarkable  decoration 
is  not  lost,  though  no  longer  in  its  original   position,  de 
Bezenval's   descendant,   the   Comte   de   Chabrillan,   having 
moved  it  in  1822  to  the  Chateau  de  Digoine  (Sa6ne-et-Loire). 
Curiously  enough  Clodion's  latest  works  show  a  complete 
change  of  style.     The  master  of  Loves  and  Nymphs  has 
followed  the  times.     And  his  "  Entree  a  Munich,"  a  bas 
relief  for  the  Arc  de  Triomphe  du  Carrousel,  is  purely  First 
Empire. 

Examples : — 

Bacchante,  Louvre. 

Various  Terra-cottas,  Louvre. 

Faune  and  Faunesse,  Chantilly. 

The  great  Sevres  Vase. 


1715-1789.    ART  OP  THE  EIGHTEENTH  CENTVRY. ^-continued.    237 

Bacchante  portant  un  Satyre,  Museum  d'Orl^ans. 

Sainte  C6cile,  Cathedral  de  Eouen. 

Mort  de  la  Vierge,  has  relief,  Cathedral  de  Rouen. 

Chemin^e  aux  Termes,  east  side,  South  hall,  South 
Kensington  Museum. 

Numbers   of    groups,    has    reliefs,    etc.,    in    private 

collections. 

HouDON,  Jean-Antoine  (6.  Versailles,  1741;   d.  Paris, 

1828), — son  of  a  servant  of  M.  de  la  Motte,  who  was  in 

time  made  Concierge  of   the  ^cole  des  illfeves  prot^gis,  it 

is  probable  that  the  child  gained  his  first  enthusiasm  for  Art 

in  the  studios  of  the  professors  of  the  school — Lemoyne, 

Adam,   Slodtz,  Vass6,  Bouchardon.     But   from  the  outset 

he  was  himself.     At  twelve  years  of  age  his  mind  was  made 

up,  and  he  entered  the  Royal  School  of  Sculpture. 

In  the  Salon  of  1795  he  describes  himself  as  pupil  of 
Michel  Slodtz :  but  it  is  known  that  he  also  studied  with 
Pigalle  and  Lemojme.  This  however  matters  little.  With 
a  Houdon  the  inspiration  comes  from  within,  not  from 
without.  His  own  words  best  describe  his  aims :  **  Un 
'•  des  plus  beaux  attributs  de  Tart  si  difl&cile  du  statuaire  est 
**  de  conserver  avec  toute  la  v6rit6  des  formes  et  de  rendre 
**presque  imp^risable  Timage  des  hommes  qui  ont  fait  la 
•'gloire  ou  le  bonheur  de  leur  patrie.  Cette  id^e  m*a 
**  constamment  suivi  et  encourag^e  dans  mes  longs  travaux.'* 
At  fifteen  he  gained  a  third  medal  at  the  Academy.  At 
twenty  he  triumphantly  carried  off  the  Grand  Prix  de  Rome. 
But  Rome,  its  teaching  and  examples,  were  powerless  to 
turn  the  young  artist  from  the  passion  for  truth  as  against 
official  art,  that  already  possessed  him.  His  stay  in  Rome 
was  devoted  to  the  most  determmed  study.  It  was  no  oft- 
repeated  classic  subject  which  he  sent  as  his  Morceau  de 
pensiarmaire,  but  the  famous  **ficorch6,"  which  has  become 
classic  in  every  studio.  And  the  Procurator  general  of  the 
Carthusians,  recognizing  the  talent  of  his  young  country- 
man (for  he  was  a  Frenchman),  gave  him  an  important 
order — the  **  Saint  Bruno,"  which  is  still  to  be  seen  at  Santa- 
Maria-degU-AngeU.     It  is  a  stately  and  impressive  work  in 


238  A  HISTORY  OP  FRENCH  ART.  Oh.  Jw^ 

its  penetrating  sentiment,  in  its  absolute  simplicity  both  <^^^ 
pose  and  execution.     And  is  indeed  an  extraordinary  one  f 
a  young  artist  not  yet  twenty-five.      **  He  would  speak, 
cried  Pope  Clement  XIV.,  **if  the  rule  of  his  order  did 
**  impose  silence.** 

On  Houdon's  return  to  Paris  in  1771,  after  ten  year^s- 
absence,  he  presented  himself  for  election  to  the  Academ^^ 
with  the  model  of  **  Morph6e,**  of  which  the  exquisite  marble 
statuette  is  now  in  the  Louvre — only  spoilt  by  the  horri^S 
suggestion  of  whiskers.     It  was  his  reception  piece  eigh 
years   later.     But    in    the    Salon    of    1771,    at    which    th 
**Morph6e'*    appeared,   Houdon    began    his    incomparabl 
series    of   portraits,   with    his   first  bust  of   Diderot.     Th 
second,  of  1775,  is  now  at  Versailles.     He  had  found  th^* 
true  expression  of  his  great  talent.     And  from  this  momenta 
that  wonderful  series  of  nearly  200  busts  follow  each  other' 
in  rapid  succession,  in  which  he  is  to  write  with  unequalled- 
power  and  insight  the  character  and  temperament,  as  well  as 
the  mere  physical  peculiarities  of  all  his  most  remarkable 
contemporaries. 

To  the  student  of  human  nature  Houdon 's  portrait  busts 
must  always  remain  the  most  intensely  interesting  part  of 
his  great  work ;  though  they  are  only  a  part.  Yet  what  a 
part.  What  a  marvellous  record.  The  Lafayette ;  the  Ben- 
jamin Franklin ;  the  many  busts  of  Voltaire — at  Versailles, 
in  marble  with  a  wig,  at  the  Louvre,  old  and  serpent-like 
in  bronze — the  Mirabeau,  courtier  and  orator,  so  sure  of  him- 
self; the  Jean- Jacques  Kousseau.  The  Louis  XV.,  with 
those  drooping  eyelids,  and  that  smile,  tolerant  of  his  own 
failings  and  those  of  others,  effeminate  and  sensual — what  a 
human  document.  The  Louis  XVI.,  of  Versailles,  in  which 
the  artist  has  given  a  sense  of  kindly  majesty.  And  above 
all,  what  a  triumph  of  art  is  that  positively  miraculous 
**  Molifere'*  of  the  Com^die  Fran9aise.  Houdon  only  had  a 
few  contemporary  engravings  and  portraits  to  guide  him. 
But  the  incomparable  genius  of  Molifere  lives  for  ever  in 
his  marble  effigy  through  the  incomparable  genius  of  the 
sculptor. 


1715-1789.    ART  OF  THE  EIGHTEENTH  C^lifTVRY ,— continued.    239 

But  as  I  say  Houdon  did  not  confine  his  work  to  portraits. 
For  in  his  famous  **  Diane  Chasseresse"  he  attained  the 
summit  of  the  sculptor's  ambition.  In  vain  had  the  Empress 
Catherine  tried  to  tempt  him  to  Russia.  He  contented 
himself  by  sending  models  for  two  monuments  for  the 
GaUtzin  family,  and  a  bust  of  the  Empress.  These  were  ex- 
hibited in  the  Salon  of  1773.  In  1775,  with  the  monument 
of  the  Duchess  of  Saxe-Coburg  Gotha,  came  the  model  for 
the  "Femme  au  Bain,'*  which  was  completed  in  marble  in 
1783,  while  a  negress  in  lead,  painted  in  natural  colours, 
holding  a  white  marble  drapery  with  one  hand,  poured 
water  from  a  golden  beaker.  The  group  was  placed  in  the 
Pare  de  Mo^ceau,  but  was  destroyed  at  the  Revolution. 
It  was  a  daring  innovation  for  those  days ;  and  one  cannot, 
save  for  the  interest  of  such  a  work,  lament  its  destruc- 
tion over  much.  But  Houdon's  greatest  triumph  was 
to  come  in  that  same  Salon  of  1783,  with  the  famous 
Diane  Chasseresse,  in  which  he  attained  the  summit  of  his 
artistic  desire.  The  bronze — he  cast  it  himself  in 
1790 — hght  and  charming,  classic,  while  very  human,  is  too 
well  known  in  the  Louvre  to  need  comment.  A  marble 
variant  is  in  the  collection  of  the  Hermitage.  In  1781  he 
had  exhibited  his  charming  ''  Frileuse  "  (Montpellier). 

The  magnificent  "  Voltaire  assis  "  of  the  Com6die  Fran- 
^aise  dates  from  1778.  M.  Louis  Gonse  has  selected  a  fine 
engraving  of  it  by  Gaujean,  as  the  frontispiece  to  his  Sculptv/re 
Frangaise,  It  was  in  1785  that  Houdon  undertook  his  voyage 
to  the  United  States,  to  make  his  models  for  the  statue  of 
Washington  ordered  by  the  Virginian  Parliament.  He  left 
Le  Havre  with  Frankhn  on  22nd  July,  1785  ;  stayed  a 
fortnight  with  Washington  in  Philadelphia;  and,  after 
making  the  necessary  notes  and  models,  returned  to  France, 
January,  1786.  This  statue  now  adorns  the  capitol  of  Rich- 
mond, Va.     It  kept  the  artist  at  work  for  several  years. 

Though  he  continued  his  series  of  busts,  after  1808  his 
powder  diminishes.  In  1812  he  exhibited  two  statues.  General 
Joubert,  and  Voltaire  dressed  as  a  Roman.  It  is  almost 
the  end.     One  bust  of  the   Emperor   Alexander  in   1814. 


240  A  HISTORY  OP  FRENCH  ART.  Ch. 

And  then  the  great  sculptor  is  seen  every  evening  at  tl:3( 
Fran^ais  with  a  servant,  sitting  in  the  stalls ;  and  taking  bi  ^s 
of  china  or  pebbles  out  of  his  pocket  he  rubs  them  with  hi.is 
thumb — the  sculptor's  own  motion — and  then  sleeps  to  tbe 
end  of  the  performance.  In  1828  he  slept  the  long  sleep 
of  the  dead. 

Examples  in  Louvre  : — 

Bronze  Statue,  Diane  Chasseresse.     716. 
Marble  Statuette,  Morph^e.     709. 
Busts  of  Benjamin  Frankhn,  715  ;  De  Buffon,  714 ; 
Diderot,  1771,  708  ;    L ' Abbe  Aubert,  710;    Jean 
Jacques  Eousseau,  bronze,  711 ;    Mirabeau,  two, 
terra-cotta  and  marble,  717,  718 ;  Voltaire,  bronze, 
712. 
Child's  portrait,  bust,  Nouvelles  acquisitions. 
Voltaire  assis,  statue,  Comedie  Francjaise. 
Versailles : — 

Busts  of  Diderot,  1775,  855  ;  Louis  XVI.,  1834 ;  Mira- 
beau, 4960 ;  Lafayette,  date  1790,  1573. 
Rousseau,  Library  in  towTi  of  Versailles. 
Diane,  marble.  The  Hermitage. 


CHAPTEK  XII. 

WHAT  THE  REVOLUTION  DID  FOR  ART. 

To  appreciate  the  effect  of  the  Revolution  on  Art  in  France, 
it  is  necessary  to  consider  the  condition   of  artists   in  the    n 
eighteenth  century. 

The  Academy  of  Painting  and  Sculpture,  founded  in  1648 
in  the  interests  of  liberty  for  Art,  had  become  a  close  body, 
exercising  a  tyranny  even  greater  than  that  of  the  ancient 
Corporation  of  St.  Luke  (see  chapter  viii.).  No  artists  who  - 
did  not  belong  to  the  Academy  either  as  "agrees"  or 
members,  were  allowed  to  exhibit  their  works  in  public. 
Even  the  Academicians  displayed  the  most  singular  aversion 
to  the  public.  One  of  their  members,  Serres,  was  actually 
expelled  from  their  ranks  for  having  independently  exhibited 
his  picture,  **  La  Peste  de  Marseille,"  for  money.  With  one 
brief  exception  during  the  year,  all  other  artists  were  con- 
demned to  obscurity  until  they  could  obtain  entrance  into 
the  magic  circle.  In  the  eighteenth  century,  outside  artists 
had  obtained  permission  to  hold  what  was  called  the  **  Exposi- 
turn  de  la  Jetinesse"  in  the  Place  Dauphine,  on  the  day  of 
the  F^te  Dieu.  But  this  was  only  open  for  two  hours. 
Ajid  the  luckless  young  artist  who  missed  this  chance  had 
no  other  till  the  next  year. 

The    Salons  however,   held   under  the   auspices   of   the 

Academy,  filled  exclusively  with  the  works  of  its  members,  *' 

were  becoming  important  annual  institutions.     It  was  the 

right   thing  to   visit   them    if    you    wished    to   be   in   the 

fashion.       **  Ah  !    ah  !  "  —  the    **  true,    interesting,    curious 

"and    remarkable    conversation     between     Marie     Jeanne 

'*la    bouquetifere    and    J6r6me    le    Passeur,"    a    pamphlet 

published     in     1787,    gives    us    some    idea    of     this.       It 

begins : — 

(241)  16 


242  A  HISTORY  OF  FRENCH  ART.  Ch.  XI] 

Marie. — Ah  1  ah  !  la  ous  done  qu'vous  m'menez  7 

C'est  pas  t'ici  qu*j'avons  affaire. 
J^rdnie. — N'ayez  pas  peur,  mamzell',  venez ; 

Vous  Tsavez,  je  n*cherch'  qu*a  vous  plaire 
...  on  n*s*rait  pas  du  bon  ton, 
Si  Ton  n'avait  pas  vu  I'Salon. 

But  though  from  Marie  Jeanne  and  J6r6me  to  Diderot,  a 
were  beginning   to  play  the  critic,    artists   lacked  the  one 
thing  needful — Liberty  to  exercise  their  Art. 

It  was  this  Libei-ty  which  the  Kevolution  of  1789  gave 
them. 

At  the  last  Salon  held  under  the  Ancien  B^gime  in  1789, 
only  350  pictures  were  exhibited.  On  the  21st  August,  1791, 
the  National  Assembly  decreed  that  an  Exhibition  open  to 
all  artists,  French  and  foreign  alike,  should  be  held  in  the 
Louvre.  In  this  794  pictures  were  showTi.  In  1793 — the 
year  of  the  Terror — the  numbers  had  increased  to  more  than 
1000.     In  1795  to  3048. 

When  we  think  of  all  the  duties  that  pressed  upon  the 
leaders  of  the  Revolution  in  building  up  a  new  State,  as  well 
as  pulling  down  an  old  one — with  finances  exhausted,  that 
had  to  replenished — with  the  enemy  at  the  gates,  and  armies 
to  be  created  for  the  defence  of  the  Patrie — it  is  almost  un- 
believable that  the  Convention  found  time  to  create  public 
instruction,  to  organize  Art,  to  initiate  public  musemns,  to 
give  orders  to  artists.  It  has  been  said,  and  truly,  that  the 
Revolution  always  found  the  right  man  for  each  part  of  its 
great  work.  Carnot  to  **  organize  Victory  *\  Cambon  for 
finance.  Lakanal  and  Daunou  to  create  the  vast  system 
of  public  instruction  which,  with  constant  additions  and 
amendments,  has  remained  the  basis  of  the  French  system 
of  public  instruction  of  to-day.  For  Art  its  choice  was  no  less 
fortunate.  For  in  Louis  David,  then  thirty-one  years  old, 
it  found  a  man  of  genius  admirably  qualified  for  the  task 
he  undertook. 

^  On  the  23rd  Brumaire,  An  II.  (1793),  the  Convention, 
upon  David's  report,  formed  a  National  Jury  of  Fine  Arts, 
consisting  of  fifty  members  and  ten  substitutes.  By  a 
decree  of  the  6th  Flor^al  in  the  same  year,  the  Convention 


^789-1800.       WHAT  THE  REVOLUTION  DID  FOR  ART.  243 

^vited  all  artists  to  reproduce  on  canvas  or  in  marble  the 
^ost  glorious  events  of  the  Eevolution,  to  be  judged  by  this 
Jiiiy.  And  the  prizes  and  rewards  distributed  amounted  to 
442,000  livres.  The  French  Academy  in  Eome  was  not 
forgotten.  On  David's  advice  the  Convention  raised  the 
allowance  of  the  pensionnaires  to  2400  francs  a  year. 
Finally,  to  the  Eevolution  is  due  the  great  work  of  the 
organization  of  public  museums.  And  more  especially  the 
opening  and  agrandissement  of  that  priceless  treasure  house 
— the  Museum  of  the  Louvre. 

It  is  true  that  Galleries  of  works  of  Art  had  existed  in 
the  Louvre  and  elsewhere  under  the  Ancien  E6gime.  But 
they  were  the  property  of  the  King,  and  only  decorated  Eoyal 
palaces.  In  1750  an  attempt  had  been  made  to  popularize 
some  of  these  treasures.  One  hundred  and  ten  pictures  from 
the  Eoyal  collections  had  been  placed  in  the  Luxembourg ; 
and  the  public  was  admitted  twice  a  week  to  see  them. 
This  step  was  taken  on  the  representations  of  Lafon  de 
Saint- Yonne,  who  complained  that  these  chefs  d*ceuvres  were 
buried  in  little  rooms  at  Versailles,  where  no  one  could  see 
them.  And  he  demanded  that  they  should  be  collected  in  the 
Louvre.     But  this  was  all. 

On  the  27th  July,  1793,  Segrais  proposed  and  the  Con- 
vention decreed,  that  a  museum  should  be  opened  in  the 
Louvre.    And  that  besides  the  works  of  art  which  formed  the 
**  Cabinet    du    Eoi,"   some   of    those   treasures   which   the 
suppression   of  the   monasteries    and    confiscation    of    the 
property  of   the  Emigres  placed  at  the  disposal  of  Govern- 
ment, should  be  collected  there.     A  sum  of  100,000  li\Tes  was 
voted  for  the  further  purchase  of  works  of  art.     On  the  8th 
November,  1793,  the  **  Miis^mn  Central  des  Arts  "  was  opened 
in  the  Louvre ;  and  all  artists  were  allowed  to  work  there 
for  five  days  in  the  week.     The  Convention  regarded  the 
Louvre  from  the  first  as  a  dep6t  for  art  treasures,  whose 
iJQiniense  riches   would  allow  the  creation  of   a  number  of 
I^rovincial  Museums.     Already,  in  1791,  a  sum  of  100,000 
Jivres — the  origin  of  the  existing  **  Caisse  des  Musses  ** — had 
^en  granted  for  the  purchase  at  private  sales,  of  pictures 


244  A  HISTORY  OP  FRENCH  ART.  Ch.  XXI. 

and  statues  **  which  it  is  important  that  the  Republic  should 
**  not  allow  to  go  to  foreign  countries  *\     These  were  to  be 
deposited  in  the  Louvre.     This  grant  was  supplemented  by 
Barrfere,  who  in  a  most  interesting  State  paper  of  September, 
1791,  proposes   that   a   grant   shall  be  made  to  enable  the 
Minister  of  the  Interior  to  remove  pictures,  statues,  vases, 
precious    furniture    and    marbles,    from   **  all  the  ci-devant 
'*  royal   houses,   chateaux,   gardens,  parks  of  emigres   and 
"other  national  monuments,"  to  be  placed  in  the  Lou\Te; 
with  the  one  exception  of   the  **  objects  in  the  Palace  of 
**  Versailles,  its  gardens,  and  the  two  Trianons,  which  are  to 
**  be  preserved  as  they  are  by  a  special  decree  **. 

The  victories  of  the  armies  of  the  Repubhc  soon  began  to 
augment  the  collections  in  the  Museum  Central  des  Arts. 
The  works  of  art,  taken  by  the  victorious  armies  from 
foreign  nations,  were  transported  to  Paris  by  order  of  the 
Convention.  The  first  consignment  came  from  Flanders  on 
August  31,  1794.  Bonaparte  added  the  spoils  of  Italy  in 
1796.  But  this  was  more  than  some  of  the  French  artists, 
who  owed  so  much  to  Italy,  could  tolerate.  They  had  been 
accustomed  to  regard  Italy  as  a  Shrine  of  Art — a  place  of 
pilgrimage.  And  it  seemed  to  them  positively  sacrilegious 
to  tear  these  glorious  works  from  the  collections  they  had 
adorned  for  centuries.  Fifty — among  whom  were  Girodet, 
Lethiere,  Denon,  Perrier,  Soufflot,  Pajou — protested  vehe- 
mently against  these  **  emprunts  forces  ".  An  equal  number 
protested  against  the  protest.  Among  the  latter  were  Isabey, 
Gerard,  Carle  Vernet,  Chardet,  Regnault,  and  Eedoute. 
In  1798  a  further  development  was  instituted.  Hertault 
de  Lamerville  reminded  the  **  Conseil  des  Cinq-cent  '*  of  the 
initial  doctrine  of  the  Convention  with  regard  to  Art.  And 
demanded  in  the  name  of  the  Commissions  of  Public 
Instruction,  that  schools  of  Painting,  Sculpture,  and  Archi- 
tecture, attached  to  museums  which  already  existed  at 
Caen,  Le  Mans,  Toulouse,  etc.,  etc.,  should  be  founded  in 
the  provinces. 

In  speaking  of  the  effects  of  the  Revolution  on  Art,  it  is 
usual  to  treat  the  revolutionists  as  a  set  of  mere  Vandals — 


1789-1800.        WHAT  THE  REVOLUTION  DID  FOR  ART.  245 

ignorant  savages  who  took  delight  in  destroying  everything 
they  could  lay  hands  on — monuments,  libraries,  archives, 
and  all  things  precious  and  beautiful.  It  has  been  neces- 
sary- more  than  once  in  these  pages  to  record  the  total  or 
partial  destruction  of  buildings  of  priceless  interest,  and  all 
that  they  contained — such  as  the  Chateaux  of  Madrid, 
Gaillon,  Anet,  Ecouen,  the  Abbey  of  St.  Denis,  etc.,  etc. 
That  wanton,  wicked,  brutal  excesses  were  committed, 
no  one  would  deny.  But  these  excesses  took  place  during 
a  very  short  period — that  which  witnessed  the  impious  pre- 
sence of  the  Goddess  of  Reason  on  the  altars  of  French 
Cathedrals.  They  were  the  work  of  the  ignorant  and 
savage  mob,  drunk  with  the  sight  of  blood,  with  the  lust 
for  power.  They  were  not  directed  or  countenanced  by 
the  leaders  of  the  Revolution.  Far  from  it.  For  in  the 
special  domain  of  Art,  we  find  the  Revolution  from  the  very 
first  showing  an  undeniable  solicitude  not  only  for  contem- 
porary Art  but  for  the  monmnents  of  the  past — a  solicitude 
which  the  Ancien  Regime  had  not  always  displayed.  **  La 
'*  culture  des  Arts  chez  un  peuple,  agrandit  son  commerce  et 
"ses  moyens,  ^pure  ses  mceurs,  le  rend  plus  doux  et  plus 
**  docile  a  suivre  les  lois  qui  le  gouvernent."  With  these 
words  good  Alexandre  Lenoir  begins  his  book.  And  they 
are  a  very  good  exposition  of  the  ideas  which  inspired  the 
Convention  in  its  dealings  with  Art. 

As  early  as  1790  the  Constituant  Assembly  appointed  a 
**  Commission  des  Monuments,''  whose  duty  was  to  draw 
up  an  inventory  of  all  buildings  and  works  of  art,  which, 
by  the  confiscation  of  ecclesiastical  property,  were  declared 
to  belong  to  the  **  chose  publique  **.  The  Commission  was 
also  to  watch  over  the  dep6ts  in  which  these  treasures 
were  rapidly  accumulating.  The  buildings  allotted  for  these 
dep6ts  were  the  Convent  of  the  Petits  Augustins,  for  sculp- 
ture and  painting,  of  which  I  shall  speak  farther  on.  The 
Convents  of  the.  Capucins,  Grands-Jesuits,  and  Cordeliers, 
for  books,  manuscnpts,  etc.  Under  the  Convention  in  1798 
a  temporary  Commission  des  Arts  replaced  the  Commission 
des  Monuments.     It  was  divided  into   twelve  sections.    It 


246  A  HISTORY  OF  FRENCH  ART.  Ch.  XD. 

numbered  the  most  eminent  men  of  the  time  in  its  ranks. 
It  filled  the  interregnum  after  the  abolition  of  the  old  Royal 
Academies.  And  was,  in  reality,  the  origin  of  the  Institnt 
de  France,  which  replaced  it  in  1795.  Matthieu,  in  the 
report  upon  which  this  Conunission  was  instituted,  used 
these  remarkable  words:  **It  is  the  duty  of  the  Conven- 
**  tion  to  do  to-day  for  Arts,  for  Sciences,  and  for  the 
**  progress  of  Philosophy  what  Arts,  Science,  and  Philo- 
**  sophyhave  already  done  to  bring  about  the  reign  of  Liberty". 
At  the  same  time  the  Convention,  moved  by  the  terrible 
and  disgraceful  excesses  which  were  being  committed  in  the 
name  of  Liberty,  took  the  most  severe  measures  against 
plunderers  of  Archives  or  Libraries.  And  on  the  4th  June, 
1793,  condemned  any  one  who  should  injure  artistic  monu- 
ments which  were  national  property  to  two  years  in  irons. 

To  these  two  Commissions  are  due  a  most  important  in- 
stitution in  the  history  of  Art — the  Musee  des  Monuments 
Frangais. 

On  the  4th  January,  1791,  Alexandre  Lenoir,  an  artist,  was 
commissioned  to  collect  the  fragments  of  Architecture  and 
Sculpture  contained  in  the  Churches  and  Convents  which 
it  was  desirable  to  preserve.  The  Convent  of  the  Petits 
Augustins,  in  the  rue  St.  Honor^,  was,  as  I  have  said,  set 
aside  for  these  collections.  And  the  public  was  admitted  to 
see  them  on  September  1,  1795.  A  better  man  than  the 
excellent  Lenoir  could  not  have  been  found  for  such  a 
task.  He  worshipped  the  national  Art  of  France.  He 
considered  that  French  Sculpture  had  been  too  long  neglecte^l, 
and  that  it  was  desirable  to  place  it  once  more  in  a  position 
of  honour. 

It  is  impossible  to  exaggerate  the  debt  the  world  owes  to 
the  good  Lenoir.  And  it  is  a  matter  of  surprise  that  in  a 
country  where  statues  spring  up  so  readily  to  commemorate 
those  who  have  distinguished  themselves  in  Art,  in  Letters, 
in  Science,  and  in  Politics,  no  memorial  has  been  erected  of  the 
man  who  rescued  some  of  the  most  superb  works  of  Art  that 
modem  Europe  has  produced,  from  utter  destruction.  To 
Lenoir  we  owe  the  tombs  of  Louis  XII.,  Franfois  I.,  Henri  11., 


17891800.       WHAT  THE  REVOLUTION  DID  FOR  ART.  247 

which  he  found  among  the  ruins  of  St.  Denis.  **  O  douleur !  " 
he  cries,  **  ces  chefs  d'oeuvres  de  I'Art  avaient  d^ja  ^prouve 
"la  fureur  des  barbares.    C'^tait  en  1793.'*    To  him  we  owe 
the  Diane  Chasseresse  of  Goujean,  broken  to  pieces  for  the 
sake  of  the  leaden  pipes  of  the  fountain.  The  glorious  Birague 
of  Germain  Pilon  he  covered  with  whitewash,  and  persuaded 
the  vandals  it  was  made  of  plaster  and  not  of  bronze,  and 
therefore  was  no  use  for  cannons.     For  the  Urn  of  Bon  temps 
he  gave  a  load  of  wood,  and  thus  preserved  one  of  the  most 
exquisite  works  of  the  Renaissance.     He  collected  painted 
glass  to  show  the  progress  of  that  art.     And  a  series  of  500 
busts,  statues,  and  has  reliefs ;  together  with  such  architec- 
tural treasures  as  the  Facade  of  Anet,  and  parts  of  Chateau 
Gaillon,  including  some  of  its  beautiful  woodwork. 

Lenoir's  idea  was  to  present  a  view  of  the  historic,  chrono- 
logic progression  of  French  Sculpture.  Beginning  with 
the  Goths,  he  carried  his  work  down  to  his  own  time  and 
the  '*  style  antique  restaur^  dans  nos  contr^es  par  les  le9ons 
'*  pubUques  de  J.  M.  Vien  ".  He  arranged  four  halls,  en- 
deavouring to  give  to  each  the  exact  appearance  of  the  century 
it  was  to  represent,  and  a  **  Sepulchral  Chamber  for  the 
*  *  Mausoleum  of  Fran9ois  I."  And  besides  restorations  of  parts 
of  Anet  and  Gaillon,  he  planted  a  **  Jardin  iilysee  *'  round 
his  museum,  and  placed  in  it  the  tombs  of  Descartes,  La 
Fontaine,  Boileau,  Molifere,  Montfaucon,  and  a  **  majestic 
**  ogival  chapel  covering  the  ashes  of  H^loise  and  Abelard  **. 
Some  of  his  restorations  have  caused  considerable  diffi- 
culties in  these  latter  days  of  more  exact  knowledge.  The 
excellent  man  seems  to  have  patched  together  anything  that 
would  make  a  good  monument.  For  instance,  the  de  Com- 
mines  monument  was  placed  on  the  top  of  St.  George  and 
the  Dragon  from  Gaillon.  Charles  d'Orleans'  statue  from 
the  C^lestins,  was  mixed  up  with  a  bas  relief  from  St.  Jacques- 
la-Boucherie,  set  in  Eenaissance  arabesques  from  a  third 
place.  And  so  forth.  But  these  are  anachronisms  for 
which  we  readily  grant  absolution  when  we  remember 
the  inestimable  benefits  Lenoir  has  conferred  on  Art.  His 
museum    was    suppressed    at    the    Restoration.     Its   chief 


/ 


248  A  HISTORY  OP  FRENCH  ART.  Ch.  XIL 

treasures  found  their  way  to  the  Louvre  or  the  Beaux  Arts ; 
while  the  great  monuments  of  St.  Denis  were  in  tiill'- 
restored  to  their  own  place.  But  his  idea  of  an  historic 
record  of  French  Sculpture  has  been  magnificently  revived 
in  the  modem  Museum  of  Comparative  Sculpture  and  Archi- 
tecture of  the  Trocadero. 

Lenoir's  museum,  however,  though  short  lived,  was  not 
without  influence  upon  the  first  generation  of  the  centurj\ 
Michelet  says  of  it :  **  Que  d*4mes  ont  pris  dans  ce  musee 
**  Tetincelle  historique,  I'interet  des  gi'ands  souvenirs,  le 
**  vague  d^sir  de  remonter  les  Ages  !  Je  me  rappelle  Temo- 
**tion,  toujours  la  m^me  et  toujours  vive,  qui  me  faisait 
**  battre  le  coeur  quand,  tout  petit,  j*entrais  sous  ces  voAtes 
**  sombres  et  contemplais  ces  visages  pales,  quand  j*allais  et 
**  cherchais,  ardent,  curieux,  craintif,  de  salle  en  salle,  et 
**  d'4ge  en  age. — Je  cherchais,  quoi  ? — je  ne  sais — La  vie 
**  d'alors  sans  doute  et  le  genie  des  temps.*' 

But  there  is  one  point  on  which  it  is  hard  to  forgive  the 
Convention.  In  those  Royal  residences  which  it  was  decided 
to  spare,  the  internal  decoration  appeared  a  manifestation 
of  useless  and  ridiculous  luxury'  to  the  men  of  the  Re- 
volution. While  they  showed  themselves  eager  to  preserve 
the  buildings  and  the  pictures  and  statues  they  contained 
from  ruin,  they  were  equally  ready  to  sacrifice  furniture, 
hangings,  woodwork — in  a  word,  the  results  of  the  admirable 
and  incessant  efforts  of  three  centuries  of  French  Decorative 
Art.  Yet  even  here  we  find  Matthieu  making  certain 
reservations.  In  December,  1793,  he  expresses  his  regret  that 
there  had  not  been  enough  members  in  the  Commission  of 
Arts  whose  training  enabled  them  to  judge  of  the  value  of  all 
artistic  productions.  **  It  is  necessary,"  he  said,  **  to  collect 
**  with  equal  care  and  method  everything  that  pertains  to 
**  artistic  production.''  He  therefore  proposed  that  Hassen- 
fratz,  Dufoumy  de  Villiers,  and  Fragonard,  qualified  by  their 
special  knowledge  in  matters  of  Decorative  Art,  should  be 
included  in  the  Commission.  This  was  done.  But  it  was 
too  late  to  save  much  that  was  of  immense  value.  The 
treasures  of  French  Decorative  Art — furniture,  tapestries,  and 


17891800.        WHAT  THE  REVOLUTION  DID  FOR  ART.  249 

all  the  dainty  ornaments  of  the  reigns  of  Louis  XV.  and 
Louis  XVI.,  were  dispersed  to  the  winds.  And  almost  every 
great  house  in  England,  and  in  many  other  countries, 
testifies  to  the  manner  in  which  these  precious  objects 
flowed  out  of  France.  Much  however  remains.  Owing  to 
ceaseless  endeavour  during  the  present  century,  under  Louis 
Phihppe,  the  Second  Empire,  and  the  enlightened  Art 
Direction  of  the  Third  Republic,  Fontainebleau  and  the 
Louvre  have  recovered  many  of  their  lost  treasures.  While 
much  at  Versailles  remains  practically  untouched. 

To  sum  up  the  effects  of  the  Revolution  on  Art,  we  may 
say   that  its  benefits   were   fourfold.      First  of   all  it  gave 
liberty  to  artists — liberty  for  the  free  exercise  of  their  pro- 
fession.    It  created  the  Museum  of  the  Louvre,  and  public 
galleries  of  Art  in  the  provinces,  with  schools  of  Art  attached 
to  them.     By  the  hand  of  Lenoir  it  inaugurated  a  Museum 
of  the  History  of  French  Architecture  and  Sculpture — the 
origin   of    the    present    invaluable   **  Mus^e    de    Sculpture 
Comparee   du   Trocad^ro".      Lastly   the    Commission   des 
Monuments,  and  its  successor,  the  Commission  des  Arts  of 
the  Convention,  laid    the    foundations    on  which   the    ad- 
mirable system  of  administration   of   Fine  Arts   in  France 
to-day  has  been  developed — a  system  so  perfectly  organized, 
^  public  spirited,  so  wisely  generous,  as  to  serve  for  a  model 
which  other  nations  might  copy  with  enormous  advantage 
hoth  to  artists  and  the  public  at  large. 

Some  Painters  of  the  Revolution. 

Lebrun,  Madame  Elizabeth  Louise  Vig^e  (b,  Paris, 
1755;  d.  Paris,  1842). —The  amiable  "  Peintre  du  roi," 
though  she  Uved  late  into  the  nineteenth  century,  belongs 
'SO  completely  to  the  epoch  of  revolution  that  she  must 
te  mentioned  here.  Her  father,  a  portrait  painter,  died 
when  she  was  twelve  years  old.  Briard,  a  second  rate 
artist,  gave  her  a  few  lessons.  She  also  received  help  and 
•counsel  from  Doyen,  Greuze,  and  Joseph  Vernet.  She 
iiiade  rapid  progress ;  and  at  fifteen  painted  portraits  with 


250  A  HISTORY  OF  FRENCH  ART.  Ch.  XlL 

success  and  talent.  While  still  very  young  she  married 
Lebrun,  a  picture  dealer  doing  an  immense  business;  and 
found  herself  in  the  midst  of  fine  pictures,  which  she  studied 
with  good  results.  She  was  admitted  to  the  Academy  on 
May  31,  1783  ;  her  reception  picture  being  **  La  Paix  rame- 
nant  TAbondance,"  a  tiresome  and  artificial  composition  now 
in  the  Louvre  (521) — very  inferior  to  her  portraits. 

But  by  this  time  Mme.  Vig^e  Lebrun  was  already  the 
favourite  Court  painter.  And  her  portraits  of  Marie  Antoin- 
ette and  her  children  will  always  be  indissolubly  associated 
with  her  name,  for  they  are  the  most  popular  and  best 
known  of  the  Queen's  portraits.  Several  of  the  most 
important  of  these  are  at  Versailles,  portraying  Marie 
Antoinette  in  the  fulness  of  her  beauty  and  charm.  The 
earliest  of  the  series  (8892)  was  painted  in  1779.  Roger 
engraved  it  after  the  Restoration,  and  it  was  attributed  to 
Roslin.  It  is,  how^ever,  the  picture  of  which  the  artist  speaks 
in  her  Sauvenirs — the  Queen  **  avec  un  grand  panier,  v^tue 
**  d'une  robe  de  satin  et  tenant  une  rose  a  la  main  ".  The 
second  is  the  well-known  portrait  of  the  Queen  tying  up  a 
bouquet  of  flowers  (3893).  The  great  picture  of  Marie 
Antoinette  and  her  three  children  (4520)  was  painted  in  1787. 
It  is  that  one  which,  taken  for  a  moment  from  its  frame  in 
the  Salon  of  that  year,  was  maliciously  called  **  Madame 
Deficit,"  in  allusion  to  the  Queen's  growing  unpopularity  in 
connection  with  the  embarrassed  financial  position.  And  in 
1789  it  was  removed  from  the  State  rooms,  as  the  Queen 
could  not  pass  the  portrait  of  the  Dauphin  she  had  lost 
without  tears.  The  last  of  the  series  is  dated  1788 — a  full 
length  of  the  Queen  sitting  by  a  table,  in  a  white  dress,  and 
blue  toque  and  mantle.  '*  One  would  like  to  believe  that  in 
**  this  pretty  picture  one  saw  a  truthful  work — if  one  did  not 
**know  that  the  merits  of  the  Queen's  favourite  artist  were 
**<)f  quite  another  order.  These  w^orks  lack  documentary 
**  sincerity  :  they  attenuate  unpleasing  details — the  round  full 
**eyes,  the  Austrian  lip — but  they  know  how  to  set  oflf  the 
**  special  charm  of  a  beauty  at  once  incomplete  and  sovereign 
** — the  proud  look,  the  elegant  carriage,  the  dazzling  fresh- 


17891800.       WHAT  THE  REVOLUTION  DID  FOR  ART.  251 

"ness  of  complexion.'*^  Two  other  pictures  at  Versailles 
which  possess  much  of  the  same  charm  and  interest,  are 
those  of  the  elder  Dauphin  and  Madame  Roy  ale  in  1784, 
sitting  on  a  grassy  slope  and  holding  a  bird's  nest  (3907). 
And  that  of  the  Duchesse  d'Orl^ans,  in  a  white  dress,  leaning 
against  a  red  cushion. 

Alarmed  at  the  events  which  preceded  the  Revolution, 

Mme.  Vig6e  Lebrun  left  France  for  Italy  in  1789.    Here  her 

success  was  as  great  as  in  her  own  country.     She  spent 

much  time  in  Rome  and  Naples ;  visited  Milan  and  Venice  ; 

and  spent  three  years  in  Vienna.  In  1795  she  went  to  Prague. 

Then  via  Dresden  and  Berlin  she  reached  St.  Petersburg ; 

and  only  returned  to  France  in  1801.     Later  on  she  visited 

England,  where  she  stayed  for  three  years ;  and  then  crossed 

to  Holland.     In  1808  and  1809  she  went  to  Switzerland, 

and  returned  to  France,  never  to  leave  it  again.     Wherever 

she  went  she  was  received  as  a  personnage  of  great  talent 

and  distinction.     Honours  were  heaped  on  her.     She  was  a 

member  of  the  Academies  of  Rome,  Parma,   Bologna,   St. 

Petersburg,  BerUn,  Geneva,  Rouen,  Avignon.     Her  diligence 

was  great.      According  to   a  note  in   her   own   hand   she 

painted  662  portraits,  15  pictures,  200  landscapes,  some  in 

Switzerland  and  some  in  England,  and  many  pastels. 

Examples  in  Louvre : — 

Eight  pictures. 

La  Paix  ramenant  TAbondance.     520. 
Mme.  Vig6e  Lebrun  peinte  par  elle  m^me.     521. 
Hubert  Robert.     524. 
Claude  Joseph  Verne t.     525. 
Versailles : — 

Marie  Antoinette,  1779.     3892. 

Marie  Antoinette  faisant  un  bouquet.     3893. 

Marie  Antoinette  and  her  three  children,  1787.     4520. 

Marie  Antoinette,  1788.     Chambre  a  Coucher.     2097. 

Madame  Royale  and  the  Dauphin,  1784.     3907. 

Duchesse  d'Orl^ans,  two  repliques.     3912,  4525. 

Gr^try,  1785.     4556. 

1  De  Nolhac. 


252  A  HISTORY  OP  FRENCH  ART.  Ch.  XE 

Caroline    Bonaparte,    Queen    of    Naples,    and  her 
daughter    Marie-Letitia-Josfephe,    1807.      4712. 
One  of  Mme.  Vigee  Lebrun's  last  works. 
Chantilly : — 

Marie  Therese. 

Marie  Caroline,  Queen  of  Naples. 

Marie  Louise  Josephine,  Queen  of  Etruria. 

M.  de  Calonne,  Windsor  Castle. 

Portrait  of  a  lady,  M.  Pierpont  Morgan. 

Marie  Antoinette  and  her  children  (small  replique,  H 
inches  by  6,  of  4520  at  Versailles),  Lord  Pir- 
bright. 

Two  charming  portraits,  Madrid  Gallery. 
Egbert,  Hubert  (b,  Paris,  1733;  d,  1808).— Hubert 
Eobert  also  belongs  to  the  last  days  of  the  Monarchy  and  the 
full  tide  of  the  Revolution.  Destined  for  the  priesthood,  it 
was  through  the  intervention  of  Slodtz  that  he  was  allowed 
to  turn  painter  and  go  to  Rome.  Here  M.  de  Marigny  heard 
him  so  highly  praised  by  the  young  artists  who  returned  to 
France,  that  after  seeing  one  of  his  pictures  he  made  him  a 
pensionnaire  in  the  Academy  of  Rome.  In  1759,  when  the 
Abbe  de  Saint-Non  came  to  Rome,  it  will  be  remembered  ^ 
that  Hubert  Robert  and  Fragonard  accompanied  him  on 
his  journey  through  Italy  and  Sicily.  He  remained  for 
twelve  years  in  Italy,  drawing  and  painting  every  monu- 
ment of  interest.  His  ardour  for  work  and  reckless  daring 
exposed  him  at  times  to  considerable  dangers.  He  climbed 
the  walls  of  the  Coliseum.  He  made  an  excursion  on  the 
cornice  of  St.  Peter's.  He  narrowly  escaped  death  in  the 
Catacombs  ;  and  this  last  adventure  inspired  Delille's  fourth 
song  in  his  poem  **  I'lmagination  '*. 

In  1760  on  his  return  to  France,  he  was  received  into 
the  Academy  as  an  architectural  painter.  Catherine  II. 
twice  invited  him  to  come  and  settle  in  Russia — in  1782-91. 
But  in  spite  of  magnificent  offers  he  refused,  and  sent  her 
pictures  which  were  royally  paid.  Keeper  of  the  King's 
pictures,  Conseiller  de  TAcademie,  Hubert  Robert's  life  up 

1  See  p.  218. 


1789.1800.       WHAT  THE  REVOLUTION  DID  FOR  ART.  253 

to  the  Revolution  was  a  series  of  successes.     He  was  among 

other  things  designer  of  the  Royal  Gardens  ;  and  to  him  are 

<]ue  the  alterations  and  replanting  of  the  gardens  at  Versailles. 

Of  these  works   Robert  has   left   some  deeply  interesting 

records   in   his  two  pictures  in  the  Palace  (774  and  775). 

The  first  shows  the  entrance  to  the  Tapis- Vert,  groups  of 

workmen  and  promenaders,  the  Colonnade  on  the  left,  and 

Pujet's  Milo  of  Crotona  still  on  its  pedestal.     The  second 

shows  the  transformation  of  the  present  bosquet  des  Bains 

d'ApoUon.     The  trees  of  the  old  bosquet  are  being  hewn 

down — one  of  the   groups  of  the  Horses  of  the  Sun  has 

ahready  been  brought — delightful  people  in  long  laced  coats 

and  three  cornered  hats  are  standing  about — and  the  great 

mass  of  the  palace  looms  up  behind  white  statues. 

During  the  Revolution,  Hubert  Robert  not  only  lost  all 
his  appointments,  but  he  was  imprisoned  for  sixteen  months. 
During  his  captivity  his  almost  superhuman  energy  and  his 
love  of  art  never  failed  him.     At  first  colours  and  canvases 
were  refused   him.     Nothing  daunted,  he  contrived  to  get 
colours  brought  in   to  him  in  the  handles  of  earthenware 
pipkins.      And   with   these    he   painted    the   coarse  plates 
destined  for  his  food.     Later  on  these  rules  were  relaxed  ; 
and  he   painted   fifty-three   pictures   and   made   a   host   of 
drawings,  which  he  gave  to  his  companions  in  misfortune. 
Among  these  was  the  portrait  which  the  poet  Roucher  sent 
to  his  wife  on  the  eve  of  his  death.     **  And  alone,  tranquil 
'*  in  the  midst  of  terrible  events,  when  at  night  by  the  gleam 
"of  torches  the  prisoners  were  moved  in  open  carts  from 
*'  8te.  P^lagie  to  St  Lazare,  his  only  thought  was  to  draw  the 
"fearful  scene,  of  which  he  produced  a  remarkable  picture."  ^ 
It  was  by  a  mere  chance  that  he  escaped  death.     Some  un- 
happy prisoner  of  the  same  name  was  executed  in  his  place. 

All  the  most  distinguished  persons  of  the  later  eighteenth 
century  were  among  his  friends — Visconti,  Greuze,  Joseph 
Vemet,  Mme.  Vig6e  Lebrun,  Gr^try,  Delille,  Le  Kain,  and 
Voltaire,  for  whom  he  painted  the  decorations  of  his  Theatre 
at    Ferny.     His  atelier  was  at  the  Louvre.     But  he  lived 

» vniot. 


254  A  HISTORY  OF  FRENCH  ART.  Ch. 

at  Auteuil,   in   Boileau*s  country  house.     Painting  to 
last  hour,  he  was  struck  down  by  an  attack  of  apoplexy  ^ 
his  brush  actually  in  his  hand. 

Among  his  nineteen  pictures  in  the  Louvre  the  best 
the 

Maison  Carrel  a  Nlmes.      768. 

A  very  charming  small  landscape  beside  it. 

Euines  d'un  Temple.     808. 

Paysage,  a  waterfall  through  arch  of  bridge.     809 
Versailles : — 

Le  Tapis- Vert,  1775.     774. 

Les  Bains  d*Apollon.     775. 

Id. — Dessin  lav6  a  la  plume.     5038. 

F^te  de  la   F^d^ration  au   Champ  de   Mars,   1 
4603. 

Two  pictures,  Fitzwilliam  Mus.  Camb.     451,  452 

Three  pictures,  Castle  Barnard.     75,  76,  337. 

Six  pictures,  Mus6e  de  Rouen.  501-506. 
ViEN,  Joseph  Marie  (6.  Montpellier,  1716 ;  d.  P 
1809). — ^A  contemporary  of  Boucher,  Greuze,  and  Fragoi 
and,  though  their  junior,  of  Nattier  and  Tocqu^,  V 
long  life  saw  the  end  of  the  Monarchy,  the  whole  of 
Eevolution,  and  the  triumph  of  the  Empire.  He  was 
master  of  David.  And  claimed — though  his  proph 
generally  were  made  after  the  event — to  have  inaugui 
the  Classic  revival  which  David  brought  to  perfectic 
the  end  of  the  century. 

When  in  1740  he  arrived  in  Paris,  he  entered  Nat< 
studio  :  painting  pictures  during  the  day  for  a  dealer  oi 
Pont  Notre  Dame,  and  attending  the  Academy  class« 
the  evening.  In  1742  he  gained  the  Grand  Prix  de  R 
He  went  viu  Marseilles  the  next  year  to  Rome  ;  and  hei 
stayed  five  years,  painting,  besides  studies  and  copi< 
number  of  Church  and  easel  pictures — among  then] 
"  Ermite  endormi  '*  of  the  Louvre.  In  1750  he  was  ba 
Marseilles,  working  there,  at  Tarascon,  Montpellier, 
Lyons  on  his  way  to  Paris. 

In  Paris  his  work   at  first  was  not  appreciated. 


1789-1800.        WHAT  THE  REVOLUTION  DID  FOR  ART.  255 

careful  study  of  nature  in  his  pictures,  was  too  far  away 
from  the  powder  and  paint,  the  Heart  and  Dart  style  of 
the  day.  Natoire  who  shared  the  prejudices  of  the  time  on 
the  questions  of  grace  and  style,  thought  his  pupil  in  a  bad 
way;  the  pictures  Vien  presented  at  the  Academy  were 
considered  insuflScient,  and  his  election  was  postponed.  Not 
in  the  least  discouraged,  Vien  refused  a  Professorship  at 
the  School  of  St.  Luke,  and  sent  in  the  **  Embarkation  de 
Ste.  Marthe  "  to  his  judges.  His  success  this  time,  in  spite 
of  the  cabal  against  him,  was  complete.  **And  Boucher 
*'  declared  if  Vien  was  rejected  he  would  never  set  foot  again 
*'  in  the  Academy."  Elected  in  1751,  he  was  received  in  1754 ; 
and  M.  de  Marigny  gave  him  lodgings  in  the  Louvre. 

Soon  overwhelmed  with  work,  he  founded  a  school  of  his 
own ;  and  among  his  prodigious  number  of  pupils,  Kegnault 
and  David  were  the  most  famous.  The  King  of  Denmark  and 
the  Empress  of  Bussia  made  him  dazzling  offers.  In  1771 
Louis  XV.  made  him  director  of  the  **  ^Ifeves  proteges  **. 
And  in  1775  Louis  XVI.  appointed  him  Director  of  the 
Academy  of  Bome  in  succession  to  Natoire.  This  had 
hitherto  been  a  life  post.  Vien  was  the  first  Director 
Appointed  for  ten  years.  Vien,  with  his  wife,^  family,  and 
three  pupils,  one  of  whom  was  David,  arrived  in  Bome  in 
Ifovember ;  a  fortnight  later  a  courier  brought  him  the 
Cordon  of  St.  Michel ;  and  Pius  VI.  gave  him  a  dis- 
tinguished reception. 

Vien's  directorship  was  not  unfruitful.  He  established 
*  yearly  exhibition  for  the  students  ;  and  on  the  instigation 
of  M.  d'Angivilliers  ordered  the  sculptor  pupils  to  execute 
figures  from  the  antique,  either  in  the  round  or  in  bas  relief ; 
while  he  also  was  the  first  to  introduce  work  from  the  living 
model  for  three  whole  days  in  the  week.  Vien  called  himself 
^*le  Sectateur  des  Grecs,"  he  posed  as  a  reformer,  and  con- 
sidered himself  the  regenerator  of  Art ;  and  though  he 
was  much  less  of  a  painter  than  the  charming  **  petits 
maitres,"    his    contemporaries,    whose   ideals  he    despised, 

^  Madame  Vien,  Marie-Ther^se-Reboul,  was  an  Animal  painter,  and  was 
received  at  the  Academy  in  1757. 


256  A  HISTORY  OP  FRENCH  ART.  Ch. 

and  who  his  successors  proscribed,  it  is  right  to  remeu 
that  he  did  draw  from  nature. 

Returning  to  Paris  in  1781,  he  was  made  Rector  of 
Academy.  And  in  1789  he  was  appointed  premier  peintn 
roi,  and  honorary  member  of  the  Academy  of  Architect 
But  though  the  Revolution  carried  off  his  appointments 
his  fortune,  nothing  broke  down  his  courage,  or  his  behe 
his  own  mission.  In  1796  he  competed  for  a  prize  oflf* 
by  the  Government,  and  gained  it.  He  was  then  eif 
years  old  ! 

In  1799  Bonaparte  made  him  member  of  the  Ser 
Count  of  the  Empire,  and  Commandeur  de  la  Le, 
d'Honneur.  The  9th  Brumaire,  An  IX.,  he  was  fete( 
the  **  regenerator  of  the  French  School ".  David  wai 
the  head  of  the  manifestation.  A  sort  of  throne  in 
studio  was  decorated  with  this  inscription,  **  A  Vien,  les 
reconnaissants  **.  David,  at  the  end  of  the  repast  **  w 
'*  gaiety  and  decency  reigned,"  raised  his  glass  in  a  t< 
'*Au  Citoyen  Vien,  notre  maltre  *\  Another  pupil  a 
**Vien  fut  le  maltre  de  David.  David  est  notre  mal 
*' notre  gloire  est  a  David,  la  gloire  de  David  est  a  \ 
'*  Celebre  Vieillard  !  .  .  .  Le  culte  de  Tantique  6tait  oubl 
etc.,  etc.  And  Vien  replied:  **  Oui,  mes  enfants,  qi 
'*  j'embrassai  cet  art,  je  vis  qu'il  s'egarait  dans  de  ; 
*'  systemes.  Je  dis  :  il  faut  que  cela  change,  et  cela  i 
**  J'ai  combattu,  j'ai  persevere  et  cela  a  c^te.*'  The  **cel 
Vieillard  *'  was  never  troubled  by  false  modesty. 

The  Louvre  possesses  his  '*  Ermite  Endormi  "  (96^ 
huge  picture,  all  in  browns,  finely  drawn,  but  deeply  u 
teresting.  And  his  **  St.  Geiinain,  tlw^qxxe  d'Auxei 
(9(54).  This  is  a  fine  ecclesiastical  picture,  far  superio 
the  **  Ermite".  The  Musee  de  Rouen  has  four  of 
pictures  (574-577). 


CHAPTER  XIII. 

Art  of  the  Nineteenth  Century, 
the  classics. 

As  I  have  already  pointed  out,  periodic  revivals  of  worship  of 
the  antique  have  taken  place  in  the  history  of  French  Art. 
The  first  of  these  was  the  Classic  revival  of  the  French 
Benaissance.  The  second  was  the  severe  and  rigid  classi- 
cism of  the  Sifecle  de  Louis  XIV.  The  third,  which  ushered 
in  the  Art  of  the  nineteenth  century,  is  usually  known  as 
"  Style  Empire  " — thereby  leading  people  to  believe  that  it 
was  suddenly  introduced  by  the  First  Empire.  The  fact  is 
that  this  third  Classic  reaction  only  culminated  at  that 
moment,  under  the  dominant  influence  of  a  man  of  genius 
and  of  prodigious  force  of  character  and  purpose — Louis 
David.  Its  first  symptoms  may  be  detected  as  far  back  as 
the  middle  of  the  eighteenth  century.  **Le8  monuments 
"respectables  des  anciens,  tels  qu*on  les  voit  encore  en 
"Italic,"  are  then  spoken  of  by  the  Mercure  with  grave  and 
gracious  condescension. 

A  number  of  important  books,  published  during  the  last 
half  of  the  century,  served  to  attract  general  attention  to  the 
art  of  Greece  and  Rome,  and  helped  to  bring  about  that 
revolution  in  taste  which  substituted  Diderot's  **  grand  gout 
severe  et  classique,"  for  that  of  La  Pompadour.  Leroy's 
*^  Ruines  des  plus  beaux  Monuments  de  la  Grice,''  published 
1758 — Mariette's  treatise  on  the  engraved  gems  of  the  Royal 
Collections — Bartholi's  **  Receuil  des  peintures  antiqii-es" — De 
Caylus'  '*  Receuils  d'antiquites'' — Winckelman's  ''UArt  dans 
^dnliquiW — Sir  William  Hamilton's  invaluable  collections 
and  learned  works — and  the  excavations  and  researches  at 

Herculaneum,    Pompeii,    Paestum,   Palmyra,    Baalbec — all 

(257)  17 


258  A  HISTORY  OF  FRENCH  ART.  Oh.  XHL 

these  stimulated  a  growing  enthusiasm  for  the  beauties  of 
classic  Art. 

M.  de  Marigny's  successor  under  Louis  XVI.,  the  Comte 
d'Angivilliers,  was  one  with  the  movement.  On  his  appoint- 
ment as  Director  of  buildings,  arts,  academies,  and  manu- 
factures in  1774,  he  suggests  that  the  King  should  every 
year  order  **  four  or  five  pictures  in  the  genre  of  history, 
'*  which  seems  to  be  neglected  and  growing  weak  '*.  And 
announces  that  he  intends  "  as  far  as  possible  to  restore  to 
**  Arts  all  their  dignity,  to  recall  them  to  their  ancient  origin 
**  and  their  true  destination  '*. 

In  the  Petit  Trianon — in  the  Petits  appartements  of 
Versailles — the  ornamental  sculpture,  the  exquisite  gilt 
bronzes  of  Eiesener,  Beneman,  and  that  prince  of  **  Ciseleurs- 
doreurs,*'  the  great  Gouthifere,  all  display  classic  motives. 
In  some  cases  it  is  difficult  to  distinguish  the  work  of  Louis 
XVI.  from  that  of  the  Empire,  so  nearly  are  they  allied. 

In  Architecture,  when,  after  the  stress  and  storm  of  the 
Kevolution,  building  began  once  more  under  the  Empire, 
nothing  but  Classic  architecture  is  tolerated.  And  we  get 
the  Madeleine  and  the  Bourse. 

Canova  in  Sculpture  seconds  David  *s  efforts.  His  in- 
fluence is  immense :  and  his  **  pure  antique  "  bids  fair  for  a 
while  to  impose  itself  on  France.  But  as  has  always  been 
the  case  in  French  Sculpture,  other  influences  were  at  work 
— influences  purely  national,  vigorous,  modern.  Eude  and 
Barye  will  soon  sweep  away  the  cold,  correct,  elegant 
classicism  of  Pradier  and  the  followers  of  Canova,  with  the 
rush  of  a  life,  a  strength,  a  beauty  all  their  own.  For  with 
them  and  with  David  d'Anger's  vehement  and  impressive 
portraiture.  Modern  French  Sculpture  begins. 

It  is  however  in  painting  that  the  Classic  revival  exer- 
cised by  far  the  deepest,  most  important,  most  lasting 
influence  on  Modem  Art.  For  though  Vien,  the  **  c^lfebre 
vieillard,"  might  to  some  extent  have  been  his  predecessor, 
it  is  to  David,  and  to  David  alone  that  we  must  look  as  at 
once  Prophet  and  High  Priest  of  antiquity.  As  early  as 
1783,   when  David  went  for  a  second  time  to  Borne   to 


8O01830.  THE  CLASSICS.  259 

• 

>liinge  anew  into  the  sacred  springs  of  '*  1 'Antique  tout 
'TO,"  his  rigid  classic  style  begins  with  his  **  Serment 
ies  Horaces  ".  Six  years  later  Paris  is  enchanted  by  the 
'  archaeological  exactitude  "  of  his  **  Brutus,"  ordered  by  Louis 
CVI.  just  before  the  Kevolution,  in  1789.     And  the  pubUc 

*  repeated  with  admiration  that  the  head  of  Brutus  was 
'  copied  exactly  from  an  antique  bust  in  the  Capitol,  the 

*  Statue  of  Bome  and  the  bas  relief  of  Bomulus  and  Bemus 
'from  the  original  monuments".  The  costumes,  and  the 
nodels  of  furniture  which  were  made  by  the  cabinet-maker 
Facob  from  David's  own  drawings,  were  studied  with  interest 
md  curiosity.  They  were  taken  from  Etruscan  Vases.  And 
these  studio  **  properties,"  which  appear  in  the  Horaces — 
Socrates — Brutus — even  in  the  portrait  of  Mme.  B^camier — 
tad  a  rapid  and  marked  effect  on  French  furniture  and  in- 
terior decoration. 

"  Les  formes  s^vferes  et  carries  "  were  then  the  fashion. 
iiVomen  had  given  up  stays  and  high-heeled  shoes.  Light 
tnd  airy  clothes,  and  the  curling  hair  of  a  Vig6e-Lebrun  or 
b  Madame  Boland  replaced  the  satins  with  paniers,  and  stiff, 
ong-waisted  bodices.  While  with  men,  a  republican  simpli- 
city, flowing  locks  and  quiet  cloth  coats,  had  succeeded  the 
)owdered  hair  and  charming  **  fancy  dress  "  of  Louis  XV. 

Under  the  Empire  the  classic  tendencies  in  dress  de- 
veloped into  that  debased  Boman  style  which  is  known  as 
** Empire".  The  dress  of  the  Empress  Josephine,  and 
Marie  Louise,  of  Mme.  L6titia  Bonaparte  as  the  Boman 
Mother,  of  Napoleon  and  his  generals,  when  he  plays  at  being 
a  Boman  Emperor — as  in  David's  **  Distribution  des  Aigles," 
at  Versailles,  or  the  **  Sacre  "  of  the  Louvre,  or  Bobert 
Lefevre's  great  ofl&cial  **  Caesar**  of  1811 — is  all  late  Boman. 
For  it  was  unfortunately  to  Boman  and  not  to  pure  Greek 
Art  that  David  and  his  school  turned.  They  drew  their  in- 
spiration from  tainted  sources.  Their  knowledge  was  but 
>artial.  Pure  Greek  Art,  such  as  the  nineteenth  century  has 
•evealed  it  to  us,  in  all  its  perfection  and  glory,  was  but  httle 
nown  in  1800.  The  friezes  of  the  Parthenon  were  only 
rought  to  England  in  1816.     And  if  David  and  his  school 


260  A  HISTORY  OF  FRENCH  ART.  Ch.  XIIL 

had  not  yet  learnt,  from  the  very  insuflScient  data  before 
them,  to  distinguish  between  Greek  and  Eoman  Sculpture, 
the  learned  Winckehnan  knew  no  better.      David's  whole 
ideal  was  that  of  beauty.     And  though  the  data  were  inade- 
quate, he   felt  that  the  beauty  he  sought  was   only  to  be 
found  in  the  Antique ;    that  here  alone  could   he  discover 
beautiful    hues,   heroic    motives,    noble   gestures.     In   his 
Sabines,  painted  in  1799,  he  imagined  that  he  was  actually 
representing   the    Hellenic    ideal ;    though  we   only  see  in 
it  an  admirably   drawn,  but   intolerably   conventional  pic- 
ture,  cold  in   colour,    irritating  and   theatrical  in  composi- 
tion, and  full  of  archaeologic  and  historic  anachronisms. 

David's  **  Classic  fanaticism  being  compHcated  by  a  re- 
**  volutionary  fanaticism,*'  all  that  was  not  strictly  in  accord- 
ance with  this  new  ideal  of  classical  beauty,  was  placed  on 
the  index.  The  whole  of  the  gracious  art  of  the  eighteenth 
century  was  shut  away  as  a  thing  abominable,  beneath  con- 
tempt. Watteau,  Boucher — **  Boucher  maudit  " — **  Boucher 
de  ridicule  memoire  " — Lemoyne,  Pigalle,  even  the  strong, 
vigorous,  vivid  Fragonard,  were  supposed  to  have  **  neglected 
"  all  that  belongs  to  the  ideal  " — to  represent  **  the  most  com- 
"plete  decadence  of  taste  and  of  an  epoch  of  corruption". 
The  subHme,  the  heroic,  the  classic,  the  academic  style 
alone  is  tolerated  by  the  makers  of  the  revolution.  And 
by  a  strange  Nemesis  the  very  man  who  had  swept  away  the 
old  Academies,  was  the  chief  instrument  in  creating  a  fresh 
and  even  more  rigidly  academic  style  of  painting,  and  of 
introducing  the  reign  of  **  Pompiers" — of  *' gens  en  cusque" 
to  modern  Art.  For  David  and  his  atelier,  his  pupils  and 
followers,  and  especially  his  great  successor  Ingres,  imposed 
this  Classic  ideal  upon  the  nineteenth  century  for  sixty 
years. 

In  the  rival  studios  of  J.  B.  Regnault,  and  F.  A.  Vincent, 
the  same  doctrines  were  preached.  And  though,  as  time 
went  on,  David  began  to  suspect  that  he  had  not  reached  the 
true  source  of  antique  beauty,  it  was  no  movement  of  re- 
pentance for  his  deliberate  rejection  of  modern  contemporary 
life   that  made  him  cry,  **Ah!  if  I  could   only   begin   my 


180ai880.  THE  CLASSICS.  261 


it 


Studies  over  again,  now  that  antiquity  is  better  known,  I 

should  go  straight  to  the  goal*'. 

What  a  gulf  lies  fixed  between  the  art  of  the  school  of 

David,  and  that  of  the  eighteenth  century !     And  yet,  which 

is  the  most  living,  the  truest  to  the  lovelier  aspects  of  nature, 

the  most  enchanting  in  its  poetry — such  a  picture  as  one  of  the 

Watteaus  at  Hertford  House,  or  David's  **  Sabines  "  ?    Yet 

that  David  the  Classic,  is  the  father  of  Modem  Art,  cannot  be 

denied.     For  he  bore  within  his  breast  those  germs  of  Modem 

Art,  that  a  few  years  later  were  to  burst  into  such  marvellous 

life.     Face  to   face  with  the  living   human   being,  David's 

genius  seems  vitalized  by  the  contact.     We  can  see  it  in  his 

portraits  —  always  admirable  —  often   of  deep   significance. 

Nothing  for  instance  can  be  more  intense  in  vigour,  and  in 

emotion,  nothing  can   be  more   truly  **  Modem,"  than   his 

sketch  of  the  dead  Marat's  head.     We  see  this  too  in  some 

of  his  splendid  presentments  of  contemporary  events.     Yet 

lie  deliberately  crushed  down  those  instinctive  yearnings  for 

€t  truer,  a  more  living  art,  both  in  himself  and  in  his  followers, 

^^rith  a  fierceness  of  repression  that  has  something  pathetic 

in  it.     He  refused  to  see,  in  his  worship  of  the  beauty  which 

lie  imagined  he  could  only  discover  in  the  antique,  that  the 

life  about  him  contained  as  great  and  greater  beauty  than 

^hat  of  a  false  classicism. 

With  this  dawn  of  the  nineteenth  century,  Art  enters  upon 
^fc  new  phase.     Political,  social,  moral  ideals  have  changed  in 
'those  few  years  since  the  Eevolution.     And  the  new  century 
ushers  in  new  men,  new  ideals,  new  ways  and  means  in  Art 
««  in  things  political  and  social.     The  artist  is  a  free  man. 
He  has  henceforth  not  only  liberty  to  exercise  his  art :  but 
liberty  to  speak  the  truth  that  is  in  him.      It  is  true  that  the 
Monarchy,  or  the  Empire,  or  the  Institute,  or  the  stupidity  of 
the  public,  have  at  times  obstructed  the  free-will  of  the  artist 
of  the  nineteenth  century.     But  the  growth  of  self-respect, 
of  a  noble  independence,  of  the  finer  qualities  of  the  Demo- 
cratic spirit,  has  enabled  artists   in   France,  often   through 
fierce  and  bitter  opposition,  to  say  what  they  had  to  say  with- 
out fear  or  favour. 


262  A  HISTORY  OF  FRENCH  ART.  Ch.  XOL 

French  Art  in  the  nineteenth  century  divides  itself  into 
a  series   of  groups  or  movements.      These   exemplify  the 
curiously  articulate  genius  of  the  French  race.     Each  group, 
each  movement,   has  a  definite  object  in  view.     It  is  ab- 
solutely aware  of  its  objects,  of  what  it  needs.    There  is  no 
hesitation,   no  groping  about  for  expression.      Straight  to 
their   goal    go    Classics,    Eomantics,   Naturalists,   Kealists, 
Neo-Greeks,  D^coratifs,  Idealists,  Impressionists — and  how 
many  more  sub-divisions  and  passing  fashions  ?     They  are 
all  immensely  in   earnest — sometimes    bitterly,  fiercely  in 
earnest.     With    none    has    the    decisive   victory   remained. 
And  with  none  is  it  well  that  victory  should  remain.      For 
so  surely  as  a  system  arrogates  to  itself  an  exclusive  source 
of   inspiration,  so  surely  does  it  destroy  the  source  of  life 
within    it,    and    become   not    only   tyrannical    but    sterile. 
All  through  the  history  of   French  Art   in  the    nineteenth 
century  we  see  the  ceaseless  struggle  between  the  old  and 
the   new,  between  tradition  and  present  effort.     What  we 
learn   from   the   spectacle  —  deeply   interesting,   deeply   in- 
structive, deeply  edifying  in  its  history  and  its  achievements 
— is,  that  the  only  thing  in  art  that  really  matters,  the  only 
thing  that  bears  weight,  the  only  thing  that  leaves  its  mark 
on  the  age  and  on  all  ages  to  come,  is  individual  genius — 
the  mind  of  the  one  man  —who,  be  he  Classic  or  Romantic, 
Naturalist,  Symbolist,  or  Impressionist,  is  great  enough  to 
stand  alone,  to  be  himself,  to  give  to  the  world  that  message 
which  is  in  him  to  give. 

David,  Jacques-Louis  (6.  Paris,  1748 ;  d.  Brussels, 
1825). — By  a  quaint  chance  Louis  David's  first  counsellor 
in  art  was  Boucher,  a  distant  relative,  wnth  whom  his 
mother  proposed  to  place  him.  But  Boucher  was  old  ;  and 
passed  the  young  man  on  to  Vien.  Two  years  after  his 
admission  to  Vien's  studio,  Louis  David,  unknown  to  his 
master,  competed  for  the  Prix  de  Eome,  and  won  it.  But 
Vien  was  so  incensed  at  his  pupiFs  independent  action  that 
he  got  the  decision  reversed,  and  David  was  only  awarded 
the  second  prize.  In  1772  and  1773  he  again  competed,  not 
even  receiving  an  **  honorable  mention  '\    He  was,  however, 


r- 


<  c 


1800-1830.  THE  CLASSICS.  263 

^-J    successful   in    1774   with   his   '*  Stratonice  ** :    and   in    the 
^'  "^  ■    following  year  went  to  Italy  with  his  master  Vien,  who  had 
just  been  appointed  director  of  the  French  Academy  in  Eome. 
'^  ■         ffitherto  David's  work  had  been  more  in  sympathy  with 
the  style  of  his  relation  Boucher,  as  when  he  decorated  the 
Salon  of  Perregaux,  the  banker ;  or  completed  the  ceiling 
began    by   Fragonard,    for    the    celebrated    dancer,    Mile. 
Guimard.     But  in  Borne  he  soon  became  absorbed  in  that 
study  of  the  antique  which  was  to  be  the  passion  of  his  life. 
Vien  in  later  days,  when  David  was  famous,  took  the  credit 
of  this  conversion  to  himself.     But  as  I  have  already  shown, 
Vien  had  a  happy  knack  of  prophesying  after  the  event,  and  a 
boundless  belief  in  his  own  importance.     In  any  case  David 
did  little  but   draw  while    in   Eome.      The   few  pictures 
liowever  that  he  sent  back  to  Paris  were  highly  approved. 
In  1778  the  judges  of  the  **  Envois  de  Eome ''  say  that  **  le 
sieur  David  shows  the  greatest  facility  with  his  brush  ;  his 
colour  is  animated   though   rather  same,  his  method  of 

*  *  draping  broad  and  truthful  ".  The  **  Paste  de  Saint  Eoch,'* 
^^hibited  in  Eome  in  1779,  was  a  great  success.  Though 
^Xn  **  rhetoric  and  style  it  closely  approaches   academic  art, 

*  *  it  has  more  energy  in  the  drawing,  and  greater  truth  ".^ 
In  1780  David  returned  to  Paris.      He  was   elected    to 

^le  Academy  on  his  "  B^isaire  "  ;  and  received  in  1783  on  his 

*  Death  of  Hector  '*.     These  are  both  works  of  his  period  of 

transition.     The  rigid  and  severe  style  he  was  to  impose  on 

-4:iis  followers,  was  not  yet  fully  developed.     But  David  began 

^to  feel  the  necessity  for  closer  study  of  **  T Antique  tout  cm  '*; 

^nd  in  this  same  year  he  returned  to  Eome  with  his  young 

"%vife,  and  his  brilliant  pupil  Drouais.     The  picture  painted 

in  Eome,  **  Le  Serment  des  Horaces,"  marks  the  beginning  of 

liis  regular  antique  style.     It  was  exhibited  in  the  Salon 

of  1785,  and  confirmed  the  master's  growing  reputation  and 

authority.  His  **  Mort  de  Socrate  "  two  years  later,  is  a  better 

picture,  and  a  good  example  of  his  **  Eoman  "  manner.     The 

cartoon  sketch  for  this   picture  is  interesting,   as  showing 

his  method  of  work.     The  whole  composition  is  admirably 

^  Andre  Michel. 


264  A  HISTORY  OP  FRENCH  ART.  Ch,  Xm. 

and  carefully  drawn  in,  in  the  nude,  without  draperies  or 
accessories.  In  1789,  as  I  have  mentioned,  David  painted 
his  "  Brutus  "  for  the  King. 

But   now   the   Eevolution   burst   upon    France.      And, 
intimately    associated    wnth    the    terrible    drama,    David's 
pictures    of    the    revolutionary  period  present    a    singular 
contrast  to  his  earlier  work.     A  life,  a  vigour,  an  emotion 
is  displayed  in  them,  very  far  removed  from  his  cold,  dry, 
severe  style  of  Classic  beauty.     David's  work  for  Art  during 
the  Revolution  has  already  been  spoken  of  (chap.  xii.).     But 
though  he  took  so  prominent  a  part  in  politics  as  an  adherent 
of  Robespierre  and  member  of  the  Convention,  as  well  as  the 
chief  organizer  of  Art,  he  did  not  wholly  escape  from  the  perils 
of  the  Terror.     On  the  15  th  Thermidor  he  was  arrested  an  A 
imprisoned  for  four  months  in  the  Luxembourg.     And  on  th^ 
9th  Prairial,  An  III.  (1794),  he  was  again  incarcerated  iio 
the   Luxembourg  for  a  further  three  months.     After  hi^ 
final   release   he   renounced   politics,    and    devoted    himsel  - 
exclusively   to   Art,  both   in   practice   and  in  theory.     ¥o^ 
when  the  Directoire  created  the  Institute  on  the  ruins  o»  - 
the  old  Royal  Academies,  David  was  one  of  the  two  original- 
members  of  the  class  of  Beaux  Arts,  whose  delicate  missior:3 
it  was  to  select  the  other  members. 

David's  portraits  of  the  revolutionary  period  are  o^ 
extraordinary  force  and  life.  His  theories  paled  before  ther 
surging  Hfe  about  him.  There  was  no  thought  of  **  Classic 
beauty  "  when  he  drew  that  marvellous  little  head  of  Marat 
— Marat  who  he  loved — dead  in  his  bath ;  and  wrote  in  the 
four  comers,  **A  Marat  TAmi  du  Peuple,  David".  One 
feels  that  eveiy  stroke  carried  with  it  anger,  pity,  regret. 
The  portraits  begin  with  Lavoisier  and  his  wife  in  1788. 
And  as  the  awful  drama  of  the  time  sweeps  on,  they  grow  in 
emotion  and  intensity,  with  Michel  Gerard  and  his  family, 
Mme.  d'Orvilliers  in  1790,  and  the  terrible  Barrfere  in  the  act 
of  making  the  speech  which  cost  Louis  XVI.  his  life. 

Then  begin  the  Bonaparte  series.  Like  many  another  re- 
volutionist, David  was  completely  carried  away  by  the  attrac- 
tion, the  genius  of  the  Premier  Consul.     His  faithful  pupil 


1800-1830.  THE  CLASSICS.  265 

and  biographer  DeI6cluze,  describes  the  General's  visit  to 
David's  studio  in  the  Louvre.  The  pupils  are  dismissed.  And 
in  three  hours  that  wondrous  sketch,  now  in  the  collection  of  the 
Marquis  de  Bassano,  is  made  in  spite  of  many  interruptions 
from  the  impatient  model.    Only  the  head  was  finished.    But 
^«vhat  a  head  !    And  next  morning  David  breaks  out  in  enthusi- 
astic praise  to  the  eager  pupils,  of  Bonaparte  and  his  successes. 
**  Enfin,  mes  amis,  c'est  un  homme  auquel  on  aurait  ^leve 
^*  des  autels  dans  I'antiquit^ ;  oui,  mes  amis,  Bonaparte  est  mon 
^*  heros ! "     The  hero  had  troublesome  views  on  Art.     What 
he  demanded  in  a  picture  was  not  a  likeness,  but  an  object 
to  rouse  the  admiration  of  the  people.     It  was  needless,  he 
told  David,  that  he  should  sit  for  him.     The  painter's  task 
was  to  make  his  genius  hve.     And  that  wonderful  sketch 
from  the  life  is  therefore  of  far  greater  value  as  a  document, 
than  the  ofiBcial  "Bonaparte  crossing  the  Alps";    or  the 
^*  Distribution  des  Aigles,"  which  in  spite  of  fine  passages  is 
cold  and  strained. 

In  the  famous  **  Sacre  de  I'Empereur  Napoleon,"  however, 
we  get  a  real  chef  d'oeuvre.  Here  again,  all  is  from  the 
life.  At  first  the  great  contemporary  work  seemed  to  David 
against  his  principles.  But  as  it  progressed  during  the  four 
years  that  he  devoted  to  it,  he  confessed  that  in  the  long 
vestments  of  the  priests,  the  crimson  robes  of  the  prelates, 
the  court  dresses  of  the  ladies,  the  uniforms  of  generals,  he 
had  found  **  more  resources  of  art  than  he  expected  ".  The 
tragic  portrait  of  the  Pope,  the  kneeling  Josephine,  above 
whose  head  Csesar  in  his  white  satin  tunic  and  long  crimson 
velvet  mantle  holds  the  crown,  with  all  their  brilliant 
entourage,  form  a  subject  likely  indeed  to  yield  artistic 
suggestions.  And  David  —  now  premier  peintre  to  the 
Emperor,  and  membre  de  I'lnstitut,  expressed  a  naif  surprise 
at  his  own  success.  The  picture  finished.  Napoleon,  with 
Josephine,  his  military  household,  his  ministers,  preceded  and 
followed  by  musicians  and  horsemen,  arrives  at  the  rue  St. 
Jacques.^     For  half-an-hour  he  walks  up  and  down  before 

^  Near  the  Sorbonne,  in  the  old  church  of  Cluny,  which  David  used  as 
ills  studio. 


266  A  HISTORY  OF  FRENCH  ART.  Ch.  XUV 

the  great  canvas  in  silence,  examining  every  detail;  whil^ 
David  and  the  whole  company,  greatly  moved,  stand  motion- 
less.   At  length  Caesar  breaks  silence.     **  C*est  bien,  David,^ 
**  vous  avez  compris  toute  ma  pens^e."     And  making  two 
steps  towards  the  painter,  Napoleon  lifting  his  hat  bowed 
shghtly,  saying  in  a  loud  voice,  "  David,  I  salute  you  "  ! 

In  1799  the  **  Sabines,''  sketched  out  during  his  captivity 
in  the  Luxembourg,  was  finished  and  exhibited.  This  was 
the  first  picture  in  David's  "Greek"  style.  It  was  the 
subject  of  much  curiosity  and  discussion  when  exhibited  for 
the  second  time  at  the  Salon  of  1810.  Already  a  vague 
feeling  was  abroad  that  the  true  sources  of  Greek  art  had  not 
been  reached,  that  the  picture  presented  archaeological  ana- 
chronisms. And  many  preferred  Girodet's  '*  Deluge,"  to  the 
**  Hellenic  ideal"  according  to  David.  But  until  the  end  of 
his  life  he  persisted  in  this  cold,  theatrical  style — breaking 
away  from  it  occasionally  into  some  really  magnificent 
portrait  full  of  life,  truth,  and  emotion — such  for  instance*  as 
his  **Pere  Fuzelier'*  (1814),  the  doyen  of  the  Custodians  of 
the  Louvre;  or  the  three  **  Comm^res*' ;  or  the  channing 
portraits  of  Joseph  Bonaparte's  daughters  (1822).  The  well- 
known  **  Leonidas"  was  exhibited  in  1814. 

Two  years  later  after  the  Restoration,  by  the  law  of 
January,  1816,  David  was  exiled  from  France.  Pennission 
to  go  to  Rome  was  refused  him.  He  therefore  settled  in 
Brussels.^  Here  he  painted  many  pictures  in  the  style  to 
which  he  remained  faithful — *'L'Amour  quittant  Psj'-che,'* 
**Telemaque  et  Eucharis,"  *Ma  Colere  d'Achille,"  etc.,  etc. 
And  here  he  died  on  the  29th  December,  1825.  His  influence 
on  his  pupils,  and  through  them  on  the  public  taste,  was  un- 
exampled. Nearly  all  the  best  known  painters  of  the  end 
of  the  eighteenth  and  early  years  of  the  nineteenth  century 
passed  through  his  studio,  or  came  under  his  influence ;  his 
most  famous  disciples  being  Girodet,  Drouais,  Gros,  Gerard, 
Isabey,  Ingres,  Leopold  Robert,  Granet,  etc.,  etc.  While 
Guerin,  though  a  pupil  of  J.  B.  Regnault,  may  be  considered 
as  one  of  David's  school  and  most  devoted  adherents. 

•  » See  Rude. 


1900-1880.  THE  CLASSICS.  267 

examples  in  the  Louvre  : — 
Les  Sabines,  1799.     188. 
Ltomdas  aux  Thermopyles,  1814.     187. 
Le  Serment  des  Horaces,  1784.     189. 
Brutus,  1789.     191. 

B61isaire  demandant  Taumone,  1784.     192. 
Sacre  de  TEmpereur  Napoleon  I.,  1808. 
Pope  Pious  VII.  and  Card.  Caprara,  1805.    198. 
Madame  E^camier  (sketch).     199. 
M.  and  Mme.  P6coul,  1783  (father  and  mother  in 
law  of  David).     196,  197.     Etc.,  etc. 
Versailles : — 

Barfere,  1790.     4607. 

Marat,    study  of   head   in   pen   and    ink ;   Nouvelle 
acquisition.       Distribution    des    Aigles.      2278. 
,  Bonaparte  crossing  the  Alps. 

Michel  Gerard,  Mus6e  du  Mans. 
Bonaparte,  sketch,  Coll.  du  Due  de  Bassano. 
Peste  de  St.  Eoch,  1799,  Marseille. 
Portrait,  Mme.  Vig^e-Lebrun,  Musee  de  Eouen. 
Napoleon  taking  the  oath  of  fidelity  to  the  French 

Constitution,  Barnard  Castle. 
Death  of  Milo  of  Crotona,  Irish  Nat.  Gall.,  Dubhn. 
GiRODET  DE  Eoucy-Trioson,  Anne-Louis  (6.  Montargis, 
^"^Gl ;  d.  Paris,  1824). — Left  an  orphan  in  early  youth,  and 
^opted  by  M.  Trioson,  an  army  doctor,  Girodet  took  his 
■^^nefactor's  name  on  the  death  of   his  only  son.      Having 
Wmt  the  principles  of    drawing  from  Luquin,  he  entered 
David's  studio  at  eighteen. 

In  1789  he  won  the  first  prize  of  the  Academy — defeating 
Gerard — and  went  to  Eome.  He  stayed  there  more  than 
five  years,  thus  escaping  the  whole  of  the  Eevolution.  On 
his  return  to  Paris,  the  **  Poems  of  Ossian  *'  which  had  taken 
the  world  by  storm,  had  considerable  influence  on  Girodet. 
He  had  a  literary  turn  of  mind,  and  even  wrote  some  very 
poor  poems  himself.  And  here  in  the  heart  of  David's  studio, 
in  the  very  centre  of  the  Classic  reaction,  we  find  the  first 
faint  suggestion  of  the  coming  Eomantic  movement.     **  To 


268  A  HISTORY  OF  FRENCH  ART.  Ch.  XIIT 

*'  the  great  scandal  of  his  master,  he  turned  early  towards  a 
**  sentimental  mannerism,  a  kind  of  academic  Komanticism." 
**  Atala  au  tombeau  ''  (1808)  and  the  "  Ossian,"  suggesteti 
these  dangerous  tendencies.  Del^cluze  describes  Davids 
visit  to  Girodet's  studio,  high  perched  in  the  attics  of  th( 
Louvre,  to  see  the  finished  "  Ossian'*.  The  master  looke< 
long  and  silently  on  the  picture ;  exclaiming  at  length 
**  Ma  foi,  my  good  friend,  I  must  confess  it — I  don't  undei 
**  stand  that  sort  of  painting.  No !  my  dear  Girodet,  I  don' 
*'  understand  it  in  the  least !  **  The  visit  ended  abruptly.  An 
down  in  the  court  of  the  Louvre,  David  raged.  "Ah!  9a 
*'  he  is  mad,  is  Girodet,  he  is  mad  !  .  .  .  What  a  pity 
"  With  his  fine  talent  that  man  will  never  produce  anythin 
**but  follies — he  has  no  common  sense!'*  The  genen 
opinion  of  the  rabid  Classics  was  that  it  would  be  we 
for  painters  and  for  poets  to  send  the  **  bard  of  Morvan 
back  into  the  mists  from  which  he  came,  and  follow  th 
singer  of  Achilles.  But  *'  Ossian  "  made  an  impression  a 
the  same.  It  was  destined  for  Malmaison,  which  Girodc 
and  Gerard  were  decorating.  The  **  Atala"  in  1808,  an 
the  **  Deluge,'*  which  though  painted  in  1806  was  exhibite 
in  1810,  and  gained  the  Grand  Prix  d*histoire,  mark  tt 
zenith  of  Girodet's  career. 

In  easy  circumstances,  with  a  delicate  constitution,  ac 
lack  of  much  imagination  or  inventive  power,  he  worke 
slowly  and  produced  but  few  pictures.  He  however  mac 
an  immense  number  of  drawings — illustrating  Eacine,  Vigi 
Anacreon,  Sappho,  Bion,  Moschus,  Ossian.  His  lat< 
paintings  were  laboured  and  very  inferior.  "  In  looking  ; 
**  the  pictures  of  Eaphael  and  Veronese,  one  is  pleased  wit 
**  oneself,'*  said  David.  **  Those  men  make  one  believe  thi 
**  painting  is  an  easy  art ;  but  when  one  sees  those  of  Girode 
**  painting  seems  a  trade  fit  only  for  galley-slaves.'' 

At  the  Restoration  Girodet  was  made    member  of  tl 
Acadimie  des  Beaux  Arts,  and  chevalier  of  the  Legion 
Honour.     He  died  December  9,  1824  ;    and  Louis  XVII 
ordered  the  Cross  of  OflBcier  which  he  had  intended  to  gi^ 
him,  to  be  placed  on  his  cofiBn. 


1800-1880.  THE  CLASSICS.  269 

Examples — Louvre  : — 

Scfene  du  D61uge,   1810,  premier  midaille.     360. 
Someil  d'Endymion,  1792,  Kome.     361. 
Atala  an  Tombeau,  1808.     362. 
Versailles : — 

J.  B.  Belley,  the  coloured  deputy  from  San  Domingo^ 

1796.     4616. 
Napoleon  recevant  les  clefs  de  Vienne,  1808.     1549. 
La  rivolte  du  Caire,  1810. 
Gerard,  Franqois,  Baron  (6.  Eome,  1770 ;   d.  Paris^ 
1837). — His  father,  intendant  to  the  Bailli  de  Suffren,  then 
Ambassador  to   Kome,   brought    young    Fran9ois  back   to 
Paris  when  he  was  twelve.     Through  the  Bailli  de  Breteuil, 
the   lad   was   admitted   to   the   httle   school   which   M.   de 
Marigny  had  founded   for  twelve  young  artists,  known   as 
the  "  Pension  du  Eoi  *'.    After  eighteen  months  he  left  it  for 
Pajou's  studio.     He  then  went  to  Breuet.    And  finally,  in 
1786  entered  David's  studio. 

In  1789  he  competed  for  the  Prix  de  Eoine.     Girodet, 

as  I  have  said,  gained  it,  and  Gerard  only  obtained  the  second 

prize.     Family  troubles,  the  death  of  his  father,  and  return 

of  his  mother,  an  Italian,  to  Kome,  in  1790,  interrupted  his 

work.      And  when  the  Revolution  broke  out  Gerard  was 

included  in  the  conscription  of  1793.      David  rescued  him 

from  this  by  an  almost  worse  fate  ;  appointing  him  a  member 

of  the  Revolutionary  tribunal ;  and  in  order  to  escape  from 

its  terrible  duties  he  feigned  illness,  and  almost  gave  up  his 

work.     In  1795  however,  he  exhibited  his  **  B61isaire  '*  which 

the  painter  Isabey   bought,   saving   the  young  artist   from 

something   approaching   to   starvation.      Isabey    did    more. 

He  insisted  on  Gerard   receiving  the   extra  profits,  when 

he  resold  the  picture  to  M.  Meyer,  the  Dutch  Ambassador. 

And  it  is  to  Gerard's  gratitude  that  we  owe  the  charming 

portrait  of  Isabey  and  his  daughter  (Louvre) — the  first  of  a 

long  series  of  successes.  The  **  Psyche  et  T Amour  " — cold  and 

aflfected — exhibited  in  1798,  was  immensely  admired.     But 

still  the  artist  found  it  hard  to  live. 

It  was  not    until    1800   that   his  vogue   as   a   portrait 


270  A  HISTORY  OF  FRENCH  ART.  Ch.  XIl 

painter  began.  Once  begun,  his  success  was  prodigiou 
No  one  understood  better  how  to  flatter  and  make  thin* 
pleasant  for  his  sitters.  Even  Madame  Recamier,  discoi 
tented  with  David's  glorious,  half-finished  portrait,  came  1 
the  **  roi  des  peintres,  et  le  peintre  des  rois  *\  The  mast* 
never  forgave  the  slight.  And  when  in  1805  the  charmic 
and  faithless  lady  returned  to  David  and  begged  him  1 
go  on  with  the  picture,  he  answered  dryly  that  artist 
hke  women,  were  capricious.  **  Souflfrez  que  je  garde  voti 
**  portrait  dans  T^tat  oil  nous  Tavons  laiss6.*'  He  eve 
threatened  to  destroy  it.  Happily  he  did  not  carry  oi 
his  intentions. 

And  now  all  parties  in  the  State,  all  dynasties  in  thos 
years  of  upheaval  and  change,  pass  through  G6rard*s  studi< 
Empresses,  Generals,  Kings,  Dancers,  Statesmen.  And  fi 
the  fashion  grows  and  the  years  roll  on,  the  baron  Geran 
premier  peintre  du  roi,  becomes  more  and  more  artificia 
His  portraits  lose  the  happy  directness  and  simplicity  ( 
his  early  work.  His  subject  pictures  grow  colder  in  color 
and  in  decadent  classicism. 

In  1819  Louis  XVUI.  created  him  a  Baron.  In  182 
Charles  X.  bought  his  tiresome  **  Daphnis  and  Chlo6  '* ;  an 
he  painted  the  King's  Coronation  in  1829.  Louis  Philipp 
ordered,  among  other  works,  four  pendentives  for  th 
Pantheon,  which  kept  him  busy  from  1832  to  1836.  Th 
**Peste  de  Marseille,'*  which  he  presented  to  the  sanitar 
administration  of  that  city,  was  one  of  his  last  works.  H 
died  in  January,  1837. 

Examples — ten  pictures  in  the  Louvre : — 

Psyche  et  TAmour,  1798.     328. 

Daphnis  et  Chlo6,  1824.     329. 

Portrait  of  Isabey  and  his  daughter,  1795.     332. 

Mme.  Visconti.     337. 

Pendentives,  Pantheon. 
Versailles : — 

Austerlitz,  2765  ;  Entree  de  Henri  IV.  a  Paris  ;  Mme 
Eecamier ;  G6n6ral  Hoche,  sketch,  4936  ;  Nape 
l^on  I.,  Nouvelle  acquisition ;   Josephine,  469? 


180O-188a  THE  CLASSICS.  271 

5135  ;  Marie-Louise  et  roi  de  Rome,  4703  ;  Mme. 
Mire,  Maria-Laetitia-Bonaparte,  4558 ;  .Le  Eoi 
de  Rome,  4707 ;  Murat,  1114 ;  Due  de  Berr}% 
4798;  Duchesse  de  Berry  et  enfants,  4799; 
Charles  X.,  two  great  portraits,  4794-95 ;  Sacre 
de  Charles  X.,  1792 ;  Lamartine ;  Numerous 
sketches  and  studies  for  portraits,  of  great  beauty ; 
etc. 
Bonaparte,  Premier  Consul.  Les  trois  ages.  Duchesse 

d'Orl^ans,  Chantilly. 
A  sumptuous  Portrait  of  Charles  X.,  Madrid  Gallery. 
Gros,  Antoine-Jean^  Baron  (6.  Paris,  1771 ;  d.  Meudon, 
1835). — Baron  Gros,  the  son  of  a  miniature  painter,  was  the 
most  devoted  and  docile  of  all  David's  pupils.  His  natural 
tastes  and  his  vigour  of  character,  led  him  away  from  the 
rigid  path  of  Classic  art,  traced  out  for  him  by  his  imperious 
master.  His  battle  pictures,  his  great  paintings  of  contem- 
porary events,  seemed  to  point  to  a  leader  in  a  new,  realistic, 
living  art,  which  should  regenerate  the  so-called  "  School  of 
History  and  Style  *\  But  although  David  could  show  a  cer- 
tain indulgent  hberahty  towards  less  gifted  pupils,  and  advise 
them  to  paint  how  and  what  they  would,  so  long  as  they  did 
It  Well — ^yet  with  artists  of  great  talents  such  as  Gros,  he 
^iisisted  almost  fiercely  that  they  should  remain  faithful  to 
"le  grand  art  "  that  he  taught  them. 

Gros  entered  David's  studio  in  1785.  In  1792  he  tried 
Unsuccessfully  for  the  Prix  de  Eome.  But  thanks  to  David 
^nd  Regnault  he  obtained  a  passport  in  1793 ;  started  on  his 
t)wn  account  for  Italy ;  and  after  many  difficulties  arrived 
ii  Genoa.  Here  his  imagination  was  excited  by  the  works 
of  Van  Dyck,  Pujet,  and  above  all,  Rubens.  Here  also  in 
1796,  he  made  the  acquaintance  of  Josephine,  an  acquaintance 
as  important  in  its  effects,  as  his  introduction  to  Ruben's 
colour.  She  carried  him  oflf  to  Milan,  and  presented  him  to 
Bonaparte,  who  at  once  took  a  Uking  for  him,  attached  him 
to  his  staflf,  allowed  him  to  paint  his  portrait — that  wonderful 
portrait  now  in  the  Louvre  of  **  Napoleon  at  the  bridge  of 
Arcole  " — and  to  follow  the  course  of  that  series  of  memorable 


272  A  HISTORY  OF  FRENCH  ART.  Ch.  XHT, 

battles.  Here  Gros  saw  life  indeed  ;  and  his  robust  talent 
responded  eagerly  to  the  drama  of  war  under  such  a  leader. 
He  was  also  appointed  member  of  the  conmiission  for  select- 
ing the  works  of  art  which  were  to  enrich  the  museum  of  the 
Louvre  (see  chap.  xii.).  And  he  distinguished  himself  by  the 
delicacy  and  probity  with  which  he  carried  out  this  difficult 
task,  in  Bologna,  Modena  and  Perugia.  He  arrived  at  Borne 
in  March,  1797,  and  after  a  few  months  there  returned  to 
Milan.  He  was  now  to  make  an  even  closer  acquaintance 
with  the  realities  of  war.  Disaster  overtook  the  French 
armies  in  Italy  while  Bonaparte  was  in  Egypt.  And  Gros  had 
to  take  an  unwilling  part  in  the  terrible  siege  of  Genoa  which 
Massena  sustained  in  1799.  He  at  last  escaped  on  an 
English  vessel,  and  reached  Marseilles  in  an  almost  dying 
condition  from  hunger  and  privations.  Here  however  he 
was  nursed  back  to  life  by  a  friend,  and  reached  Paris  in 
1801,  after  nine  years'  absence. 

Hitherto,  with  the  exception  of  the  **  Napoleon  at  the 
bridge  of  Arcole,"  his  pictures  had  been  small  portraits,  or 
classic  subjects.  But  now  a  competition  was  opened  for  the 
best  picture  of  the  battle  of  Nazareth,  where  Junot  with  500 
men  defeated  6000  Turks  and  Arabs.  Gros*  sketch  (Musee 
de  Nantes)  gained  the  prize.  But  the  picture  was  never 
painted.  In  1804  he  painted  the  **  Pestifer^es  de  Jaffa''. 
This  picture,  so  full  of  emotion,  of  vigour  and  truth,  painted 
under  the  double  influence  of  the  glamour  of  Kuben's  colour 
and  of  actual,  first-hand  knowledge  of  war  and  all  its 
sufferings,  created  a  profound  effect.  The  young  artists  of 
the  day  hung  a  wreath  upon  the  frame  in  the  Salon.  They 
recognized  and  did  homage  to  what  they  were  dimly  seeking 
for — life,  truth,  feeling,  colour.  This  picture  was  followed 
in  1806  by  the  **Bataille  d'Aboukir".  In  1808  came  the 
**  Champ  de  Bataille  d'Eylau  ".  In  1810  the  **  Bataille  dea 
Pyramides  ". 

Gros  now  received  an  important  commission  from  M.  de 
Montalivet,  the  decoration  of  the  Cupola  of  the  Pantheon 
— finished  after  many  vicissitudes,  in  1824,  it  earned  him 
the  title  of  Baron.     In  1816  he  was  made  member  of  the 


1800-1830.  THE  CLASSICS.  273 

Institute,  Honorary  Councillor  of  Museums,  and  Professor 
of  the  iicole  des  Beaux  Arts. 

But  David  had  seen  with  something  akin  to  despair  that 
his  favourite  and  most  tractable  pupil  was  leaving  the  paths 
he,  the  master,  had  indicated.  When  exiled  to  Brussels  in 
1815-16  he  left  the  leadership  of  his  school  to  Gros,  and 
ceaselessly  implored  him  to  leave  these  **  sujets  futiles  et 
tableaux  de  circonstance '*  for  **fine  historical  pictures". 
Unhappily,  Gros,  who  looked  on  David  with  positively 
pious  veneration,  listened  to  the  urgent  appeals  his  im- 
perious master  made  him.  He  believed  more  in  David's 
opinion  than  in  his  own  genius.  Every  contemporary  pic- 
ture or  portrait  that  he  painted,  seemed  to  him  an  infidelity. 
When,  on  the  day  of  Girodet's  funeral,  the  members  of  the 
Institute  lamented  over  **  the  irreparable  loss  the  school 
**had  sustained  at  a  moment  when  it  needed  some  power- 
**  ful  hand  to  hold  it  back  from  the  abyss  into  which  the 
'*  so-called  Romantic  school  was  dragging  it,"  Gros  exclaimed 
with  tears  in  his  eyes,  **  For  myself,  not  only  have  I  not 
**  enough  authority  to  direct  the  school,  but  I  must  accuse 
**  myself  of  being  one  of  the  first  who  set  the  bad  example 
**  others  have  followed".  And  the  great  and  successful 
painter,  who  might  have  been  one  of  the  leaders  of  Modem 
Art,  humbly  returned  at  David's  bidding  to  his  Plutarch. 

In  Baron  Gros  we  witness  the  tragedy  of  a  great  talent 
doing  violence  to  itself.  His  contemporary  war  pictures,  in 
which  his  genius  found  full  expression,  had  been  ruthlessly 
criticised  by  the  upholders  of  the  Classic  school  as  opening 
the  door — so  M.  Guizot  said  in  1810 — to  a  school  which, 
**  accustomed  to  seek  for  truth  without  adding  beauty  as  a 
**  necessary  condition,  will  easily  sink  into  hideous  exaggera- 
**tion".  Now,  the  classic  subjects  he  painted  as  a  self- 
imposed  penance — especially  a  Hercules  and  Diomed  (Salon 
1835) — called  forth  even  more  violent  criticisms  from  the 
adherents  of  the  new  powerful  Komantic  school.  None 
guessed  the  drama  that  tore  his  honest  heart.  He  was 
laughed  at — sneered  at — treated  as  a  **dead  man".      And 

wearied  out  with  what   he  considered  the  lasting  disgrace 

1ft 


274  A  HISTORY  OF  FRENCH  ART.  Ch.  XICT- 

and  shame  that  he  had  brought  upon  himself  and  his  schoo/i 
Baron  Gros  lay  down  on  his  face  in  three  foot  of  water  a-^ 
Meudon,  on  June  25,  1835,  where  two  boatmen  discovered 
his  body  next  day. 

His  suflFerings  and  his  genius  were  not  without  fruits. 
Among  his  pupils  from  1815  to  1835  we  find  the  names  of 
Charlet,  Raflfet,  Paul  Huet,  Barye.  Of  his  generous  kindness 
to  Delacroix,  I  speak  in  its  own  pla<5e.  And  though  he 
was  not  actually  Gericault's  master,  there  can  be  no  doubt 
that  his  works — those  which  were  part  of  his  own  being — 
the  Jaffa — the  Eylau — the  Aboukir — ^powerfully  aflfected  the 
young  genius  who  was  to  lead  the  new  revolution. 
Examples  in  the  Louvre  : — 

Les  Pestif^r^es  de  Jaffa.     388. 

Napoleon  a  Eylau.     389. 

Fran9oi8  I.  et  Charles  Quint.     390. 

Bonaparte  a  Arcole.     391. 

His  pupil,  Alcide  de  la  Rivalli^re.     392. 
Decorations : — 

Ceiling,  Salle  1,  Louvre. 

Ceiling,  Salle  5,  Musee  Charles  X.,  Louvre. 

Cupola  of  Pantheon  (Ste.  Genevieve),  Paris. 
Versailles : — 

Bataille  d'Aboukir,  Grande  Salle  des  Gardes.     1799. 

Napoleon  and  Fran9ois  II.,  after  Austerlitz.     1551. 

Napoleon   receiving   the   Queen   of  Prussia,    Tilsitt 

1555. 
Departure  of  Louis  XVIII.  from  the  Tuileries,  1815  - 

1778. 
Portrait    of    Gros    by    himself,    painted    in    Italy 

4786,  etc. 
Sketch  for  the  Pestiferees  de  Jaffa,  Chantilly. 
Sketch  for  battle  of  Nazareth,  Musee  de  Nantes. 
Gu^RiN,  Pierre-Narcisse,  Baron  (b.  Paris,  1774;  (F 
Kome,  1833).— Though  a  pupil  of  J.  B.  Regnault,  Gu^rir 
w^as  a  follower  of  David,  and  may  be  considered  as  belonging 
to  his  school.     His  **  Retour  de  Marcus-Sextus,'*  in  1798— 
incredible  as  it  may  now  seem — was  a  prodigious  success. 


1800-1830.  THE  CLASSICS.  275 

Though  he  had  gained  the  Prix  de  Rome,  his  health 
prevented  his  remaining  more  than  six  months  in  Italy. 
And  while  still  a  student  he  was  made  Chevalier  of  the 
Legion  of  Honour,  in  1803. 

In  1815,  the  King  increased  the  number  of  members  of 
the  Academie  des  Beaux  Arts,  and  made  Gu6rin  an 
Academician.  In  1816  he  was  appointed  Director  of  the 
;6cole  de  Rome  :  but  was  obliged  to  refuse  the  appointment. 
And  when  in  1822  he  succeeded  M.  Thevenet,  and  went  to 
Rome,  his  health  was  so  bad  that  he  was  unable  to  paint 
during  the  whole  six  years.  Returning  to  Paris  in  1829 
the  King  made  him  a  Baron.  And  when  Horace  Vernet 
was  made  Director  of  the  !fccole  de  Rome,  Gu6rin  could 
not  resist  the  desire  to  accompany  him,  and  see  Rome 
once  more.  He  did  so,  only  to  die  at  the  end  of  a  few 
months. 

His  studio  in  Paris  was  much  frequented,  being  one  of 
the  three  most  important  of  the  day.  G^ricault,  Dela- 
croix, Champmartin,  Ary  Scheflfer,  and  many  more  of  the 
best  known  **  Romantics  "  passed  through  it ;  though  they 
had  but  little  in  common  with  such  teaching  as  was  to 
be  had  there.  Delacroix  thus  describes  it.  **  Our  masters, 
**  in  order  to  give  the  Ideal  to  the  head  of  an  Egyptian,  make 
**  it  as  near  as  possible  resemble  the  Antinoiis.  They  say, 
'*  We  have  done  all  we  can,  but  if,  thanks  to  our  corrections 
"it  is  not  yet  sufficiently  beautiful,  the  fault  lies  with  its 
**  irregular  nature — with  this  flat  nose,  these  thick  lips,  which 
'*  are  things  intolerable  to  look  upon.'* 
Examples  in  the  Louvre  : — 

Retour  de  Marcus-Sextus.     393. 

Offirande  d  Esculape.     394. 

Andromaque  et  Pyrrhus.     396. 

En6e  et  Didon.     397. 

Clytemnestre.     398. 

Aurore  et  C^phale.     399. 

Louis  XVIII.,  Buckingham  Palace. 
Ingres,  Jean-Dominique-Auguste  (b.  Montauban,  1780 ; 
rf.  Paris,  1867). — Though  Ingres  was  for  many  years  looked 


276  A  HISTORY  OF  FRENCH  ART,  Ch. 

upon  with  distrust,  as  too  "  Gothic  "  in  his  tendencies 
admirer  of  the  primitives — though  on  his  first  joume 
Italy  he  made  endless  studies  in  the  Campo  Santo  of  ] 
exclaiming  "  C'est  a  genoux  qu'il  faudrait  copier  ces  homi 
**  Ik  *' — yet  Ingres  is  the  Classic  of  Classics — the  implac 
successor  and  continuator  of  David  and  the  Classic  schc 
the  irreconcilable  adversary  of  Komantics  and  Natura! 
Ingres  was  one  of  David's  most  distinguished  pupils.  Ha 
gained  a  second  prize  in  1800,  he  carried  oflf  the  first  Pri 
Rome  in  1801  with  "  The  Ambassadors  of  Agamemnon  '^ 
ing  Achilles  '\  This  picture  was  so  much  admired  by  I 
man,  who  was  passing  through  Paris,  that  David  was  seric 
annoyed.  A  coolness  began  between  master  and  p 
They  drifted  further  and  further  apart.  And  from  ] 
Ingres  endeavoured  to  avoid  any  personal  communici 
with  the  master  he  was  to  succeed.  Although  he  g€ 
the  Prix  de  Rome  in  1801  he  was  not  sent  to  Rome 
1806.  These  years  he  spent  in  **  drawing  to  learn, 
**  painting  to  hve'\ 

Many  of  the  portraits  of  this  time  are  of  high  signifies 
They  demonstrate  his  absolute  sincerity,  his  vigour,  his 
cision  as  a  draftsman.  The  great  portrait  of  Napoleo: 
his  throne  (1806)  shows  what  power  the  young  master 
already  attained.  **  La  belle  Z61ie,"  of  the  Mus6e  de  Re 
is  also  of  this  year.  And  before  he  left  for  Italy  he  drev 
dehghtful  pencil  portraits  of  the  "  Famille  Forestier*'- 
father,  mother,  friend,  the  servant,  the  dog,  and  the  p 
daughter  who  gives  Ingres  the  note  on  the  piano  as  he  t 
his  violin  ;  for  he  was  a  great  musician,  and  spent  his  evei 
playing  duets  with  the  young  lady,  to  whom  he  was 
engaged.  The  parents  wished  to  postpone  the  marriag 
his  return  from  Italy.  His  own  words  best  describe 
reason  of  its  final  abandonment.  **  Un  beau  soir,  le  soi 
**  adieux,  la  jeune  fille  contraria  mes  id^es  eii  peinture  et  nu 
''tele;  cela  m'avertit,  je  la  laissai  de  c6te."  Nothing 
come  between  him  and  his  own  views  in  Art ! 

In  1808  Ingres  sent  his  famous  '*  CEdipe  interrogea 
Sphynx  "from  Rome.     In  it  we  find  what  became  his 


1800-1830.  THE  CLASSICS.  277 

Signature  in  all  his  best  works — that  intensity  and  purity  in 
his  treatment  of  the  nude.     In  a  sort  of  unimpassioned  dis- 
tinction, an  intellectual  as   apart   from  sensual  worship  of 
fonn,  in  his  actual  modelling  of  flesh,  he  stands  alone.     In 
his  best  portraits,  as  in  the  "GEdipe,"  the  **  Baigneuse  "  (1808), 
^'Jupiter  and  Thetis  "  (1811),  the  **  Odalisque  "  (1814),  M. 
Aiidr6  Michel  says  the  influence  of  the  masters  of  the  fifteenth 
century   is   shown,    "  in    his   fine   and   uncommon   method 
**of  modelling  in  the  lights,  and  indicating  with  a  nervous 
**  and  sober  precision  the  most  subtle  modulations  of  form  ". 
For  many  years  Ingres  remained  quietly  in  Rome,  given 
^wholly  to  the   determined  pursuit   of  his   plastic   ideal — a 
complete  stranger  to  the  moving  drama  of  his  own  country 
— battles,  victories,  defeats,  conquests,  disasters,  changes  of 
dynasties  and  changes  of  opinion,  that  were  breeding  a  new 
race  of  men  in  Art  as  well  as  in  Literature. 

In  these  fruitful  years  of  quiet  and  incessant  labour  we 
get  his  "Romulus,"  his  '*  Marcellus,"  "  Ossian,"  1812. 
*  *  Fiangailles  de  Raphael,"  1813.  "  Aretino  et  Tintoret," 
X817.  *'  Death  of  Leonardo  da  Vinci,"  1818.  "  L'entree  de 
Charles  V.  k  Paris,"  1821.  Besides  these  and  others,  many 
I^ainted  and  pencil  portraits.  And  such  small  historical 
Iiictures  as  the  **  Fran9oise  de  Rimini,"  1819,  which  made 
tihe  followers  of  David  accuse  him  of  being  Gothic — an 
imitator  of  Jean  de  Bruges. 

His  detractors  and  critics  were  many.     And  it  was  only 

with  the  "  Voeu  de  Louis  XIII."  that  his  first  victory  was 

scored.     It  was  an  order  for  the  Cathedral  of  Montauban, 

his  native   place.      And   though  he    says   he   would   have 

preferred  to  paint  an   "Assumption,"  he   began   the  work 

at  Florence  in  1821,  sparing  no  pains  to  **make  the  thing 

"  Rapha^lesque  and  my  own  ".    It  was  exhibited  after  Ingres' 

return  to  Paris,  in  the  famous  Salon  of  1824 — that  Salon 

which  marked   the   final  break   between  the   Classics   and 

fiomantics ;    for    it    introduced    new    men,  new  ideals,  to 

the  world.  Delacroix  exhibited  his  *'  Massacre  de  Chio  ".  Ary 

Scheffer  his  **  Gaston  de  Foix  ".     Constable  for  the  first  time 

• 

m  Prance  showed  landscapes  that  revolutionized  landscape 


278  A  HISTORY  OF  FRENCH  ART.  Ch.  XH^ 

painting.    And  the  artistic  world  was  divided  into  Homerists 
and  Shakesperians. 

Ingres  now  threw  himself  into  the  strife.     The  educated 
Classics  who    **  ranged   themselves    round    him,   found  it 
**  convenient  to  make  him  *  I'homme  de  la  resistance/  and 
*'  helped  to  exalt  the  most  orthodox  tendencies  of  his  art  and 
**  his  genius  ".     Those  who  had  for  so  many  years  disowned, 
discouraged,  and  mocked  him,  now  lavished  tenderness  and 
enthusiasm  on  him,  rendered  all  the  more  vehement  by  the 
alarming  effect  of  the  *'  Massacre  of  Chios  *\     A  new  leader 
was  wanted   for  the  Classic  school.     Its  chief  in   exile — 
Girodet  dead — Gerard,  now  the  official  portrait  painter,  a 
traitor — **  That  man  ! — may  God  forgive  him,  if  He  can  *' ! 
said   Ingres  later  on — Ingres  was  the  man   to  restore  this 
dying   school   to   life.     Ingres,    amazed   and   enchanted   at 
this  sudden  and  unexpected  burst  of  popularity,  decided  to 
stay  in  France,  to  open  a  studio,  to  profess  and  maintain 
a   doctrine.     He   was  soon   admitted   to   the  ranks   of  the 
Institute.     In  after  years  he  was  made  Grand  Officier  de  la 
Legion  d'Honneur  and  Senator  of  the  Empire.     And  hence- 
forth the  works  he  cares  for  most  are  those  which  illustrate 
the  *'  Saving  Gospel  "  he  preaches — "  Point  de  paix  avec  les 
*'mechants" — the  wicked  in  this  case  being  the  Romantics 
and   Colourists,  as  represented  by  Delacroix  and  Rubens. 
The  **  Apotheosis  of   Homer,"  painted  for  a  ceiling  in  the 
Louvre,    gave   an  excellent  opportunity  of    preaching   this 
gospel.     The  drawing  is  magnificent.    The  unity  of  purpose 
admirable.     But  the  flat,  cold,  crude  colour  gives  the  im- 
pression of  a  frigid  and  uninteresting  has  relief. 

Ingres  held  strong  and  peculiar  views  on  Colour.  **  It 
**is  without  precedent  that  a  great  draftsman  should  not 
**  find  the  colour  that  exactly  suits  the  character  of  his  draw- 
'ing."  And  again — **  A  thing  well  drawn  is  always  well 
'*  enough  painted  *\  Colour  was  really  of  little  use  to  him. 
He  used  it  merely  to  emphasise  the  drawing  in  his  pictures. 
*' Rubens  and  Van  Dyck,"  he  would  say,  **may  please  the 
**eye,  but  they  deceive  it — they  belong  to  a  bad  school  of 
**  Colour — the  school  of  falsehood."    His  exquisite  drawings, 


1800-1830.  THE  CLASSICS.  279 

of  which  M.  Bonnat  has  so  large  and  precious  a  collection — 
those  portraits  in  which  a  few  light  touches  of  the  pencil 
give  the  most  deUcate  modelling  of  flesh  within  the  purest 
outline — were  the  part  of  his  work  for  which  he  cared  least. 
Ingres,  the  last  of  the  great  Pagans,  wished  to  be  re- 
membered as  "painter  of  history  and  violinist — priest  of 
**  Eaphael,  the  Antique,  and  Mozart ".  The  influence  of  this 
strong,  intolerant,  and  bigoted  nature  on  the  Art  of  France 
was  prodigious.  While  Kector  of  the  6cole  des  Beaux  Arts 
he  taught  the  students — to  use  his  own  words — **  to  see 
^^  and  cojpy  naUire  by  the  help  of  the  Antiqiie  and  BaphasV\ 

One  of  almost  his  last  works,  is  perhaps  his  best  known 
and  his  most  charming — **  La  Source  ".  Begun  as  a  study  in 
1824,  he  turned  it  into  a  picture  in  1856,  when  he  was 
seventy-six.  It  was  exhibited  in  the  Great  Exhibition  of 
1862,  in  London  ;  and  is  now  in  the  Louvre.  "  C'est  un 
**morceau  de  nature,  et  c'est  une  vision." 
Examples  in  the  Louvre  : — 

Homere  d6ifi6,  1827.     417. 

Eoger  d^livrant  Ang^lique,  1819.     419. 

CEdipe  interrogeant  le  Sphynx,  1808.     421. 

La  Source,  1856.     422. 

Ch^rubini,  portrait,  1842.     418. 

M.  and  Mme.  Kivifere.     426,  427. 

L'Odahsque  et  TEsclave. 

Napoleon  I.  sur  son  Tr6ne,  Invalides. 

Portrait  of  himself  at  24.     Mme.  Devan9ay.     Venus 
Anadyom^ne.     Francesca  di  Kimini ;   Chantilly. 

St.  Symphorien,  Cathedral,  Autun. 

Vceu  de  Louis  XIII.,  Cath.,  Montauban. 

La  Belle  Z61ie,  Mus6e  de  Kouen. 
Prud'hon,  Pierre  (6.  Cluny,  1758;  d,  Paris,  1823),— 
though  he  does  not  belong  to  the  Classics,  was  so  completely 
their  contemporary  that  he  must  be  spoken  of  with  them. 
A  charming  and  unexplained  apparition,  Pierre  Prud'hon 
may  be  said  to  belong  to  no  school,  no  group,  no  time.  He 
followed  no  one.  He  left  no  successor.  For  his  only  pupil. 
Mile.    Mayer,   died   before   him ;    and   her  talent  was  the 


280  A  HISTORY  OF  FRENCH  ART.  Ce.  XUI. 

outcome  of  a  passionate  tenderness  for  the  unhappy  master, 
to  whom  her  love  brought  the  only  consolation  of  his  life. 
Prud'hon  belongs  to  the  school  of  Corregio  and  Leonardo 
more  than  to  any  other.    "  He  seems  to  have  been  raised  up 

*  to  bridge  over  the  transition  between  the  eighteenth  century 

*  and  modem  painting.  He  inherits  from  the  one  the  senti- 
'  ment  and  pursuit  of  grace ;  he  maintains  the  tradition 
'  of   plump  little  loves ;   but.  he  already  possesses   all  the 

*  melancholy  of  a  new  age ;  an  intimate  sadness  mingles 

*  even  with  his  smile — reflex  of  a  cruel  and  recent  ex- 
*perience.** 

The  thirteenth  child  of  a  poor  mason  at  Cluny,  Pierre 
Prud'hon  was  brought  up  by  the  monks  of  the  famous 
Abbey.  The  pictures  there  inspired  him  with  a  love  of 
drawing,  which  soon  developed  in  so  marked  a  manner  that 
the  Bishop  of  Macon  remarked  it,  and  sent  the  boy  to  the 
admirable  Fran9ois  Devosges,  at  Dijon.  Devosges,  to  whom 
Bude  owed  so  much  (see  Eude),  was  director  of  the  School 
of  Fine  Arts  at  Dijon.  Under  his  teaching  Prud'hon  made 
rapid  progress ;  and  in  1780  Devosges  and  an  enlightened 
amateur,  M.  de  Joursanvault,  sent  the  young  man  to  Paris 
with  a  letter  to  Wille  the  engraver.  There  he  stayed  three 
years ;  and  on  his  return  to  Dijon  obtained  the  triennial  prize 
established  by  the  States  of  Burgundy,  and  went  to  Home 
to  finish  his  education.  Here  he  chose  a  line  of  his  own. 
Though  he  studied  the  antique  in  order  to  "  paint  beautiful 
forms,"  he  only  used  it  as  a  means  to  an  end.  And  his 
enthusiasm  went  forth  to  Corregio  and  Leonardo  rather  than 
to  Eaphael  and  Michael  Angelo — Leonardo,  **my  master 
"and  my  hero,  the  inimitable,  the  father,  the  prince,  the 
**  first  of  all  painters  ". 

On  his  return  to  Paris  in  1789,  life  began  for  him  in  all  its 
sadness  and  cruelty.  Unknown  and  poor,  he  had  committed 
the  folly — unpardonable  in  most  cases,  and  especially  so  in 
that  of  the  artist — of  marrying  young.  Worst  of  all  he  had 
married  badly.  His  wife  was  a  woman  of  detestable  temper. 
And  his  whole  life  was  poisoned  by  the  misery  she  brought 
on  him.     It  is  pathetic  to  think  of  the  surroundings  in  a 


1800-1880.  THE  CLASSICS.  281 

garret  in  the  rue  Cadet — poverty — reproaches  from  the  "wife 
— tears  from  the  numerous  and  half-starved  children — in 
which  for  several  years  Prud'hon  produced  those  enchanting 
dreams  of  the  loves  of  Cupid  and  Psyche,  **  L 'Amour  r^duit 
a  la  raison,"  **  L*Union  d'Amour  et  de  TAmitie,"  and  so  forth. 
For  a  time  he  had  to  gain  a  scanty  living  by  drawings  for 
the  heads  of  official  papers,  for  brevets — even  for  bonbon 
boxes.  Among  these,  little  chefs  d'ceuvres  may  be  found. 
Then  escaping  for  a  time  from  Paris,  he  employed  him- 
self while  with  some  relations  in  the  country,  on  the 
charming  illustrations  for  the  Amours  pastorales  de  Daphnis 
et  ChM. 

On  his  return  to  Paris  in  1797,  David  and  Girodet  turned 
a  cold  shoulder  on  him.  He  was  too  much  given  to  the 
wavs  of  **  Boucher  de  ridicule  memoire "  to  suit  them. 
Gros  was  kind  to  him,  but  anything  but  encouraging.  **  De 
^'  la  famille  et  du  talent,"  he  said.  **  C'est  plus  qu'il  n'en  faut 
**  pour  mourir  a  la  peine.'*  But  he  added,  '*  Celui-ci  ira  plus 
"'  loin  que  moi ;  il  enfourchera  les  deux  siecles  avec  des 
**  bottes  de  sept  lieues  ". 

At  last  however,  through  the  engravings  of  his  lovely 
•drawings,  Prud'hon's  name  became  known.  In  the  Salon 
of  1799  he  exhibited  his  first  large  painting,  **  La  Sagesse 
ramenant  la  V6rit6  sur  la  Terre  ".  And  it  was  ordered  for  a 
ceiling  at  Saint-Cloud.  Lanois  employed  him  to  decorate 
the  Salon  of  his  hotel  (now  Hotel  Rothschild,  rue  Laffite). 
His  most  important  decorative  works  followed — the  ceil- 
ing of  the  Salle  grecque,  medallions  in  the  Salle  des  Antonins. 
The  **Triomphe  de  Bonaparte,  or  la  Paix,"  and  **Minerve 
conduisant  le  G^nie  des  Arts  a  Timmortalite  "  secured  him 
popularity,  despite  the  opposition  of  the  Classics.  And 
Bonaparte  not  only  ordered  the  charming  portrait  of 
Josephine  in  the  park  of  Malmaison,  but  after  his  second 
marriage  appointed  Prud'hon  drawing  master  to  the  Empress 
Marie-Louise.  From  1808  to  1814  he  produced  his  very 
best  works — delightful  portraits  of  women — Mme.  Copia, 
Mme.  Jarre,  and  Mile.  Mayer;  **  L'enlevement  de  Psyche," 
'**  Le  Z^phjrr  qui  se  balance,"  portraits  of  the  roi  de  Rome, 


282  A  HISTORY  OP  FRENCH  ART.  Ch.  Xll  '^ 

and    decorative   and    allegoric   works    connected   with    th  -^ 
marriage  of  Napoleon. 

During  his  later  years  he  painted  several  pictures  irrr 
collaboration  with  Mile.  Mayer,  whose  tender  devotioirr: 
consoled  him  for  the  desertion  of  his  wife.     But  his  friend'^ 

terrible  suicide  in  1821  broke  his  heart.    His  last  pictures 

*'  La  famille  malheureuse,"  the  "  Christ  en  Croix,"  a  draw — 
ing  of  the   "  Portement   de   Croix,"  and  a  sketch  'TAm^- 
d61ivr6e  " — show  the  effect  of  this  tragedy  on  his  mind.   AndT 
he  died  in  February,  1823. 

Many  of  his  pictures,  such  as  the  famous  **  Justice  etr 
Vengeance  poursuivant  le   Crime "  (Louvre,   747),    are   so 
injured  by  bitumens  that  it  is  difficult  to  get  any  just  idea* 
of   his   colour  from   their  cold   black   shadows.     The   best 
examples  are : — 
Louvre — 

Portraits  of  I'lmp^ratrice  Josephine.     751.      Mme^ 
Jarre.     752.     Le  naturaHste  Bruun  Neergaard^ 
753.     Baron  Denon.     754. 
L 'enlevement  de  Psyche.     756. 
Etc.,  etc.,  etc. 

Portrait,  M.  de  Talleyrand,  Ville  de  Paris. 
Assumption  of  the  Virgin,  Hertford  House. 
Mme.  Copia,  M.  Bischoflfsheim. 

IsABEY,  Jean-Baptiste  (6.  Nancy,  1767  ;  d.  Paris,  1855)^ 
— miniature  painter  and  lithographer,  was  a  pupil  of  David's. 
He  was  premier  peintre  to  the  Empress  Josephine  ;  director 
of  the  decorations  of  the  Opera ;  and  assistant  conservator  of 
the  Musee  Royal.  His  miniatures  are  of  world-wide 
reputation,  and  represent  the  most  distinguished  personages 
of  the  Revolution  and  Empire.  His  drawings  and  paintings 
of  people  and  contemporary  official  events  are  admirable. 
The  well-known  **  Congr^s  de  Vienne,'*  and  the  **  Revue  du 
premier  Consul  dans  la  cour  des  Tuileries,"  are  in  the  posses- 
sion of  H.M.  the  Queen. 

IsABEY,  Louis-GABRiEL-EuGfeNE  (6.  Paris,  1833;  d.  1886),. 
was  son  of  J.  B.  Isabey,  and  a  painter  of  great  distinction. 


i^oo-ieaa  the  classics.  283 

Bis  pictures  are  mostly  marine  or  ceremonial.  But  all 
possess  fine  qualities  of  colour  and  composition  and  true 
leauty. 

The  "  Bois  de  Varangeville,"  and  the  **  Manoir  Ango  '* 
are  admirable  specimens  of  his  landscapes,  which  have  much 
in  common  with  de  Wint.  The  provincial  museums  in 
France  contain  many  of  his  sea-ports,  etc. 


CHAPTEK   XIV. 

THE  ROMANTICS. 

The  history  of  the  Komantic  movement  in  Art  is  so  closely 
allied  with  that  in  literature,  that  it  is  impossible  to  dwell 
on  one  without  mentioning  the  other.  Indeed  it  is  some- 
times thought  that  the  movement  was  much  more  hterary 
than  artistic ;  and  that  this  contributed  to  the  decadence 
of  its  impulse  in  Art.  To  Walter  Scott  and  Victor  Hugo, 
to  Byron  and  Georges  Sand,  the  Eomantic  movement  in 
literature  owed  its  life.  And  these  great  names  exercised 
a  profound  influence  on  the  young  painters,  who,  after 
G^ricault's  death  were  enlisted  under  the  leadership  of 
Eugene  Delacroix.  To  these  men  the  revolution  in  Art 
is  due.  To  them  we  may  look  as  the  fathers  of  Modem 
Art. 

The  material  liberty  of  Art  which  David  inaugurated, 
was  well-nigh  lost  at  the  Restoration,  when  the  Fourth 
Class  of  the  Institute  was  revived  with  all  its  ancient  powers, 
passions,  and  prejudices.  Liberty  of  thought  in  the  hands 
of  David's  followers  degenerated  into  the  bitterest  tyranny 
of  thought,  which  was  fostered  by  Ingres  until  the  revolution 
of  1848  once  more  swept  aside  conventionalities. 

The  young  artists  of  the  nineteenth  century  came  into 
the  world  at  a  moment  when  all  things  combined  to  move 
imagination  and  emotion.  The  Revolution  and  the  Empire 
could  not  but  affect  the  generation  to  which  they  gave  birth. 
That  "jeunesse  soucieuse"  bore  the  stigmata  of  glories 
and  of  disasters  such  as  the  modem  world  had  never 
witnessed.  These  ardent,  unquiet  young  spirits,  '*  souffrant 
**  d'un  inexprimable  sentiment  de  malaise,"  demanded  some- 
thing less  rhetorical  than  Delille's   verses,  or  Guerin  and 

Girodet's  cold   academies.     And   they  turned  instinctively 

(284) 


1812-1848.  THE  ROMANTICS.  285 

to  the  masterpieces  of  foreign  literature  that  now  became 
known  to  them — to  Dante,  to  Goethe,  Byron,  Shakespeare. 

**  No  artistic  question  is  more  important  than  this  old 
**  quarrel  between  the  ancients  and  the  modems,  which 
**  at  first  was  purely  literary,  and  now  is  in  some  senses 
**  universal ;  it  impassioned  a  century ;  fifty  years  ago  it 
**  split  up  literature  ;  it  is  the  incentive  of  the  art  of  to-day ; 
**  it  reappears  from  time  to  time  under  new  titles  or 
**  pseudonyms  .  .  .  and  whether  it  is  the  name  of  Delacroix, 
**  of  Ingres,  of  G6r6me,  of  Courbet,  or  of  Manet  that  is  put 
**  forward,  the  process  is  always  the  same  and  always  alike  ; 
"it  is  eternally  trying  to  know  whether  to-morrow  is  worth 
**  more  than  yesterday,  and  if  the  pursuit  of  a  new  truth  or  a 
**  vibrant  modem  art,  is  preferable  to  servile  imitation  and 
**  to  respect  for  tradition."  ^ 

Out  of  the  very  heart  of  the  Classic  school,  from  Gu^rin's 
studio  itself,  came  the  young  apostle  who  was  to  preach 
liberty,  truth  and  life — the  revolutionist,  who  was  to  break 
the  bonds  of  academic  tradition,  which  in  so  few  years  had 
again  fettered  Art,  and  bound  her  once  more  hand  and  foot. 
In  the  studio  itself,  Theodore  G^ricault  began  to  show  that 
the  '*  academies  *'  he  was  obliged  to  produce  there,  did  not 
satisfy  his  ardent  spirit.  **  He  found  in  nature  and  life 
"more  beauty  than  in  Eoman  bas-reliefs;  —  the  Apollo 
"Belvidere  himself  no  longer  seemed  to  him  the  supreme 
**  ideal — and  when  he  made  his  vigorous  crayon  studies  from 
"  heads  of  Negroes  and  Negresses,  his  last  thought  was  to  recall 
**  by  them  the  profile  of  the  Antinoiis."  ^  His  **  Officier  des 
Chasseurs  a  Cheval,"  exhibited  at  the  Salon  of  1812,  shook 
the  Art  of  the  day  to  its  very  foundations.  But  the  defini- 
tive break  with  tradition  was  made  by  his  "Radeau  de  la 
M6duse "  in  1819.  "  It  marks  a  date  in  the  history  of 
"French  painting,  and  the  commencement  of  an  evolution.'* 
For  this  great  picture  of  a  contemporary  event,  reinstates 
the  drama,  the  pathos  of  human  life  once  again  in  the  do- 
main of  Art.  And  although  this  presentment  has  since 
at  times  developed  into  melodrama  and  the  mere  painting 

>  J.  Glaretie.  ^  A.  Michel. 


286  A  HISTORY  OF  FRENCH  ART.  Ce.  XIV. 

of  anecdote,  G^ricault's  picture  did  an  enormous  service 
to  Art.  Apart  from  its  own  intrinsic  merits,  it  infused 
strong  feeling  and  pulsating  life  into  the  frozen,  sterile, 
official  academic  school.  And  besides  the  example  of  his 
own  works,  Giricault  did  signal  service  to  Art  in  France  by 
his  journey  to  England.  This  resulted  in  Constable  and 
Bonnington  becoming  known  in  Paris  :  and  of  the  effect 
their  works  had  on  French  Art,  I  will  speak  later  on. 

At  the  age  of  thirty-three  death  robbed  the  world  of  a  great 
genius,  a  great  leader.  His  short  life  had  done  more  than 
that  of  any  other  painter  for  the  freedom  of  thought  and 
method  in  Art.  But  he  left  a  worthy  disciple  in  his  friend 
Delacroix,  who  was  ready  to  snatch  the  torch  from  his  dying 
hand,  and  through  bitter  opposition  lead  his  followers  to 
victory. 

The  war  for  the  next  twenty  years  was  d  outrance.  On 
one  hand  the  defenders  of  tradition,  of  the  "  grand  "  style 
of  Academic  painting,  of  the  Classic  ideal,  of  everything  that 
was  opposed  to  Eubens  in  colour,  to  life,  or  to  nature.  On 
the  other  the  reformers,  intoxicated  with  colour  and  move- 
ment, spurred  on  to  fresh  efforts  by  the  very  opposition 
that  met  them  at  every^  turn.  They  felt  their  cause  was  a 
righteous  one,  that  their  battle  was  worth  the  winning.  For 
it  was  freedom  not  only  for  themselves  but  for  their  fellows 
— liberty  for  Art  itself — for  which  they  fought. 

The  Classics  laid  claim  to  certain  ancestors.  Under 
Ingres  the  watchword  was  Raphael,  Leonardo,  Corregio — 
but  specially  Raphael.  The  Romantics  replied  with  Michael- 
Angelo,  Titian,  Giorgione,  Veronese,  Rubens,  Van  Dyck — 
but  specially  Rubens.  The  Classics  cried  "  Malfaiteuxg !  ** 
The  Romantics  shouted  **JPerrjj(jtte8  !  "  The  Classics  took 
their  motives  from  Sculpture — cold  regularity  of  design — 
the  immobilitv  of  a  late  Roman  bas-relief.  The  Romantics 
in  their  revolt  against  this  sculptural  painting,  rushed  to  the 
other  extreme.  They  exaggerated  the  legitimate  tendencies 
of  Romanticism,  seeking  only  for  expression.  **  Sentiment  '* 
— **  Character,*'  were  the  words  they  hurled  back  on  the 
upholders   of   '*  Classic    beauty ".      And    the    beauty    that 


1812-1848.  THE  BOMANTICS.  287 

Delacroix  sought  after  was  not  beauty  according  to  Ingres, 
not  the  beauty  of  each  separate  part,  but  the  beauty  of 
the  whole. 

The  Art  of  the  Classics  was  imitative.  It  is  true  they 
honoured  the  nude.  They  made  most  careful  and  con- 
scientious **  academies  *'  from  models  in  the  studio.  Nothing 
shows  this  better  than  some  of  David's  magnificent  studies 
for  his  pictures.  But  they  sought  no  fresh  inspiration  from 
nature.  Their  pictures  were  imitations  of  the  antique,  of 
Eaphael,  of  the  masters  of  the  Renaissance,  **  even  of 
Lebrun's  pictures  *'.  Imagination  became  merely  an  exercise 
of  memory.  The  most  successful  and  most  admired,  were 
those  who  best  remembered  the  lessons  they  had  lee^raed 
from  their  masters,  the  copies  with  which  they  had  filled 
their  portfoUos. 

The  Romantics  studied  nature  even  less.  Certainly  it  was 
necessary  for  the  student  to  go  through  a  course  of  study 
from  models  at  the  Beaux  Arts,  or  in  his  master's  studio. 
But  when  he  had  once  mastered  the  human  figure,  its 
proportions,  its  muscles,  its  bones,  then  drawing  from  the 
model  was  considered  not  only  superfluous  but  harmful. 
It  was  supposed  to  blight  the  imaginative  faculty.  Passion, 
movement,  life  in  fact,  nmst  come  from  an  effort  of  the 
artist's  heart  and  brain,  not  from  the  living  human  creature 
before  his  eyes. 

The  Romantics  cried,  **  Down  with  the  race  of  Agamem- 
non ".  They  sought  for  their  inspiration  in  the  world  of 
chivalry ;  in  the  moving  drama  of  modern  life  ;  in  truly 
heroic  and  humanist  scenes.  When  Delacroix  in  1824 
exhibited  his  **  Massacre  de  Scio,"  Baron  Gros,  who  had  so 
generously  befriended  the  young  painter  two  years  before, 
exclaimed  **  C'est  le  massacre  de  la  peinture,"  and  abandoned 
him  to  his  fate.  While  Jal,  giving  utterance  to  the  en- 
thusiasm of  all  the  fiery  young  spirits  who  were  soon 
to  come  to  actual  blows  for  Victor  Hugo's  Hcniani  in 
the  parterre  of  the  Theatre,  wrote,  "  Je  ne  connais  pas  M. 
^*  Delacroix,  mais,  si  je  le  rencontre  je  lui  ferai  la  scene  la  plus 
'*  extravagante,  je  I'embrasserai,  je  le  f61iciterai  et  je  pleurerai, 


288  A  HISTORY  OP  FRENCH  ART.  Ch.  XT\\ 

**  GUI,  je  pleurerai  de  joie  et  de  reconnaissance.  Brave  jeune 
**  hoinme  !  la  fortune  lui  soit  en  aide  !  II  a  bien  m^rit^  des 
**Art8;  il  a  bien  miriti  des  ennemis  du  despotisme  ;  il  Ta 
**  montr6  dans  toute  son  horreur  !  " 

It  was  a  generous  time,  a  noble  time.  There  were 
extravagancies,  absurdities,  of  course.  But  men  cared, 
cared  deeply,  and  fiercely,  nay  suffered  for  their  watchwords. 
The  twenty  years,  from  1828  to  1848,  were  replete  with 
splendid  aspirations,  fine  enthusiasms,  in  art,  in  literature, 
in  politics.  Pure  theories,  things  of  the  spirit,  of  the  mind 
and  of  the  heart,  were  more  real,  of  infinitely  more  immediate 
importance  to  the  ardent  young  refonners  of  1830,  than  the 
prices  of  the  Bourse.  Artists,  in  painting,  in  poetry,  in  prose, 
all  made  common  cause.  Georges  Sand  and  Delacroix,  Alfred 
de  Musset,  Chenavard,  Deveria,  Alexandre  Dumas,  Victor 
Hugo,  all  strive  with  conviction  for  **  those  useless  things, 
**  which  are  nevertheless  so  necessary  to  the  life  of  a  nation — 
**  poetry,  grace,  the  ideal  *'. 

The  subsequent  decadence  of  the  Romantic  school  was 
due  to  two  causes.  First,  a  too  exclusive  devotion  to  subjects 
of  the  Middle  Ages.  Secondly,  because  certain  exaggerations 
which  were  real  and  honest  in  the  leaders,  were  de  parti  pris 
in  their  followers.  As  the  servile  followers  of  David  reduced 
the  Classic  school  to  a  condition  of  impotent  decadence,  so 
the  followers  of  such  leaders  as  G^ricault  and  Delacroix  who 
painted  what  was  in  their  hearts  to  say,  became  intolerable, 
because,  having  nothing  special  to  say  on  their  own  account, 
they  endeavoured  to  imitate  the  vehement  enthusiasm,  the 
exuberant  life  of  their  chiefs.  Where  their  leaders  were 
brilliant,  they  were  flashy.  Where  their  leaders  touched  the 
heights  and  depths  of  life,  passion,  poetry,  they  were  only 
noisy.  Where  their  leaders  were  strong,  they  were  merely 
hysterical. 

PAINTERS. 

Gericault,  Jean-Louis-Andr6-Th6odore  (b.  Rouen, 
1791 ;  d.  Paris,  1824).— Coming  to  Paris  in  1806  Gericault 
entered    Carle    Vernet's   studio   in    1808.     But   he  merely 


1812-1848.  THE  ROMANTICS.  289 

passed  through  it  to  that  of  Gu^rin,  where  he  was  the  fellow- 
student  of  Champmartin,  Cogniet,  Ary  Scheflfer,  Delacroix, 
etc.  His  methods,  so  at  variance  with  those  of  the  school  of 
David,  especially  his  drawings  from  the  model,  exasperated 
the  cold,  correct,  academic  Guirin,  who  told  him  he  had  better 
give  up  Art,  that  he  could  never  succeed  in  it. 

In  1812 — on  such  apparent  chances  do  things  turn — a 
dapple-grey  horse  in  a  cart  on  the  road  near  St.  Cloud, 
suddenly  turned  restive  as  G^ricault  was  passing,  and  began 
to  plunge  in  the  sunshine.  Giricault  stopped — made  notes — 
and  the  few  lines  jotted  down  on  the  spot  were  soon  trans- 
formed by  his  vivid  imagination  into  the  idea  of  a  great 
picture.  His  friend  M.  Dieudonn^,  lieutenant  des  Guides  de 
TEmpereur,  posed  for  the  head.  A  cab-horse  was  brought 
round  each  morning  to  keep  **du  cheval**  in  the  painter's 
eye.  And  in  an  incredibly  short  time  (M.  Villot  says  twelve 
days)  the  '*  OflBcier  des  Chasseurs  a  Cheval  "  was  finished.  It 
created  a  stupor  at  the  Salon  of  1812.  David  when  he  saw 
it  cried,  ''Where  does  that  come  from?  I  do  not  know 
*'  that  touch."  And  despite  wild  criticism,  it  gained  a  gold 
medal  for  its  young  painter.  He  was  only  twenty.  He  had 
created  a  revolution  in  Art  that  shook  academic  tradition  to 
its  very  centre.  The  picture  was  shown  a  second  time  in 
1814,  when  G^ricault's  pendant,  the  **  Cuirassier  blessi'*  was 
also  exhibited.  Both  pictures  were  bought  some  years  later 
by  the  Due  d'Orl^ans.  Louis-Philippe  had  fortunately  lent 
them  to  the  Soci^te  des  Artistes  when  the  revolution  of 
1848  broke  out.  And  they  were  thus  saved  from  destruction 
in  the  Palais-Eoyal.  At  the  sale  of  the  King's  pictures  in 
1851  they  were  acquired  by  the  Louvre  for  23,400  francs. 

At  the  Restoration,  G^ricault  enlisted  for  a  short  time  in 
the  Motisquetaires  du  roi,  attracted,  no  doubt  by  his  love  oi 
horses  and  military  life.  But  on  the  return  from  Elba,  his 
regiment  was  disbanded,  and  he  returned  to  his  brush. 

It  was  about  this  time  that  he  was  turned  out  of  Gu^rin's 

studio  for  some  charge  d'atelier — a  bucket  of  water  which  was 

intended  for  his  friend  Champmartin,  and  which  unluckily 

fell  on  the  master's  head. 

19 


290  A  HISTORY  OF  FRENCH  ART.  Ch.  XIV. 

In  1817  G^ricault  left  for  Italy,  where  Michael-Angelo 
became  the  god  of  his  idolatrj'  before  whom  he  "  trembled  ". 
But  besides  copies  and  studies,  he  brought  back  to  France 
sketches  of  a  scene  after  his  own  heart — the  bands  of  loose 
horses  rushing  wildly  through  the  shouting  crowds  at  the 
F^te  of  the  Barbari  on  the  Corso.  From  these  he  intended 
to  paint  a  huge  picture.  He  began  it.  But  the  unfinished 
canvas  has  been  lost  or  destroyed.  All  that  remains  are  the 
drawings  and  painted  studies  for  it,  now  in  the  Museum  of 
Eouen  and  the  collection  of  M.  Marcille. 

When  G^ricault  returned  to  Paris  in  1818,  public  feeling 
was  much  excited  by  the  account,  published  by  two  of  the 
survivors,  of  a  great  naval  disaster  in  1816.  The  moving  drama 
of  this  shipwreck  seized  upon  G^ricault's  imagination.  The 
result  was  his  great  picture,  the  **  Badeau  de  la  Meduse  '\ 
The  artist  spent  months  in  collecting  documents  for  this 
work.  He  found  the  carpenter  of  the  Medtise,  who  made 
him  a  model  of  the  famous  raft.  '*  During  several  months/' 
Bays  his  biographer,  M.  Charles  Clement,  **  his  studio  was  a 
**  sort  of  morgue  *'.  He  spent  days  in  the  hospitals,  studying 
the  effects  of  illness  and  suffering.  All  his  friends — especially 
if  they  were  ill — were  pressed  into  the  service  as  models. 
The  two  officers  of  the  Mdduse,  figure  as  the  man  who  holds 
out  his  arms  to  the  Ar(j2is  and  the  one  against  the  mast. 
Eugene  Delacroix  lies  with  arms  inert,  his  head  against  the 
edge  of  the  raft.  Such  methods  of  study  were  an  absolute 
innovation  in  modern  painting.  The  picture,  when  finished 
and  exhibited  in  the  Salon  of  1819,  had  but  little  success,  and 
raised  a  perfect  storm  of  abuse.  It  was  too  novel,  too 
contrary  to  all  received  ideas.  But  it  is  without  doubt  the 
starting  point  of  Modern  French  Art.  For  "  by  it  drama, 
"  moral  life,  human  pathos  once  more  reappeared  in  art  ". 

Gericault  now  made  a  journey  to  England,  where  his 
works  were  greatly  appreciated.  This  proved  of  immense 
importance  to  French  artists  ;  for  he  was  the  chief  instru- 
ment in  inducing  Bonnington  and  Constable  to  come  to 
France.  In  England  his  passion  for  horses  was  fully  satis- 
fied.    He  was  a  splendid  rider,  and  delighted  in  horses  and 


1812-1848.  THE  ROMANTICS,  291 

horsemanship.  Many  of  his  fine  lithographs,  now  extremely 
rare,  were  done  in  London.  So  was  the  beautiful  **  Horse 
race  at  Epsom  "  (Louvre),  fine  in  colour  and  in  truth  to 
nature.  On  his  return  to  Paris  Gericault  worked  diligently  at 
studies,  water  colours,  and  easel  pictures.  But  in  1823  his 
fatal  illness  began.  And  after  eleven  months  of  frightful 
suffering,  borne  with  magnificent  composure  and  fortitude, 
he  died  in  January,  1824. 

Giricault's  rightful  place  is  at  the  head  of  any  study  of 
Modern  French  Art.     "  For  his  genius  marks  the  starting 
"  point  of  the  Eevolution  which  took  place  in  French  Art  at 
*'  the  beginning  of  this  century."  ^ 
Examples  in  the  Louvre : — 

Officier  des  Chasseurs  a  Cheval,  1812.     339. 
Cuirassier  Bless^,  1814.     341. 
Le  Eadeau  de  la  Meduse,  1819.     338. 
Carabinier.     343. 

Course  de  Chevaux  a  Epsom,  1821.     348. 
Cheval  turc  dans  une  icurie.     345. 
Two  small  racing  pictures.     351,  352. 
Les  Croupes,  cinq  chevaux  dans  une  ^curie.     347. 
Mus6e  de  Eouen  : — 

Portrait    de     Delacroix,    219 ;    Les   Suplicies,   220 ; 
White  Arab,   218;    T^tes  de   Chevreuils,   214; 
Chevaux  de  Postilion,  213.     Sketches  for  Course 
de    Chevaux   libres,    and   many   others,    among 
them  the  two  first  ideas  in  sepia  and  in  pen  and 
ink  for  the  Wreck  of  the  M^use,     755-779. 
Drawings  and  water  colours,  Coll.  M.  Bonnat. 
Drawings  and  water  colours,  Coll.  M.  Marcille. 
Cheval  sortant  de  I'ecurie,  Chantilly. 
Delacroix,  Ferdinand- ViCT0R-EuGi:NE  (6.  Charenton, 
1798  ;   d,  Paris,  1863). — Eugene  Delacroix's  earliest  years 
were  passed  at  Marseilles,  where  he  gained  that  love  of  hot 
sunshine,  vivid  colour,   turbulent   life,   which — so  he   con- 
sidered— so  profoundly  affected  his  work  in  later  years.     His 
father,  a  member  of  the  Convention,  and  minister  of  Foreign 

1  Albert  WolfE. 


292  A  HISTORY  OF  FRENCH  ART.  Ch.  XlV- 

Affairs  under  the  Directoire,  came  with   clean  hands  and 
empty  pockets  out  of  his  offices.     And  under  the  Empire 
was     successively    prefect    of    Marseilles    and    Bordeaux. 
At   Bordeaux,  Eugene  got  a  fair  classical  education,     ffis 
father,  however,  died  before  he  was  of  age,  and  left  him  penni- 
less.   He  had  already,  in  spite  of  the  opposition  of  his  family, 
determined  to  be  a  painter.    An  elder  married  sister  in  Paris 
gave  him   shelter.       He   secretly   turned  his   attic  into  a 
studio.     And   Eiesener,  the  artist,  who  was  fortunately  a 
relation,  overcame  the  prejudices  of  the  family  against  the 
lad's  vocation.     Not  taking  pupils  himself,  Eiesener  placed 
his  young  cousin  with  Guerin. 

In  Guerin 's  studio  Delacroix  made  Giricault's  acquaint- 
ance. The  closest  friendship  sprang  up  between  the  two. 
And  on  G^ricault's  death  in  1824,  Delacroix  found  himself 
the  head  of  the  new  school.  But  the  young  master's  debut 
had  been  earlier  than  this.  Shut  up  in  his  sister's  attic 
Delacroix  had  imagined  a  great  picture.  In  1822  he  finished 
**  La  Barque  du  Dante  ".  There  is  a  charming  story  of  the 
broken  frame  made  of  four  laths  and  coloured  with  yellow 
powder,  as  Delacroix  was  too  poor  to  buy  one — of  Baron 
Gros'  recognition  of  the  young  man's  talent,  and  how  he 
made  the  administration  put  the  chef  d'oeuvre  into  a  fine 
new  frame,  and  hang  it  in  the  Salon  carre — of  the  artist, 
overcome  with  gratitude,  and  enthusiasm  for  the  painter  of 
Jaffa  and  the  Aboukir,  knocking,  trembling  at  his  door — 
of  Gros'  paternal  advice  to  **  Come  to  us,  we  will  teach 
**  you  how  to  draw  "  ;  and  how  he  said  the  picture  was 
*'  Rubens  reformed  ".  The  picture  made  Delacroix  famous 
at  once.  It  was  followed  in  1824  by  his  **  Massacre  de  Scio," 
which  was  the  signal  for  the  final  break  between  Classics 
and  Romantics.  For,  as  I  have  said,  this  was  too  much  even 
for  Baron  Groa 

Besides  his  position  as  a  reformer,  Delacroix's  work  must 
be  regarded  under  three  aspects.  Colourist.  Poet.  Deco- 
rator. 

Constable  at  the  Salon  of  1824  was  a  revelation  to  him. 
Under  the  glamour  of  his  colour,  Delacroix  obtained  leave  to 


1^12-1848.  THE  ROMANTICS.  293 

retouch  his  '*  Massacre  de  Scio  ".     And  in  a  fortnight  he  re- 
painted it  throughout,  using  the  strongest,  purest,  most  vivid 
colours  he  could  find.      Few  Frenchmen  have  gone  so  deeply 
into  the  harmony  of  colours.    His  was  not  merely  a  natural 
instinct  for  colour.     It  was  a  profound  scientific  knowledge 
of  colour— of  the  effects  of  colours  one  on  another — of  the 
laws  that  govern  them — of  **  melange  optique/'  the  process 
by  which  absolutely  opposed   colours  are  fused  by  the  eye 
of  the  spectator  into  the  one  the  artist  intends  him  to  see — 
of  **  modulation  "  of  colour,  the  process  known  to  the  oriental 
of  superposing  tone  upon  tone  of  one  pure  colour,  and  making 
it  scintillate  and  vibrate.     To  Delacroix  the  reform  in  colour 
in  France  during  this  century  is  entirely  due.     It  will  always 
be  one  of  his  greatest  titles  to  fame. 

As  a  poet — a  poet  in  form,  in  colour,  in  ideal — Delacroix 
turned  instinctively  to  Goethe,  Byron,  Shakespeare,  Dante. 
This  was  not  because  the  great  poets,  past  and  present, 
suggested  good  subjects.  But  because  in  Hamlet,  in  Faust, 
in  the  Inferno,  in  what  he  called  **  Byron's  burning  soul,"  he 
found  an  answer  to  the  fever  of  his  own  soul,  his  own  times. 
In  his  youth  he  gave  himself  to  the  passionate  ideals  and 
aspirations  of  the  thinking  youth  of  France  ;  to  enthusiasm 
for  the  Greeks — Byronism — ^Anglomania — and  even,  for  a 
moment,  to  Liberalism.  After  the  Revolution  of  July  (1830) 
he  painted  his  **  Barricade  ".  Save  the  **  Boissy  d'Anglas,"  it 
was  his  one  poUtical  picture.  And  even  in  this  he  has  incar- 
nated an  ideal,  rather  than  given  us  a  page  of  actuality.  For 
what  is  his  tremendous  heroine  of  the  barricade,  his  virago 
half  naked,  with  Phrygian  cap,  but  an  allegory  of  Liberty. 
Liberty  in  modern  guise.  Liberty  for  the  people.  Liberty 
for  Art.  The  picture,  exhibited  in  the  Salon  of  1831  was 
bought  by  the  Direction  of  Beaux  Arts,  and  quickly  turned 
with  its  tsice  to  the  wall.  It  is  now  in  a  place  of  honour  in 
the  Louvre. 

In  this  same  year  Delckjroix  made  a  journey  to  Morocco 
with  M.  de  Momay,  which  produced  results  of  extreme 
importance.  This  journey — his  only  distant  one — revived 
all   the  impressions   he   had   received   in   his  childhood   of 


294  A  HISTORY  OF  FRENCH  ART.  Ch.  XIV. 

light,  sun,  colour.  The  strange  people,  their  manners  and 
customs,  their  dehghtful  clothes,  above  all  their  horses 
— for  he  always  had  a  passion  for  well-bred  horses — were  an 
enchantment  to  him.  And  to  this  journey  are  due  such 
pictures  as  **  Muley-Abd-er-Ehaman,*'  **  Les  Convulsionnaires 
de  Tanger,*'  **  Les  Fenmies  d* Alger,"  "  La  Noce  Juive,"  etc. ; 
and  the  numerous  pictures,  sketches,  and  lithographs  of  Arab 
horsemen,  of  Lions  and  Tigers,  which  form  one  of  the  most 
important  contributions  of  the  century  to  the  work  of  the 
**  Orientalists".  But  this  was  only  a  part,  though  a  con- 
siderable one,  of  Delacroix's  work.  He  was  too  great  and 
fertile  an  artist  to  confine  himself  to  one  method  or  line  of 
work. 

Though  war  was  declared  on  him  by  Ingres  and  the  In- 
stitute, though  the  doors  of  the  Academy  were  closed  against 
him  for  five-and-thirty  years,  Delacroix  had  staunch  friends. 
His  varied  social  relations,  the  friendship  of  the  Due  d'Orl^ans, 
the  protection  of  M.  Thiers,  who  had  been  the  first  to  write 
in  praise  of  the  **  Barque  du  Dante,'*  stood  him  in  good  stead. 
And  the  Direction  des  Beaux  Arts  began  to  understand  that 
Delacroix's  greatest  powers  lay  in  decoration.  In  1833  he 
was  entrusted  with  the  decoration  of  the  Salon  du  roi  at 
the  Chamber  of  Deputies  (Palais  Bourbon).  It  was  finished 
in  1838.  In  the  segments  of  the  ceiUng  he  placed  magni- 
ficent reclining  figures — Justice,  War,  Agriculture,  Industries. 
Below  them  in  a  frieze  between  the  archivolts  of  doors 
and  windows,  came  animated  groups  symbolising  these 
abstractions.  On  the  piers  between  the  windows,  eight 
colossal  figures  represented  the  seas  and  rivers  by  which 
France  is  girt  about  and  fertilized.  For  this  work  Dela- 
croix took  counsel  with  one  man  only — **  I'homme  inimitable 
**  et  que  Ton  doit  le  plus  ^tudier,"  as  he  wrote — Veronese. 

The  Salon  du  roi  was  hardly  finished  when  he  received  a 
much  more  important  commission — the  decoration  of  the 
Library  of  the  same  Palais  Bourbon.  A  little  later  the 
cupola  of  the  Library  of  the  Luxembourg  was  entrusted  to 
him.  These  two  works  were  carried  on  together ;  and  left  him 
httle  or  no  time  for  pictures  for  the  Salon.     The  decoration 


1812.1848.  THE  ROMANTICS.  295 

tor  the  Palais  Bourbon  was  a  sort  of  **  r^sum^  of  the  history 
"of  ancient  civilization''.      That  for  the  Luxembourg,  a 
passage  from  the  fourth  canto  of  the  Inferno,  when  Dante 
and  Virgil  reach  the  Limbo  of  Poets  and  Sages. 

His  decoration  of  Heliodorus  for  the  Chapel  in  St.  Sulpice 
in  1850,  was  interrupted  for  some  time  by  two  of  his  most 
important  decorative  works.  The  Salon  de  la  Paix,  at  the 
Hotel  de  Ville,  destroyed  during  the  Commune  in  1871. 
And  the  centre-piece  in  Le  Bran's  great  ceiling  of  the  Galerie 
d'Apollon.  This  central  panel,  which  Le  Bran  had  reserved 
for  his  own  hand,  is  one  of  Delacroix's  masterpieces.  "ApoUon 
vainqueur  du  Serpent  P)rthon  "  is  the  subject.  And  in  reading 
Delacroix's  own  description  of  it  one  might  imagine,  as  M. 
Andre  Michel  says,  that  it  was  wTitten  by  **  the  most 
"  impenitent  classic  ". 

For  Delacroix,  though  he  was  treated  as  the  Scapegoat 
of  Komanticism,  though  he  was  indeed  the  leader  of  the 
movement  after  G^ricault's  untimely  death,  never  indulged 
in  the  extravagances  and  exaggerations  of  those  who  called 
themselves  his  followers.  The  great  dead  were  his  only 
masters.  He  always  venerated  their  methods.  What  he 
did  was  to  bring  back  their  colour,  their  methods,  to  Modern 
Art  in  France.  And  though  the  Institute  only  admitted  him 
to  its  membership  when  he  was  sixty,  and  he  was  there- 
fore debarred  from  a  professorship  at  the  J^cole  des  Beaux 
Arts,  he  was  not  only  willing  but  anxious  to  enter  its  ranks. 
Examples  in  the  Louvre  : — 

La  Barque  du  Dante.     207. 

Scenes  des  Massacres  de  Scio.     208. 

La  Barricade,  or  La  Libert^  guidant  le  peuple.     209. 

Les  Femmes  d'Alger.     210. 

Naufrage  de  Don  Juan.     212. 

Entree  des  Croises  a  Constantinople.     213. 

Portrait  de  Delacroix.     214. 

Bataille     de     Taillebourg    (Galerie     des     Batailles), 
Versailles. 

Les  deux  Foscari,  Corps  de  Garde  Marocain,  water- 
colour  sketch  for  Taillebourg,  Chantilly. 


296  A  HISTORY  OF  FRENCH  ART.  Ch.  XlXV. 

La  Justice  de  Trajan,  Mus^e  de  Bouen. 

Muley-Abd-er-Ehaman,  Mus^e  de  Toulouse. 

Boissy  d'Anglas  a  la  Convention  Nationale,  Mus6e  de 
Bordeaux. 
Decorations : — 

Apollon  Vainqueur,  Galerie  d'Apollon,  Louvre. 

Salon  du  roi,  Palais  Bourbon. 

Bibliothfeque,  Palais  Bourbon. 

Bibliothfeque,  Palais  du  Luxembourg. 
England : — 

Execution  of  Marino  Faliero ;  Faust  and  Mephistc^' 
pheles,  Hertford  House. 
Deveria,  EUGENE-FRAN501S-MARIE- Joseph    {b,   Pari^» 
1810 ;  d,  Pau,  1865). — Eugene  Deveria  is  a  singular  example 
of  a  man  of  one  picture.     Into  that  picture  he  put  all  h^ 
had  to  say.      There  was  nothing  left,  no  reserve  to  dra\^" 
upon,  no  foundation  for  future  growth.     What  he  said,  wa^ 
a  really  magnificent  page  in  the  history  of  the  Bomantic? 
movement.     For  one  moment  he  seemed  to  bid  fair  to  be  su 
rival  of  Delacroix.     The  sensation  made  by  his  "  Naissanc^ 
de   Henri  Quatre,'*  in   1827  was  profound.     The   students 
went  wild.     In  Hersent's   studio  the  casts  of   the  antique 
were  smashed  and  thrown  out  of  the  window  by  the  young 
barbarians,  who  thought  they  had  found  an  artist  superior 
to   Phidias  !     The  critics  talked   of  "  Veronese  " ;  and  the 
enthusiasm  was  immense.     It  was  indeed  an  extraordinary 
work  for  a  young  man  of  seventeen.     It  is  truly  French  in 
feeling ;  and  Venetian  in  richness  of  tone  and  touch. 

Eugfene  Deveria  lived  with  his  elder  brother  Achille,  an 
excellent  artist,  who  abandoned  painting  to  allow  his  brother's 
talent  full  scope,  and  devoted  himself  to  lithography.  Their 
house  was  the  very  centre  of  romanticism.  Artists,  poets, 
writers,  actors,  musicians  all  met  there.  All  eyes  were 
turned  to  the  beautiful  sister  Laura,  while  Achille,  **  always 
**  pencil  in  hand,  exercised  a  great  influence  on  these 
**  artists  *'. 

Nothing  could  have  been  more  promising  than  Eugene 
Deveria's  d^but  and  circumstances.     But  he  had  had  the 


L848.  THE  ROMANTICS.  297 

ortune  of  a  prodigious  success  to  begin  with.  And 
pt  in  his  ceiling  in  the  Louvre  of  the  **  Meeting  of  Louis 
.  and  Pujet  at  Versailles,"  he  never  again  approached  the 

of  the  picture  of  1827.  A  few  years  later  he  disappeared 
L  the  world  of  Art.  Touched  with  a  sort  of  strange 
bicism  he  became  a  protestant,  lived  at  Eaux  Bonnes, 
spent  his  time  in  endeavouring  to  convert  the  invalids, 
w  hthographs,  a  few  portraits,  and  one  picture  which  he 

to  the  Salon  in  1857,  were  all  the  artistic  work  he 
uted  in  these  later  years. 

Naissance  de  Henri  IV.,  Louvre.     250. 

**  Puget  presenting  the  Milo  of  Crotona  to  Louis  XIV. 

in  the  gardens  of  Versailles."     Ceiling.     Louvre. 

Le  Serment  du  roi  (Louis  PhiHppe)  aux  Chambres, 

Versailles.     5124. 

'henavakd,  Paul  (b.  Lyons,  1808). — A  pupil  of  Hersent, 

Chenavard  was  first  known  by  a  sketch  in  the  com- 
ion  opened  in  1833  for  a  picture  for  the  Palais  Bourbon. 

subject  was  **  Mirabeau  apostrophant  le  Marquis  de 
ix-Brez6  "  in  the  Constituant  Assembly  of  1789.  Chena- 
's  sketch  made  a  great  sensation.  Delacroix,  who  was 
oi  the  competitors,  declared  that  it  deserved  the  prize. 

Baron  Gros  showed  off  its  beauties  to  the  admiring 
d.  But  the  drawing  did  not  gain  the  prize. 
L  few  months  later  a  large  drawing  was  exhibited  of  **  The 
mention,"  just  at  the  moment  when  Louis  XVI.  had  been 
emned.  Unluckily  for  the  artist,  Louis  Philippe  was 
kcted  by  this  drawing  when  he  visited  the  Salle  des 
;ins,  for  it  was  of  the  utmost  historic  as  well  as  artistic 
•est.  The  King  recognized  the  portrait  of  his  father; 
was  extremely  annoyed  at  seeing  him  placed  between 
at  and  Santerre.  He  forbade  that  the  drawing  should  be 
bited,  and  had  it  sent  to  the  Tuileries  to  study  it  at  his 
re.  Months  after,  Chenavard  discovered  his  lost  picture 
le  study  of  the  Minister  of  the  Interior,  M.  Thiers, 
ifter  these  unfortunate  experiences  Chenavard  retired  to 
',  where  he  began  long  years  of  study,  **  living  and 
rking,  so  to  speak,  under  the  eye  of  the  great  masters  ". 


298  A  HISTORY  OF  FRENCH  ART.  Ch.  7<iy^ 

During  fifteen  years  he  explored  the  painters  of  each  country. 
Michael  Angelo,   Raphael,   Corregio,   Leonardo,  Titian,   in 
Italy.     Velasquez  in  Spain.     Albert  Diirer  at  Nuremberg. 
Holbein    at    BAle.      Eubens   in   Antwerp.      Eembrant  in 
Holland.     Van  Dyck  at  Windsor.     His  profound  study  of 
each  great  artist,  of  each  school,  was  all  with  one  object  in 
view.     His  ambition  was  to  decorate  the  French  Pantheon. 
And  after  the  Eevolution  of  1848  he  unfolded  his  scheme  to 
M.    Ledru-Eollin.      It  was   a   Universal   Palingenisis — the 
moral  Evolution  of  Humanity,  from  the  noblest  phases  of 
antiquity    to    the    French    Eevolution.      Ledru-Eollin,   as 
Minister  of  the  Interior,  with  half  the  Eevolution  on  his 
hands,  found  time  to  go  through  all  Chenavard's  drawings, 
and  listen  to  his  great  scheme.     After  two  days'  reflection, 
the  work  was  given  to  him.     A  credit  of  30,000  francs  was 
opened.      And  he  tlirew  himself  into  the  gigantic  task  of 
which  he  had  dreamed  for  so  many  years. 

For  four  years  all  went  well.  Besides  forty  smaller 
compositions,  he  drew  eighteen  great  cartoons  6  yards  high 
by  4  or  5  in  width,  drawn  vnth  the  utmost  care  in  '' clair^ 
obscur'\  The  decorations  were  to  be  in  camaieu.  Then 
came  the  Coup  d'etat.  Certain  clerical  influences  were 
brought  to  bear  on  the  work.  Chenavard's  compositions,, 
in  which  philosophy  and  religion  were  mingled,  gave  offence. 
The  Pantheon  was  once  more  turned  into  a  Church.  And  in 
a  single  day  the  result  of  twenty  years'  toil  and  research 
was  stopped.  Only  16,000  of  the  30,000  francs  had  been 
paid.  But  for  this  wretched  sum  Chenavard  allowed  the 
State  to  keep  his  eighteen  Cartoons,  which  thus  cost  less 
than  £40  apiece. 

Chenavard  was  made  Chevalier  of  the  Legion  of  Honour 
in  1853.  But  for  many  years  he  withdrew  from  public  life. 
In  1869,  however,  he  again  appeared  as  a  competitor  for  the 
great  prize  of  100,000  francs  with  his  fine  composition  **  Divina 
Tragedia,"  now  in  the  Luxembourg.  Some  of  the  figures  in 
this  are  of  extreme  beauty,  especially  the  group  of  **  V^niis 
cndormie  et  saiiv^e  par  Bacchus  et  par  V Amour  ". 

Some  of  the  Cartoons  for  the  decoration  of  the  Pantheon 


1812-1848.  THE  ROMANTICS.  299 

are  in  the  Mus^e  de  Lyon.     So  is  his  **  Seance  de  Nuit  de 
la  Convention  **. 

ScHEFFER,  Art  {b.  Dortrecht,  1795 ;  d,  Argenteuil,  1858). 

— The  son  of  a  German  painter,  settled  at  Dortrecht,  Ary 

Scheflfer  came  as  a  mere  lad  to  Paris,  where  he  entered 

Gu^rin's  studio.     Among  the  vehement  young  Eomantics 

and   the   decadent   Classics   he    pursued    a   middle   course, 

endeavouring,  but   in  vain,  to  conciliate  the  two  doctrines 

in  his  own  work.     Attracted  by  Romanticism,  he  turned  to 

it  for  his  subjects  and  his  friends,  while  he  tried  to  adhere 

to  tradition  in  his  treatment  and  composition.     For  a  time 

we  get   the   exquisite  drawing,  purity  of  expression,  lofty 

feeling,  and  frigid  colour  of  his  **  Mignon,'*  his  "  Marguerite  at 

the  Well,"  his  **  Dante  and  Beatrice,"  etc.     Then  he  turned 

more  to  religious  painting — the  **  Christus  Consolator,"  the 

**  St.  Augustine  and  Monica,"  **  Temptation  ".     All  these  are 

well-known  in  England  by  engravings  ;  for  no  French  artist 

of  the  century  enjoyed  so  great  a  vogue  on  this  side  of  the 

Channel  as  **  the  gentle  dreamer,  Ary  Scheflfer  ".     His  touch 

of  sentimentality,  and  his  extreme  purity  of  expression  and 

loftiness  of  feeling,  commended  itself  to  the  public  taste  of 

England    in    a    remarkable    degree.      There    was    nothing 

startling  or  hard  to   be  imderstood  in   his  pictures.      But 

though  a  highly  popular,  if  not  a  great  artist,  Ary  Scheflfer 

as  a  man  did  noble  and  valiant  work  for  art,  in  the  stormy 

days  of  the  Bomantic  and  Naturalist  battles  against  Ingres 

and  the  Institute.     Highly  successful  himself  in  his  gentle 

and  unadventurous  art,  he  was  ready  to  risk  his  own  success 

and  reputation  in  the  defence  of  his  less  fortunate  and  more 

heroic  friends.    Rousseau  and  many  others  had  cause  to  thank 

Ary  Scheflfer  for  his  courageous  and  generous  championship. 

Many  of  his  portraits  are  of  great  value  as  well  as  beauty. 
And  in  his  httle  picture  of  the  **  Death  of  Gericault,"  there  is 
a  touch  of  penetrating,  personal  emotion,  which  gives  it  a  hfe 
and  an  intensity  few  of  his  works  possess.  His  artistic  gifts 
— though  strangely  transmuted  on  the  way — have  descended 
one  cannot  but  feel  to  his  great-nephew,  M.  Ary  Renan.^ 

^  See  p.  425. 


300  A  HISTORY  OF  FRENCH  ART.  Ch.  XlV- 

Examples  in  the  Louvre : — 
La  Mort  de  G^ricault.     838. 
Les  Feinmes  Souliotes.     839. 
La  Tentation  du  Christ.     840. 
Saint  Augustin  et  Sainte  Monique.     841. 
Versailles : — 

Gaston  de  Foix ;  B^ception  des  Hussards  command^ 

par  le  Due  de  Chartres,   2787 ;    Lobau,   1173 ; 

Armand  Carrel. 
Talleyrand ;  Le  due  d'0rl6ans ;  Eeine  Marie  Amelie ; 

Chantilly. 
Portrait  de  Lafayette,  1819,  M.  le  Colonel  Conolly. 
Portrait  de  Lafayette,  1819,  Mus6e  de  Eouen. 
Hertford  House : — 

Marguerite  at  the  Fountain,  Portrait  of  a  Child,  The 

Prodigal   Son,  Francesca  da  Eimini,    Sister  of 

Mercy. 
Child  with  a  Kitten,  E.  A.  Leatham,  Esq. 

Delaroche,  Hippolyte,  dit  Paul  {b.  Paris,  1797  ;  d. 

•  

Paris,  1856). — Pupil  of  Gros,  and  son-in-law  of  Horace 
Vemet,  whose  daughter  he  married  in  Eome  in  1835,  Paul 
Delaroche  for  a  time  seemed  one  with  the  Eomantic  move- 
ment. But  he  was  one  of  those  in  the  thirties  who  endea- 
voured to  conciliate  both  sections,  to  be  the  connecting 
link  that  should  join  together  the  doctrines  of  the  revolution- 
ary Eomantics  under  Delacroix,  and  those  of  the  academics, 
the  Classics,  under  Ingres.  He  made  his  first  appearance 
in  the  Salon  of  1822,  with  a  **  Joas  et  Josabeth,''  and  a 
**  Descent  from  the  Cross  '*.  In  the  famous  Salon  of  1824  he 
exhibited  the  **  Philippe  Lippi  " — **  Jeanne  d*Arc  " — *'  Saint 
Vincent  de  Paul,"  and  **  Saint  Sebastien  ".  His  **  Prise  du 
Trocadero  " — the  three  great  pictures  painted  in  1827-28 — 
increased  his  reputation.  And  in  1831  this  was  confirmed 
by  the  well-known  **  Enfants  d*;fedouard  *\  He  continued 
to  exhibit  till  1837,  when  disgusted  by  the  attacks  of  the 
critics  on  his  **  Charles  I.  insulted  by  Cromwell's  Soldiers'* 
(now  in  the  Bridgwater  Gallery),  he  determined  never  again 
to  exhibit  in  pubUc. 


J18i8.  THE  ROMANTICS.  301 

"Correct,  and  cold/* — no  artist's  reputation  has  ever 
fared  more  disastrous  defeat  and  calamity  from  his  too 
husiastic  disciples,  than  that  of  Paul  Delaroche,  when 
T  his  death  they  organised  an  exhibition  of  his  works, 
•m  that  moment  the  vogue  he  had  enjoyed  for  many 
rs  ceased ;  though  some  of  his  pictures,  widely  known 
)ugh  engravings,  long  represented  the  whole  achievement 
Modem  French  Art,  in  the  eyes  of  the  British  public. 
Examples : — 

Les  Enfants  d'ifedouard,  1831,  Louvre.     217. 

Death  of  Queen  Elizabeth,  Louvre.     216. 

Assassination  of  the  Due  de  Guise,  1835,  Chantilly. 

Prise  du  Trocadero,  1827-8,  Versailles.     1787,  4803, 
4804. 

Decoration  of  the  Hemicycle  of  the  Palais  des  Beaux 
Arts  (1837). 

Strafford,  1837,  Coll.  Duke  of  Sutherland. 

Vainqueurs  de  la  Bastile,  Ville  de  Paris. 

L'Enfance  de  Pic  de  Mirandole,  Mus^e  de  Nantes. 

Abdication  of  Napoleon,  Musie  de  Leipzig. 

Une  Martyr  au  temps  de  Diocl6tien,  known  as  **  The 
Floating  Martyr  *\ 

Marie  Antoinette  aprfes    sa    Condamnation,   Comte 
d'Hunolstein. 


CHAPTER  XV. 

THE  LANDSCAPE  PAINTERS. 

The  eternal  battle  of  the  old  and  the  new,  of  present  effort 
against  mere  tradition,  which  I  traced  in  the  last  chapter, 
now  enters  upon  a  fresh  phase,  with  the  rise  of  the  new 
school  of  landscape  painters. 

At  the  end  of  the  eighteenth  and  beginning  of  the  nine- 
teenth century,  landscape  painting  in  France  had  sunk  into 
an  unequalled  condition  of  decadenca  Since  the  days  of 
Poussin,  Dughet  and  Claude  Lorrain,  no  artists,  save 
Watteau  and  Fragonard,  had  attempted  to  rescue  landscape 
from  the  utter  deadness  and  artificiality  which  had  overtaken 
it.  And  even  Watteau's  delightful  landscapes,  though  extra- 
ordinarily true  to  nature  in  colour,  light  and  atmosphere,  are 
in  a  sense  artificial,  as  was  all  art  in  the  eighteenth  century. 

Such  of  the  classical  artists  as  were  not  servile  imitators 
of  Poussin,  went  out  in  ,the  summer  to  collect  motifs ;  and 
then  mixed  them  up  on  canvas  into  a  carefully  arranged, 
well-balanced  composition,  full  of  cascades,  rocks,  broken 
bridges,  gnarled  and  blasted  trees  and  well-preserved  ruins, 
all  painted  in  those  deadly  browns  that  were  supposed  to  be 
the  colour  of  landscape.  To  these  they  added  groups  of 
heroes,  philosophers,  nymphs,  or  other  personages,  who  have 
as  little  to  do  with  the  landscape  as  each  of  its  parts  has 
with  the  other. 

Take,    for   instance,   the   description   of    the   picture    in 

the  Louvre  by  Victor  Bertin  (1775-1842),  a  **  view  of  the 

**city  of  Phoonos  and  the  Temple  of  Minerva".     **A  river 

**  traverses   the   middle   distance,    and    divides    the   picture 

"  in  two  parts.     In  the  foreground,  on  the  right,  two  men 

'*  cross  a  small  bridge  and  seem  to  direct  four  other   per- 

**  sons  who  land  from  a  little  boat.     On  the  further  bank 

C302) 


1830-1899.  THE  LANDSCAPE  PAINTERS.  303 

"'stands  a  temple  dominated  by  high  mountains.*'  This  is  a 
good  specimen  of  a  classic  landscape  of  the  year  9.  Nature 
as  she  is,  was  never  thought  of. 

But  with  the  beginning  of  the  new  century,  a  new  spirit 
made  itself  felt,  which  may  be  traced  to  two  distinct  in- 
fluences. In  Uterature  Jean  Jacques  Bousseau,  Bemadin  de 
St.  Pierre,  Chateaubriand,  had  already  taught  the  world  to  look 
on  nature  as  something  infinitely  beautiful  and  sacred.  And 
with  the  Bomantics  in  Uterature  came  one  of  her  truest 
worshippers  and  vindicators,  Georges  Sand.  But  yet 
another  influence  was  at  work.  For  in  the  twenties  the 
pictures  of  Constable  and  Bonnington  were  becoming  known 
in  Paris.  We  must  never  forget  that  to  the  school  of  the 
Cromes  and  Constable  belongs  the  honour  of  having  been  the 
first  to  go  back  to  the  teachings  of  the  old  Dutch  and  Flemish 
masters,  and  to  study  nature  honestly.  In  the  Paris  Salon 
of  1824,  Constable  received  a  gold  medal  for  the  Hay  Wain.^ 
And  his  pure  and  brilliant  colour  was  a  revelation  and  in- 
spiration to  French  artists. 

The  **  Bomantics  "  of  whom  I  treated  in  the  last  chapter, 
were  emancipating  the  painting  of  history,  poetry,  and  real 
life,  from  the  classic  trammels.  And  now  a  band  of  men 
arose,  bom  in  the  first  few  years  of  the  century  while  the 
breath  of  Eevolution  was  still  in  the  air,  who  were  to  free 
landscape  from  its  false  and  classic  bonds,  and  paint  nature 
as  she  is,  not  as  they  considered  she  should  be. 

That  these  men  should  meet  with  desperate  opposition 
from  the  school  of  Classic  landscape  was  but  natural.  We 
have  only  to  compare  a  picture  in  the  Louvre  by  Bidault,  with 
one  by  Paul  Huet,  or  still  more  by  Bousseau,  to  see  how  deep 
was  the  gulf  between  the  style,  treatment,  aims,  and  out- 
look on  nature  of  the  two  schools. 

Bidault,  the  first  landscape  painter  admitted  to  member- 
ship of  the  Institute,  on  account  of  his  serious  and  correct 
manner  of  expressing  **  inanimate  nature  " ;  and  Baoul 
Bochette,  the  permanent  Secretary,  were  sworn  to  crush 
this  new  heresy  of  Naturalism.     They  were  backed  by  the 

^  Now  in  the  National  Gallery. 


304  A  HISTORY  OF  FRENCH  ART.  Ch.  XV. 

whole  weight  of  the  Ecole  des  Beaux  Arts  under  the  direction 
of  Ingres.  And  the  bitterness  of  their  opposition  to  the 
brilliant  group  of  landscape  painters,  which  included  Corot, 
Dupre,  Paul  Huet,  Marilhat,  Eousseau,  Diaz,  Daubigny, 
Troyon  and  others,  is  almost  inconceivable  to  us  in  these 
days  of  greater  freedom  of  thought  and  action.  For  thirty 
years  Corot  never  sold  a  picture.  Theodore  Bousseau's 
life  was  marred  and  embittered  to  the  very  end,  by  the 
treatment  he  received  from  those  in  authority.  And  the 
rest  only  slowly  won  their  way  to  favour  and  fame. 

The  aims  and  ideals  of  these  men  were  singularly  diflferent 
from  those  of  their  opponents.  Not  content  merely  to  break 
with  the  classic  and  tedious  landscape  of  the  past,  they 
fought  for  life,  for  truth  in  Art.  **Ils  etaient  ainsi,*'  said 
Th^ophile  Gautier,  **  les  violents  de  1830;  fous  de  poesie, 
**  enrages  d'art,  eperdus  de  verite.'*  They  sought  to  penetrate 
into  the  very  essence  and  being  of  nature — to  hft  the  veil 
that  hides  her  secrets  from  our  duller  eyes.  And  they 
have  taught  us  of  the  nineteenth  century,  amateurs,  artists, 
and  the  public  at  large,  to  see  a  thousand  beauties  in  the 
world  about  us,  which  would  have  remained  unknown  or 
unnoticed  had  they  not  first  been  revealed  to  us  through 
the  pictures  of  these  men. 

This,  known  as  the  French  landscape  school  of  1830,  is 
one  of  the  most  important  artistic  movements  that  has  been 
seen  in  Modem  Europe.  Its  influence  and  results  are  in- 
calculable ;  for  it  has  affected,  in  greater  or  less  degree,  the 
art  of  both  hemispheres.  To  it  we  owe  the  Mauves — the 
Marises — the  Mesdags  of  the  Modern  Dutch  school.  To  it 
we  owe  an  increasing  number  of  the  younger  English  artists. 
To  it  the  growing  American  school  of  landscape,  which 
promises  to  take  an  important  place  in  the  art  of  the  civilized 
world  in  the  next  fifty  years,  almost  owes  its  existence. 
While  on  French  artists  its  influence  has  been  unlimited. 
For  to  all  artists  of  the  latter  half  of  the  nineteenth  century, 
it  has  given  new  standards  of  colour  and  method.  It  has 
given  new  and  lofty  aims  and  ideals.  It  has  taught  them 
to  seek  for  the  poetic  representation  of  nature,  while  at  the 


1830-1899.  THE  LANDSCAPE  PAINTERS.  305 

same  time  they  endeavour  to  give  the  actual  truth  of  her 
endless  moods  and  aspects. 

Before  passing  on  to  the  great  painters  of  1830,  it  is 
necessary  to  speak  of  a  few  of  the  classic  school  who  were 
more  or  less  involved  in  the  movement. 

BiDAULT,  Jean-Joseph-Zavier  (6.  Carpentras,  1758 ; 
d,  1846)  .-r-I  have  already  mentioned  Bidault's  opposition  to 
the  landscape  painters  of  1830.  This  probably  in  future  will 
be  his  strongest  claim  to  fame  ;  although  in  1823  he  became 
a  member  of  the  Institute,  in  succession  to  Prud'hon ;  and 
received  the  Cross  of  the  Legion  of  Honour. 

Paysage,  19 ;  Vue  de  Subiaco,  20 ;   Vue  de  la  Ville 
d'Avezzano,  Louvre,  21. 

Bertin,  Victor  (6.  1775 ;  d.  1825). — Victor  Bertin  was 
also  one  of  the  school  of  Classic  landscape.  But  he  had 
many  distinguished  artists  among  his  pupils — Michallon, 
Cogniet,  Roqueplan,  Corot,  etc.  The  Government,  attracted 
by  his  own  work  and  the  success  of  his  school,  created  a  new 
prix  de  Rome  for  landscape,  which  for  several  years  was 
carried  ofif  by  his  pupils. 

City  of  Phoenos  and  Temple  of  Minerva,  Louvre.     11. 

Aligny,  Theodore  Caruelle  d'  (h.  Chaumes,  1798 ;  d, 
1871). — Aligny  was  also  a  Classic.  But  he  had  a  much 
more  honest  feeling  for  nature  than  his  predecessors.  And 
his  friendship  for  Corot  and  appreciation  of  his  talent  when 
they  met  in  Rome  in  1826,  had  an  immense  effect  on  Corot*s 
work  for  many  years.  His  pictures  are  rigid  in  execution, 
and  composed  with  extreme  care,  according  to  the  best 
traditions  of  the  Classic  school. 

Prom6th6e,  1 ;  and  Villa  Italienne,  2,  Louvre. 

Amalfi,  Fontainebleau. 

Two  Landscapes,  St.  ttienne  du  Mont. 

Michel,    Georges    (6.    Paris,    1763;    d.    1843). — One 

of   the  elder  school,   who  shows  an  admirable   feeling  for 

nature  is  Georges  Michel.     He  might  be  compared  to  the 

Cromes  and  some  of  the  early  English  landscape  painters, 

with   his  pale,  clear  skies,  against   which   dark  trees   and 

almost  always  a  windmill   are  thrown  in  strong  contrast. 

on 


306  A  HISTORY  OF  FRENCH  ART.  Ch.  XV. 

Sir  John  Day  possesses  six  fine  paintings  by  this  dehghtful 
artist. 

Of  **  La  Plaine  "  and  **  Le  Moulin  "  in  the  Retrospective 
Exhibition  of  1889,  Paul  Mantz  said :  **  They  are  excellent 
**  examples  of  the  second  and  best  manner  of  this  solitaire 
**  silencmix,  whose  works,  without  any  trade  value,  found  their 
**  way  noiselessly  into  certain  studios.  .  .  .  Michel  always 
"pays  more  attention  to  the  effect  of  masses  than  to  the 
*'  drawing  of  detail — and  it  is  on  this  point  that  he  was  an 
"initiator — a  latent  one — for  under  the  Restoration  Michel 
**  was  only  known  in  the  purlieus  of  second-hand  dealers."  ^ 
Aux  environs  de  Montmartre,  Louvre.  626. 
Interieur  de   Foret   (palier  de  la   Marine),  Louvre. 

627. 
Six  Landscapes,  Hon.  Sir  John  Day. 
View  near  Paris,  J.  P.  Heseltine,  Esq. 
La  Bouille,  near  Rouen,  E.  E.  Leggatt,  Esq. 
MiCHALLON,  Achille-Etna  {h,  Paris,  1796 ;  d.  1822).— 
Michallon  is  the  first  artist  who  gives  a  suggestion  in  his 
work  of  "  Romantic  *'  landscape.     His  aim  was  to  be  a  second 
Salvator  Rosa.     His  glory,  that  he  was  the  first  to  induce 
Corot  to  take  to  painting  and  study  with  him.     Though  not 
very  Tia'if  himself,  he  encouraged  naivetd  in   his  pupil ;  and 
his  advice  to  Corot  when  he  took  him  into  the  country, 
sounds  like  a  precept  from  the  most  modern  of  teachers  in 
the  present  day.     ''  Se  mettre  en  face  de  la  nature ;  t&cher  de 
'*  la   rendre    exactement  ;    faire   ce   qu*on   voit   et   traduire 
**  rimpression  re9U.*' 

Paysage,   623;    La  Mort  de   Roland,  624;    Th^see 

poursuivant  les  Centaures,  625,  Louvre, 
Two  Landscapes,  Barnard  Castle. 
Flers,  Camille  (6.  Paris,  1802;  d.  1868).— With 
Camille  Flers  we  come  to  one  of  the  regular  Romantic 
school — a  companion  of  Roqueplan,  Decamps,  Paul  Huet ; 
and  the  master,  while  still  a  very  young  man,  of  a  brilliant 
pupil — Cabat.  Flers*  father  was  director  of  the  then  cele- 
brated porcelain  manufactory  of  the  brothers  Nast.      And 

^  Gaz.  des  Beaux  Arts. 


1830-1899.  THE  LANDSCAPE  PAINTERS.  307 

after  studjring  with  an  aged  portrait  painter,  Demarcy,  who 
had  learnt  the  use  of  pa,stel  from  La  Tour,  young  Camille 
was  for  a  time  attached  to  the  manufactory.  He  then 
showed  such  serious  talent  that  he  was  placed  with  Cic^ri, 
the  famous  scene  painter.  Seized,  however,  with  a  desire  to 
see  Brazil,  of  which  a  friend  had  given  him  marvellous 
accounts,  he  started  for  Rio  Janeiro  as  a  cook — drawing 
throughout  the  voyage.  After  acting  as  cook  to  a  planter 
who  treated  him  much  as  a  negro  slave,  Flers  returned  to 
Eio,  and  made  his  dMut  as  a  character  dancer  before  the 
Emperor.  Then,  after  two  years  of  adventures  worthy  of  a 
hero  of  Dumas,  he  found  himself  back  once  more  in  Paris  at 
M.  M.  Nast's  manufactory,  and  settled  down  to  paint  in 
earnest. 

In   1831  he  exhibited  a  Swiss  landscape  at  the  Salon. 

And  then  devoted  himself  chiefly  to  pictures  of  Normandy 

and  Picardy.     In  these  he  irritated  the  academic  artists  by 

daring  to  paint  two  things  that  had  hitherto  been  ignored — 

apple  trees  in  full  blossom — and  the  French  sky  in  its  limpid 

clearness.     **  Flers  excelled  in   a  certain  fine  and  spirittielle 

'*  harmony."     And  he  exercised  a  distinct  influence  on  his 

contemporaries  by  his  technique,  and  his  method  of  giving 

^expressions  of  nature. 

Paysage,  Environs  de  Paris,  Louvre.  286. 
HuET,  Paul  (b.  Paris,  1804;  d.  1868).— **  Paul  Huet 
will  make  a  mark  in  the  history  of  our  epoch 'by  the  part 
he  played  in  the  first  movements  of  the  Artistic  Eenais- 
sance  of  Romanticism.  He  perceived  at  a  time  when  no 
one  any  longer  painted,  that  the  business  of  a  painter  is  to 
*' paint."  ^ 

Much  of   Paul   Huet*s   youth   was   passed    on   the  lie 

Seguin  in  the  Seine,  near  St.  Cloud.     It  is  now  stripped  of 

its  noble  trees,  and  given  over  to  pigeon  shooting,  and  noisy 

^urgeois  restaurants.     But  it  was  then  haunted  by  wood- 

stealers  and   poachers — a  delightful  tangle  of  meadow  and 

forest,  with  huge  elms  like  those  of  an  English  park.     And 

a  singular  analogy  exists  between  the  early  studies  of  Paul 

1  Ph.  Burty. 


>  c 


308  A  HISTORY  OF  FRENCH  ART.  Ch.  XV. 

Huet  on  the  lie  S^guin  in  1820  and  1821,  and  English  land- 
scape painting  of  the  same  date.  The  same  methods  and 
aims  are  apparent  in  both,  though  Huet  had  never  seen 
Constable,  who  did  not  exhibit  in  Paris  till  1824. 

Paul  Huet  was  a  pupil  of  Gros  and  of  Pierre  Gu^rin. 
His  first  real  encouragement  came  from  Delacroix,  who  saw 
some  of  his  studies.     He  was  henceforth  closely  associated 
with  the  Romantic  movement,  and  may  be  considered  to 
belong  more  to  the  Romantic  school  than  to  that  of  the 
hardier  and  more  vigorous  painters  of  nature.     In  1831  he 
sent  four  water-colours  and  nine  oil-paintings  to  the  Salon, 
and  had  an  immediate  success.     As  Michelet  said  of  him, 
"  II  ^tait  ne  triste,  fin,  d^licat,  fait  pour  les  nuances  fuyantes, 
**les    pluies    par   moment   soleill^es.      S'il   faisait   beau,  il 
**restait  au  logis.      Mais  Tond^e  imminente  Tattirait."    A 
perfect  example  of  his  work  is  the  **  Calme  du  Matin  '*  at  the 
Louvre,  which  also  possesses  his  fine  **Inondation  de  Saint 
Cloud  '*.      Paul   Huet   also   illustrated   Paid  et   Virginie  for 
Curmer,  and  published  several  sets  of  admirable  landscape 
lithographs.     But  his  etchings  form  a  most  important  paitrt 
of  his  work  ;   and  his  portfolio  of   six,  published  in  183S 
had  a  lasting  influence  on  Jeanron,  Charles  Jacque,  Daubign"^^ 
and  others. 

L'Inondation  de  St.  Cloud,  Louvre.     412. 

Calme  du  Matin,  Louvre.     413. 

Valine  de  la  Toucque,  Luxembourg. 

Eight  Decorative  Panels,  Hotel  Lenormant. 

Vue  de  Rouen,  Mus6e  de  Rouen. 

Vue  de  Iq.  Campagne  de  Naples,  Musee  de  Bourges. 

Palais  des  Papes  a  Avignon,  Mus6e  d 'Avignon. 
Dupr6,  Jules,^  0.*  {h.  Nantes,  1812 ;  d.  Lisle  Adaurr:^ 
1889). — With  Jules  Dupr^  we  reach  the  leader  and  thinker  ^^ 
the  group  of  landscape  painters  of  1830.  Son  of  a  porcela* 
manufacturer  at  Nantes,  he  began  his  artistic  career  lil^^ 
many  of  his  contemporaries  by  painting  on  china,  at  his  unci  ^ 
M.  Arsfene  Gillet's.  His  first  picture,  exhibited  in  that  memo  ^ 
able  Salon  of  1831,  was  bought  by  the  Due  de  Nemours. 

*  This  artist  should  not  be  confused,  as  he  often  is,  with  Julien  Dupre, 
excellent  animal  painter,  but  of  secondary  importance. 


1830-1899.  THE  LANDSCAPE  PAINTERS.  309 

A  man  of  wide  reading  and  deep  thought,  whose  criti- 
cisms on  all  matters  artistic,  Theophile  Gautier  was  always 
glad  to  obtain,  he  was  the  first  who  showed  the  direct  return 
of  Art  towards  reahty.  He  was  the  initiator  of  the  move- 
ment. The  first  to  conquer  the  truth  of  nature,  the  intimate 
and  delicate  phases  of  landscape.  The  first  who  instinctively 
turned  to  expressive  detail,  the  result  of  close  and  honest 
observation.  The  first  to  reveal  the  beauties  of  the  soil  of 
France — the  forest — the  village — the  pasture  land.  Few 
masters  have  more  finely  interpreted  the  fierce  and  stormy 
effects  of  nature.  Corot  called  him  **  the  Beethoven  of 
Landscape  ".  And  this  is  specially  true  of  his  *'  Marines  ". 
For  his  sea-pieces  were  the  result  of  the  Franco-Prussian 
War,  when  he  was  shut  up  for  six  months  at  his  house  at 
Cayeux-sur-mer.  And  the  agony  of  his  country  seems 
suggested  in  the  noble  gravity  and  sadness  of  these 
pictures. 

In  early  days  Dupr6  used  to  give  a  Spartan  dinner  every 
fortnight,  to  those  who  had  been  maltreated  by  the  Jury  of 
the  Salon.  It  was  always  well  attended.  The  company 
conspired  openly  against  the  tyranny  of  the  Academy ; 
and  endeavoured  to  start  an  organization  based  on  the 
statutes  of  Enghsh  Art  Societies. 

Some  remarkably  fine  examples  of  Dupr^'s  work  are  to 
be  seen  in  the  collection  of  Sir  John  Day.  Mr.  Alexander 
Young  of  Blackheath  also  owns  some.  Many  others  are  in 
New  York  and  Boston  ;  in  M.  Chauchard's  collection  in 
Paris ;  and  in  pubUc  collections  in  France. 
Le  Matin ;  and  Le  Soir,  Luxembourg. 
Port    Saint    Michel,   Paris  ;    and    Soleil    couchant, 

Chantilly. 
Mare  dans  la  for^t  de  Compifegne,  Baroness  N.  de 

Rothschild. 
Passage  d'animaux  sur  un  Pont,   Berri;  etc..  Coll. 

M.  Chauchard. 
Crossing  a  bridge,  Hertford  House. 
Marine — Fishing  boat  in  storm ;  Trees  against  stormy 
sky ;  Pond  vnth  boat,  Hon.  Sir  John  Day. 


310  A  HISTORY  OF  FRENCH  ART.  Ch.  XV. 

Barques  echou^es — clair  de  lune,  General  Hopkinson. 
The  open  sea,  J.  S.  Forbes,  Esq. 

CoROT,  Jean-Baptiste-Camille  (b.  Paris,  1796 ;  d,  Paris, 
1875). — Although   Jnles    Dupr6  must  be  regarded   as  the 
leader  of   the  great  group  of  landscape  painters  of  1830, 
Camille  Corot  was  the  eldest  in  years,  and  will  always  re- 
main the  poet  par  excellence.     The  son  of  a  small  mercer  at 
the  comer  of  the  rue  du  Bac  and  the  Quay,  he  was  for  eight 
years  a  **  commis  "  in  the  cloth  trade.     At  the  age  of  twenty- 
six,  however,   he   at   last   obtained   his   father's   unwilling 
consent  to  abandon   trade  and  devote  himself  to  painting, 
with  an  allowance  of  £60  a  year.     He  first  studied  with 
Michallon.     And  with  him  he  obtained  a  glimpse  of  **  Eo- 
mantic  *'  landscape.    Michallon,  however,  died  a  few  months 
later,  in  1822.     And  Corot  entered  the  studio  of  Victor  Bertin 
(see  p.  305),  one  of  the  leaders  in  Classical  landscape.     Itx 
1826  Corot  went  to  Rome;   and   there  made  the  acquain- 
tance of  Aligny,  whose  influence  left  a  mark  on  his  wortc 
for  many  years.     These  early  pictures  of   Corot's  are    dis--- 
tinguished  by  strong  lines,  precise  drawing,  and  deliberat^^ 
soberness  of  detail. 

For  fifteen  years  he  strove  with  the  traditions  of  Classic^ 
landscape.  But  he  gradually  freed  himself  from  its  trammels^ 
and  developed  a  style  absolutely  his  own. — A  style  in  which* 
with  delicate  and  silvery  colour,  he  endeavours  to  expres 
the  veriest  poetry  of  nature,  while  at  the  same  time  h 
remains  true  to  her  actual  facts. 

His  first  picture,  a  **  vue  prise  k  Narni,"  appeared  in  th 
Salon  of  1827,  hung  between  a  Constable  and  a  Bonnington — - 
And  he  exhibited  regularly,  as  he  was  not  considered  dangerous^ 
or  important   enough  to  merit  exclusion.      But  for  thirt}^'^ 
years  he  never  sold  a  picture.     Alfred  de  Musset  was  the  first    - 
critic  who  observed  upon  his  w^ork,  in  the  **  Salon'*  of  1836. 
And   Gustave   Planche   mentioned   him  in  1837  and   1847. 
Architects  were  not   aware  of   his   existence.     So   that   his 
only  chance  of   decorative  work  was  in  the  studios  of  his 
brother  artists,  who  not  only  loved  the  man  but  admired  the 
master   (see   Daubigny).     Indeed   it  was  not  until  he  w^as 


1899.  THE  LANDSCAPE  PAINTERS.  311 

ly  sixty  that  the  pubhc  began  to  take  him  into  favour, 
when  fame  and  fortune  came  to  **  the  Theocritus  of  the 
h,"  as  he  has  well  been  called,  his  whole  desire  was  to 
those  who  were  less  fortunate  than  himsell 
)ne  of  the  most  lovable  of  men,  Corot*s  pictures  seem  a 
ction  of  his  own  sunny,  tender,  tranquil  nature.  **  Corot*s 
;  is  a  casement  thrown  open  upon  nature,"  Albert  Wolfif 
said.  But  perhaps  his  friend  Jules  Dupr6  best  summed 
is  genius,  when  he  said,  "  Corot  eth^r^e,  le  grand  artiste 
rot,  peignait,  pour  ainsi  dire,  avec  des  ailes  dans  le  dos  **. 
)orot*s  pictures  are  now  well  known  in  London,  and 
ly  appreciated.  Mr.  J.  S.  Forbes*  collection  is  of  special 
•est  and  value,  as  in  it  we  are  enabled  to  see  the  sequence 
growth  of  Corot*s  work  in  some  sixty  canvases,  from 
B  of  his  earliest  pictures  in  Rome,  to  work  done  in  the 
year  of  his  life. 
Examples — Louvre : — 

Une  Matinee,  138;  Vue  du  Forum  Eomain,  139; 
Vue  du  Colys^e  a  Rome,  140;  Chateau  de  St. 
Angelo,  Rome. 

Concert  Champ^tre,  Chantilly. 

La  F^te  Antique,  Musee  de  Lille. 

itangs  de  Ville  d*Avray,  Mus^e  de  Rouen. 

Diane  et  ses  Nymphes,  Musee  de  Bordeaux. 

L'etoile  du  soir,  Mus^e  de  Toulouse. 

Eonde  des  Nymphes,  Coll.  M.  Barbedienne. 

Le  Matin ;  Le  Soir,  M.  Crabbe. 

Biblis,  Coll.  M.  Otlet. 

White  Cliffs  ;  and  Le  Bateleur,  ColL  M.  Mesdag. 

L'arbre  bris^ ;  and  The  bent  tree,  Coll.  Alexander 
Young,  Esq. 

Pastorale,  Souvenir  d*Italie  ;  and  La  Saulaie,  Coll.  J. 
Forbes  White,  Esq. 

Danse  des  Nymphes  (upright),  late  Charles  Dana, 
Esq.,  New  York. 

Danse  des  Nymphes  (oblong),  T.  G.  Arthur,  Esq. 

The  Ravine ;  Les  Bavardes ;  A  hot  day ;  and  eight 
other  pictures.  Coll.  Hon.  Sir  John  Day. 


312  A  HISTORY  OP  FRENCH  ART.  Ch.  XV. 

Le  Lac  ;   Lac  de  Garde  ;   and  many  other  pictures, 
Coll.  J.  S.  Forbes,  Esq. 

Le  H^tre,  Art  Gallery,  Cardiff. 

St.  Sebastien  ;  Macbeth  and  the  witches,  Walters 
Coll.,  Baltimore. 
Rousseau,  Theodore  (6.  Paris,  1812 ;  d.  Barbizon,  1867). 
— Theodore  Rousseau  was  the  son  of  a  tailor,  who  came 
originally  from  Salins  in  the  Jura,  and  the  boy  showed  an 
early  aptitude  for  drawing.  At  thirteen  he  was  taken  by 
an  uncle,  who  had  an  interest  in  some  saw  mills,  to  the 
forests  near  Besangon.  Here  Rousseau  first  experienced  the 
fskscination  of  the  forest.  And  his  uncle  wisely  persuaded 
his  parents  to  allow  him  to  enter  Remond's  studio  in  Paris, 
instead  of  the  £cole  Poly  technique  for  which  he  was  destined. 
The  first  picture  he  painted  from  nature — a  study  from  the 
Butte  Monmartre — already  showed  a  mastery  of  his  brush,  a 
sense  of  pure  air,  clear  light,  and  delicate  detail.  From  1828 
to  1831,  he  worked  in  winter  with  Guillon-Lethiere,  who 
though  a  Classic  was  not  a  bigoted  one  ;  and  in  the  summer 
in  the  open  air  in  Auvergne,  Compifegne,  and  the  environs  of 
Paris.  In  1831  he  sent  his  first  picture  to  the  Salon — **  Pay- 
sage,  site  d'Auvergne  ".  In  1883  he  sent  in  a  '*  Vue  prise  des 
C6tes,  Granville,"  which  is  now  in  Russia;  and  he  began  his 
studies  in  the  Forest  of  Fontainebleau.  In  1834  he  showed 
a  **  Lisiere  de  bois  coup^,  for^t  de  Compifegne,"  for  which  he 
obtained  a  third  medal.  It  was  much  remarked ;  and  was 
bought  by  the  young  Due  d'0rl6ans.  But  instead  of  this 
bringing  him  success,  as  might  have  been  expected,  it  was 
the  beginning  of  his  terrible  struggle  against  misfortune  and 
opposition.  The  landscape  painters  of  the  Institute,  alsmned 
at  his  growing  reputation,  and  at  the  power  of  his  work, 
closed  the  doors  of  the  Salon  to  him.  Two  years  later  they 
refused  his  magnificent  "  Descente  des  Vaches  ** — the  herds 
coming  down  in  autumn  from  the  high  pastures  of  the  Jura. 
And  the  next  year  rejected  his  celebrated  **  Avenue  des 
Ch4taigners  ".  This  was  a  direct  attack  by  the  authorities 
of  that  day  upon  the  supposed  heresy  of  Naturalism.  And 
Rousseau,    finding    that  his  public  career   was    hopelessly 


1830-1899.  THE  LANDSCAPE  PAINTERS.  313 

spoilt,  retired  to  Barbizon,  where  he  lived  almost  entirely, 
in  close  friendship  with  J.  F.  Millet  and  the  other  members 
of  the  so-called  *'  Barbizon "  School,  until  his  death  in 
1867. 

In  1840  he  made  a  journey  with  Jules  Dupr^  into  Berry. 
And  later  on  painted  some  of  his  finest  works  with  Dupr6  in 
the  environs  of  Tile  Adam — such  as  "  Le  Givre  " — the 
"  Lisifere  de  Bois  " — and  finally  the  superb  ''Avenue  de  Tile 
Adam,"  now  in  the  collection  of  M.  Chauchard,  in  Paris,  one 
of  the  greatest  landscapes  of  the  century.  After  the  Revolu- 
tion of  1848,  Rousseau  began  to  be  known  and  appreciated  by 
the  pubhc,  who  for  fourteen  years  had  been  unable  to  see  his 
work  through  the  determined  prejudice  of  the  Classic  school 
in  authority.  But  though  he  received  a  first  medal  in  1849, 
and  the  Legion  of  Honour  in  1852,  though  his  pictures  began 
to  sell  and  he  became  fairly  well  appreciated,  his  life  was  an 
unhappy  and  unsuccessful  one  to  the  end. 

Rousseau's  distinguishing  characteristic  was  that  he  de- 
lighted to  go  deep  into  the  infinite  details  of  nature.     In  his 
pictures  he  gives  us  these — the  delicate  differences  of  plants 
and   weeds,   brushwood,   mosses,  dead   leaves,  pebbles  and 
lichens — without  losing  the  breadth  and  majesty  of  his  picture 
as  a  work  of  art.     The  best  example  of  this  careful  analysis 
of  detail,  and  great  breadth  of  conception  and  execution,  may 
be  seen  in  his  "  Marais  dans  les  Landes  "  in  the  Louvre. 
liousseau  also  was  the  first  to  paint  the  vivid  greens  of  spring. 
And  this  raised  a  furious  outcry  ;  for  the  accustomed  russet 
tree  and  brown  grass  of  classic  landscape,  made  all  other 
-colours  seem  almost  indecent. 

Many  of  his  pictures  have  been  injured,  some  wholly 
destroyed,  by  his  use  of  bitumens.     The  dangerous  prepara- 
tion was  introduced   to   him   by   Ary   Scheffer  ;    and   both 
airtists  paid  dearly  for  the  passing  brilliancy  of  colour  obtained 
ty   its  use.      But  his  later  method  of  successive   delicate 
glazes  of  pure  colour  one  upon  the  other,  produces  the  most 
euperb  effect  in  his  best  pictures.     Rousseau's  influence  on 
liis  contemporaries  and  followers  has  been  immense.     And 
»mong  the  great  French  landscape  painters  he  is  by  some 


314  A  HISTORY  OF  FRENCH  ART.  Ch.  XV. 

given  the  first  place,  because  he  is  in  many  ways  the  most 
complete  master. 

Examples  in  Louvre  : — 

Sortie  de  For6t,  a  Fontainebleau,  coucher  de  soleiU 
827 ;  Lisiere  d'une  For^t,  828 ;  Le  Vieux  Dor- 
moir  du  Bas  Breau,  829 ;  Le  Marais  dans  les 
Landes,  830 ;  Bord  deEiviere,  831 ;  Efifet  d'orage,, 
832. 
Paysage,  Chantilly. 
Avenue  de   rile  Adam ;  and  Effet  d*orage,  Coll.  M^ 

Chauchard. 
La  Descente  des  Vaches,  Coll.  M.  Mesdag,  Hague. 
Le   Givre ;    and  Early  Summer  afternoon,  Coll.  Mr. 

Walters,  Baltijnore. 
Sunset;  Mountain  Eoad ;  Village  Sunset,  etc.,  ColL 

Sir  John  Day. 
Les  Marais,  Coll.  Alex.  Young,  Esq. 
Le  Soir,  Coll.  T.  G.  Arthur,  Esq. 
Several  fine  examples  in  the  Coll.  J.  S.  Forbes,  Esq. 
Clair  Bois,  For6t  de  Fontainebleau,  James  Donald, 
Esq. 
Diaz   de   la  Pena,  Virgilio  Narcisse  {b,  Bordeaux, 
1808;  d.  Mentone,  1876).— Diaz  was  the  son  of  a  Spanish 
bourgeois,  who  fled   to  Bordeaux  for  political  reasons  and 
died   soon   after.      Mme.  Diaz   settled   at   Sfevres   teaching 
Spanish  and  Italian ;  and  on  her  death,  a  Protestant  pastor 
took  charge  of  the  ten-year-old  boy.     Owing  to  the  bite  of  a 
venomous  fly,  while  lying  asleep  on  the  grass  at  Meudon,  the 
boy  lost  his  right  leg ;  but  his  vigorous  temperament  never 
allowed  this  misfortune  to  stand  in  his  way  ;  he  fished,  swam, 
fenced,  and  even  danced  with  the   best.      At   about  fifteen 
he  was  placed  in  M.  Arsene  Gillet's  studio,  to  learn  china 
painting,  where  Jules  Dupre,  Cabat,  and  Eafifet  were  working. 
But  he  soon  tired  of  this  work  ;  and  spent  his  spare  time  in 
painting  Eomantic  and  Eastern  scenes.     About  1830,  while 
he  was  still  painting  on  porcelain,  Diaz  met  Rousseau  in 
Paris  ;    and   this  arcquaintance,  which  ripened  in  course  of 
time  into  the  closest  friendship,  had  an  untold  effect  on  his 


1830-1899.  THE  LANDSCAPE  PAINTERS.  315 

career.     For  Rousseau  taught  him  how  to  use  those  pure  and 
brilliant  colours  which  delight  us  in  his  pictures. 

Diaz  is  the  fantaisiste  of  the  great  group  of  French 
landscape  painters.  None  were  more  truly  original  than  this 
fiery  Franco-Spaniard,  whose  flashing  colour  and  extra- 
ordinary vigour  of  treatment  speak  of  his  southern  origin. 
**  C'est  le  grand  virtuose  de  la  palette,  qui  se  joue  des  diffi- 
**cult6s;  tout  est  chez  lui  du  premier  jet;  ses  ceuvres  sont 
"  fait  de  verve  sous  le  coup  des  enchantements  du  coloris.*'^ 

Diaz  began  by  painting  nymphs  and  bathers,  figure 
subjects  mythologic  and  sacred,  and  oriental  pictures,  in 
which  latter  the  colour  is  so  fine  that  it  seems  incredible  that 
he  never  was  more  than  a  few  hundred  miles  from  Paris. 
All  these  gave  him  that  singular  flexibility  of  brush  and 
pencil,  for  which  he  is  so  remarkable.  But  his  friendship 
with  Rousseau,  and  the  enchantment  of  the  Forest,  caused 
him  to  turn  his  mind  almost  wholly  to  landscape — to  those 
beautiful  forest  pictures  with  Ught  glancing  on  the  tree  stems 
by  w^hich  he  will  always  be  known. 

In  1831  he  exhibited  his  first  picture  in  the  Salon ;  and 
went  to  Fontainebleau  about  the  same  time  as  Rousseau,  in 
1837.  And  by  1844,  though  he  could  still  say  he  was 
**  learning  to  draw,"  he  had  reached  his  full  strength.  He 
produced  with  great  rapidity  and  success  figures,  flowers, 
and  landscapes,  which  were  soon  much  sought  after.  Both 
his  landscapes  and  his  figures  are  well  represented  in  the 
collections  of  Mr.  J.  S.  Forbes,  Mr.  Alexander  Young,  and 
Sir  John  Day.  There  are  also  two  small  pictures  by  Diaz  at 
Hertford  House.  But  there  are  none  in  any  other  public 
collections  in  Great  Britain. 

Examples  in  Louvre  : — 

]&tude  de  Bouleau,  252 ;   Sous  Bois,  253 ;   La  Reine 

Blanche,  254  ;  Les  Boh^miens,  255  ;  La  Fee  aux 

Perles,  256. 

Plafond  de  la  chambre  de  Mme.  la  Duchesse,  Chantilly. 

Les    coupeuses    d*Herbes,   and    twenty-seven    other 

pictures,  J.  S.  Forbes,  Esq. 

1  Albert  Wolff. 


816  A  HISTORY  OF  FRENCH  ART.  Ch.  XV. 

Stormy  sunset,  or  The  fisherman  ;  L*orage  ;  Sous  bois, 
Alex.  Young,  Esq. 

Pond  in  the  Forest ;  and  three  other  pictures,  Hon. 
Sir  John  Day. 

Venus  and  Cupid ;  and  Fountain  in  Constantinople, 
Hertford  House. 

Sous  Bois,  Charles  Roberts,  Esq. 

L'orage,  Walters  Coll.,  Baltimore,  U.S. 

For^t  de    Fontainebleau  ;   The  Bathers,   Vanderbilt 
Coll.,  New  York. 

Someil  des  Nymphes,  J.  Inman,  Esq. 
Troyon,  Constant  {b.  Sfevres,  1810 ;  d.  Paris,  1865).— 
The  father  of  Constant  Troyon,  an  employ^  at  Sfevres,  died 
early,  and  his  widow  supported  herself  and  her  two  sons  by 
making  dainty  little  feather  pictures.  The  boys  began  while 
quite  young  to  earn  their  livelihood  by  painting  on  china  at 
the  manufactory.  But  all  their  spare  time  was  spent  in  roam- 
ing over  the  country  sketching  from  nature.  In  1842  Constant 
Troyon  left  Sfevres  and  went  to  Paris.  And  entering  the 
studio  of  Eoqueplan,  he  found  the  great  school  of  landscape 
painters  in  its  glory.  **  From  the  day  that  he  becsune  a 
**  painter  of  animals,  Troyon  took  a  place  of  his  own  in 
**  the  School,"  says  Charles  Blanc.  And  without  doubt  he  is 
one  of  the  greatest  animal  painters  since  Cuyp  and  Paul 
Potter.  His  animals  are  not  specimens  from  a  show-yard : 
but  living  beasts  in  their  natural  surroundings.  For  Troyon 
was  truly  a  landscape  painter ;  and  the  landscape  in  his 
pictures  is  not  a  mere  setting,  but  as  important  a  part  of  the 
whole  as  the  animals  themselves.  The  weather,  the  time  of 
day,  the  season  of  the  year,  are  all  dwelt  on  with  absolute 
sincerity,  and  have  their  own  value  in  the  picture. 

For  many  years  Troyon  was  hampered  by  the  methods  of 
porcelain  painters.  **  He  was  nearly  forty  before  he  acquired 
''the  power  that  has  since  made  him  famous;  and  all  his 
**  good  pictures  were  produced  in  the  last  fifteen  years  of  his 
*'  life— that  is  between  1850  and  1865."  ^ 

His  famous  '*  Boeufs  allant  au  Labour  "  is  in  the  Louvre ; 

1 D.  C.  Thomson. 


1890-1899.  THE  LANDSCAPE  PAINTERS.  317 

and  the  Cabinet  picture  of  the  same  subject  is  in  the  priceless 
collection  of  M.  Chauchard.  Mr.  J.  S.  Forbes,  Mr.  Alexander 
Young,  Sir  John  Day,  Mrs.  Guthrie,  and  other  English 
collectors  have  fine  specimens  of  his  work.  And  many  of 
his  best  pictures  are  in  America,  in  the  Walters  and  Van- 
derbilt  collections,  and  that  of  Quincy  Shaw,  Esq.,  Boston. 
Examples : — 

Bceufs  se  rendant  au  labour,  Louvre.     889. 

Le  retour  de  la  Ferme,  Louvre.     890. 

Cabinet  picture  of  Les  Boeufs,  Coll.  M.  Chauchard. 

Valine  de  la  Toucque,  Coll.  M.  Chauchard. 

Le  Matin,  depart  pour   le  March6  ;    and  La  Vache 

Blanche,  M.  Prosper  Crabbe. 

Approaching   storm;    and    Landscape    with    Cattle^ 

Hertford  House. 

Daubigny,  Charles  FRAN901S  (6.  Paris,  1817  ;  d.  Paris, 

1878). — Charles  Daubigny  inherited  a  taste  for  painting — his 

father  being  a  second-rate  landscape  painter,  and  an  uncle 

and  aunt  miniaturists.     The  child  was  delicate,  and  was  sent 

to  Valmondois  on  the  Oise,  where  he  grew  to  boyhood  in  the 

delightful  country  he  afterwards  made  his  own.     As  a  mere 

boy  he  painted  decorations  on  clocks,  fans,  glove  boxes,  etc. 

At    seventeen  he  set  up  for  himself ;  and   with  his   friend 

^ignon  contrived  to  save  £56,  upon  which  the  two  lads  started 

on  foot  for  Italy.     But  after  a  year  there,  the  money  being 

exhausted,  they  returned  to  Paris.     In  1838  Daubigny  got 

liis  first  picture  into  the  Salon,  **  The  Apse  of  Notre  Dame 

from  the  East ''.     And  in  1840  he  exhibited  a  **  St.  Jerome 

in  the  Desert  **.     He  then  worked  for  six  months  in  Paul 

Delaroche*s  studio,  and  intended  to  compete  for  the  Prix  de 

Home.      But  owing  to  a  mistake — a  fortunate  one  for  his 

admirers — he  was  prevented  doing  so.     And  he  turned  to  the 

study  of  landscape  which  he  felt  was  his  true  vocation,  while 

tihe  figure  drawing  gave  him  new  power  both  in  appreciation 

of  colour  and  drawing.     His  first  landscapes  were  on  the 

Oise  near  the  house  of  his  old  nurse,  La  Mfere  Bazot. 

From   1841   to   1847   he   sent   landscapes  to  the  Salon 
pretty  regularly,  as  well  as  etchings.    And  these  latter,  which. 


318  A  HISTORY  OF  FRENXH  ART.  Ch.  XV. 

as  I  have  said,  were  largely  inspired  by  Paul  Hnet's  work, 
are  of  immense  value.  **  In  the  latter  mode  of  expression  he 
"  greatly  excelled,  and  a  complete  set  of  Daubigny's  etchings 
**  is  a  veritable  treasure  house. "^  This  was  an  arduous  part  of 
his  life,  for  he  was  working  hard  to  support  not  only  his 
own  family,  but  that  of  his  widowed  sister — painting  all  day, 
and  drawing  illustrations  on  wood  or  stone  at  night.  But  in 
1848  his  circumstances  improved.  He  received  a  second  class 
medal  at  the  Salon  for  his  five  beautiful  landscapes;  and 
the  State  began  to  buy  his  pictures  for  provincial  museums. 
In  1857  he  exhibited  the  well-known  "Printemps,"  now  in 
the  Louvre — a  sort  of  idealization  of  the  very  spirit  of  spring, 
with  its  cloud  of  apple-blossoms  and  young  trees  and  green 
com.     And  henceforth  honours  came  thick  upon  him. 

1866  was  the  year  of  his  first  visit  to  England.  He  was 
invited  by  certain  English  painters — Lord  Leighton  at  their 
head — to  come  to  London,  havincj  that  vear  exhibited  his 
grand  picture  **  Moonlight,"  at  the  Eoyal  Academy,  where  it 
was  so  badly  hung  that  Mr.  H.  T.  Wells,  E.A.,  bought  it  on 
the  opening  day  as  a  sort  of  protest.  The  ten  years  from 
1864  to  1874  were  his  best  period.  It  was  then  that  he 
painted  his  "  Bords  de  la  Cure.  Morvan  " — ^the  "  Villerville 
sur  Mer  " — the  exquisite  "  Lever  de  Lune  " — the  "  Moon- 
Ught  on  the  Oise,"  and  many  more.  The  delightful  repose 
and  calm  of  his  pictures  make  them  some  of  the  most  popular 
of  all  the  French  landscape  school.  He  was  greatly  in- 
fluenced by  Corot,  who  looked  upon  him  almost  as  a  son. 
And  almost  Daubigny's  last  words  on  his  deathbed  were— 
**  Adieu  !  Je  vais  en  haut  voir  si  lAmi  Corot  ma  trouve  des 
**  motifs  de  paysage  ". 

Examples  : — 

Les  Yendanges  en  Bourgogne,  Louvre.     184. 

Le  Printemps,  Louvre.     ISo. 

Saint  Cloud,  Chantillv. 

Lever  de  Lune.  Van  Gogh  Coll. 

Villerville  sur  Mer,  M.  Mesdag. 

Bords  de  la  Cure,  Morvan  ;  St.  Paul's  from  the  Surrey 

*  D.  C.  Thomson, 


30-1899.  THE  LANDSCAPE  PAINTERS.  319 

side ;  Mantes ;  Hauling  the  Nets,  Alex.  Young, 
Esq. 
Moonlight  on  the  Oise,  etc.,  J.  S.  Forbes,  Esq. 
Marine — Sunset  over  dark  blue  sea ;  The  Storks ;  and 

four  others,  Hon.  Sir  John  Day. 
Return    of    the    flock,^    G.    A.    Drummond,    Esq., 
Montreal. 
Chintreuil,   Antoine    ( b.   Pont    de  Vaux,   1816  ;   d. 
epteuil,   1873). —  The    landscapes   of    Chintreuil   are   but 
jldom  mentioned  among  the  works  of  the  landscape  painters 
f  1830.     His  two  large  and  lovely  landscapes  in  the  Louvre, 
re  admirable  examples  of  the  artist's  work,  which  ought  to 
5  better  known.     They  are  specially  remarkable  for  their 
are  and  brilliant  colour,  for  their  atmospheric  qualities,  and 
>r  the  infinite  delicacy  with  which  the   painter  expresses 
assing  effects.     The  flat  plain  bathed  in  delicate  sunlight, 
'hich  he  calls  "Pluie  et  soleil,"  as  the  light  rain  clears  off, 
1  extremely  beautiful. 
Examples — Louvre  : — 

Pluie  et  Soleil,  125  ;   L*espace,  123 ;   Le  Bosquet  aux 

chevreuils,  124. 

Effet  de  Soleil  a  travers  le  brouillard,  Mme.  Esnault- 

Pelletrie. 

Jacque,  Charles  (b.  Paris,  1813  ;  d.  1894). — A  Parisian 

orn,  like  so  many  of  the  most  devoted  nature-painters  of  the 

rench  landscape  school,  Charles  Jacque  began  his  artistic 

ork  by  wood  engraving  and  etchings  for  book  illustrations. 

e  began  painting  in  1845,  at  which  time  he  was  closely 

sociated  with  Eousseau  and  Millet.     From  that  time  he 

Voted   himself  to  animals  and  landscape.     His  flocks  of 

Sep,  whether  feeding  quietly  in  the  open  or  along  the  edge 

the  forest,  while  a  shepherd  or  shepherdess  watches  them 

the  shade  of  the  heavy  foliaged  oak  trees,  or  pressing 

gerly  into  the  fold  or  the  bam,  are  well  known  and  always 

lightful.     His  studies  of  poultry  are  also  admirable.     He 

d  a  special  liking  for  cocks   and  hens,  raising  quantities 

Itself,  and  painting  their  ways  with  insight  and  humour. 

^  This  was  Daubigny's  last  picture. 


320  A  HISTORY  OF  FRENCH  ART.  Ch.  X^^ 

Sir  John  Day  has  an  inimitable  Httle  picture  of  the  "  bass^ 
cour  " — a  delightful  study  of  bird  character. 

Though  a  less  powerful  artist  than  his  great  associates^ 
Charles  Jacque  is  well  worthy  of  his  place  in  the  group  p; 
and  gained  an  honourable  and  meritorious  position  in  nine- 
teenth century  art.  He  was  one  of  those  who  proposed  to- 
form  a  Nouvelle  Society  in  1847,  as  a  protest  against  the  old 
Jury  of  the  Salon.  And  later  he  also  wished  to  found  a  "  Society 
des  Animaliers  "  on  the  same  lines  as  the  "  Aquarellistes  ". 

Troupeau  de  Moutons,  Luxembourg.     166. 

The  Flock,  200 ;  and  Forest  Scene,  227,  Mappin  Art: 
Gall.,  Sheffield. 

Cr^puscule,  Corp.  Art.  Gall.,  Glasgow. 

The  Approaching  Stonn  ;  and  Forest  Pastures,  Eightz 
Hon.  Sir  H.  D.  Davies,  M.P. 
Harpignies,  Henri,  0.  *  (6.  Valenciennes,  1819). — M- 
Harpignies  is  almost  the  last  survivor  of  the  great  group  oE 
landscape  painters  of  1830.     **  Born,  with  Courbet,  in  1819' 
** — that    is    seven    years    after    Eousseau  .   .   .  Harpigniesa 
**  worked   with  the  older  men  of  1830  quite  as  much  as  a. 
**  companion  and  fellow-labourer  as  a  pupil  and  follower  .  .  . 
"  and  without  him  the  renascence  of  art  in  our  century  had 
**  wanted  a  characteristic  note."  ^     Harpignies  was  a  pupil  or 
Achard.     He  also  studied  in  Italy  ;  and   on  his  return  to- 
France  in  1852,  he  at  once  became  one  of  the  new  school  of 
landscape  painters.     In  1853  he  had  two  landscapes  in  the 
Salon — "  Vue  prise  dans  Tile  de  Capri  "  and  **  Chemin  Creux, 
**  efifet  de  Matin,  environs  de  Valenciennes  ".     Thirteen  years 
later,  in  1866,  he  received  his  first  medal.     In  1875  he  was 
made  Chevalier  and  in  1883  Officier  of  the  Legion  of  Honour, 
and  received  the  Grand   M^daille  d'Honneur  at   the  Salon 
of   1897.    Many  of  his  pictures  have  been  painted  on   the 
Allier  and  the  Loire,  which  gave  scope  for  the  composition 
he  loves — rocky  ground  and   straggling,  wind-driven  trees, 
against  the  river  and  the  clear  sky.     But  he  has  also  painted 
a  good  deal  on  the  Eiviera,  and  the  Campagna  of  Eome.    This- 
artist,  who,  as  Mr.  Charles  Perkins  has  well  said  **  stands  in 

*  R.  A.  M.  Stevenson. 


1830-1899.  THE  LANDSCAPE  PAINTERS.  321 

**  the  first  rank  of  living  French  Painters,"  has  been  httle 

known   on   this    side   of    the    Channel,   until   M.    Obach's 

admirable  exhibition  of  his  works  in  April,  1896,  revealed 

him  to  the  English  public  as  a  great  nature  painter  both  in 

oils  and  water-colours.     Sir  John  Day  has  some  admirable 

examples  of  his  work,  which  maintains  all  its  best  quahties 

to-day. 

Le  Colis^e ;  Lever  de  Lune ;  Un  Torrent  dans  le  Var, 

Luxembourg. 

Chemin  Creux,  1853 ;  Un  Sauve  qui  pent,  1857,  Musie 

de  Valenciennes. 

Vue   prise    dans   le   Morvan    (water-colour),    Musie 

d 'Orleans. 

Sohtude,  which  gained  the  Medaille  d'Honneur,  Salon 

1897,   and   five   other   fine   examples,   Hon.   Sir 

John  Day. 

Sentier  de  St.  Prive,  Alexander  Young,  Esq. 

PoiNTELiN,  AuGUSTE  Em.,  0.  *   (6.   Arbois,   Jura). — M. 

Pointehn,  among  the  living  artists  of  France,  gives  us  subtle 

8.nd  poetic  renderings  of  nature,  which  are  of  great  beauty 

*nd  value.     He  is  more  in  sympathy  with  the  art  of  Corot 

than  that  of  the  Impressionist  painters  of  landscape.     His 

pictures  in  the  Salon  of  1897  were  considered  a  triumph  of 

*ii8  art 

Soir  de  Septembre,  231 ;  C6tes  du  Jura,  vues  de  la 

plaine,  232,  Luxembourg. 

Prairie  dans  la  C6te  d*Or,  Musie  de  Sens. 

Cdteau  Jurassien,  Musee  de  Besan9on. 

MoNTBNABD,   FREDERIC,  *  (b.   Paris). — M.    Montenard, 

^ho  was  created  a  Chevalier  of  the  Legion  of  Honour  in 

-'-SQO,  has  been  successively  a  pupil  of  Dubufe,  of  Mazerolles, 

^f  Delaunay,  and  of  Puvis  de  Chavannes.      He  has  made 

^Ixe  south  of  France  his  own  ;  living  between  Toulon  and 

•^yeres.     And  no   artist   in   France  knows   better  how   to 

^^nder  the  light  and  hot  sunshine,  the  white  dusty  roads, 

^he  blue  sky  and  sea,  and  the   fierce   rush  of   the  mistral, 

^^  the  land  of  OHve  and  Cypress.      M.   Montenard's  pic- 

^res  may  be  seen  in  every  salon.     And  the  Luxembourg 

21 


322  A  HISTORY  OF  FRENCH  ART.  Ch.  JCT^. 

possesses   a   fine   sea-piece  of  the   **  Correze    sailing    from 
Toulon  ". 

La  Corrfeze  quittant  la  rade  de  Toulon,  Luxembourg. 

67. 
Village  de  Six-Fours,  pres  Toulon,  Musie  de  Niort 
Two  Landscapes,  M.  le  Dr.  Cazalis,  Cannes. 
Dans  les  Vignes,  Provence,  1892 ;  French  Battleship, 
1897,   Coll.   John  Nicholas    Brown,   Esq.,   Pro- 
vidence, E.L 

YoN,  Ch.  Edmond,  *  (6.  Paris,  1836),  is  best  known 
as  an  engraver.  Many  of  his  original  wood  engravings 
are  of  great  value.  But  the  "Pont  Valentri  a  Cahors," 
now  in  the  Luxembourg,  shows  that  his  landscapes  in  oil  are 
of  high  excellence. 

VuiLLEFROY,  Felix-Dominique,  *  (6.  Paris,  1841),  a  pupi 
of  Hubert  and  M.  Bonnat,  is  an  excellent  animal  and  land- 
scape painter,  as  may  be  seen  by  **  Le  Eetour  du  Troupeau, 
1880,  Luxembourg;  and    **Dans  les  Pres,*'  1883,  Luxenci-- 
bourg.     This  last  has  been  engraved  by  Yon. 

Cabat,  Louis,  0.  *,  M.  DE  lInstitut  {b.  Paris,  181S  » 
d.  1893). — A  pupil  of  Flers,  and  a  contemporary  of  Roussea— ^^ 
and  Diaz,  he  appeared  first  in  the  Salon  of  1833 — exhibitii^  *\ 
two  pictures  in  the  Indre — **  Le  Moulin  de  Dompierre, 
Picardy — and  ''  Un  Cabaret  a  Montsouris ".  The  ne: 
year  came  the  **Ville  d'Avray,**  now  in  the  Luxembours^  ^ — 
For  a  while  it  seemed  as  if  M.  Cabat  was  to  belong  d< 
finitively  to  the  Romantic  and  Naturalist  camp.  But  aft< 
a  time  he  deserted  to  the  more  academic  painters ;  thouj 
he  always  retained  a  strong  personal  affection  for  his  mast( 
Flers,  and  for  those  with  whom  he  was  associated  in  thoj 
moving  times.  He  was  made  director  of  the  French  Act 
demy  at  Rome,  in  1879. 

GuiLLEMET,  I.  B.  Antoine,  0.  *  (6.  ChantiUy,  1842),  - 
pupil  of  Corot,  has  a  serious  and  poetic  landscape,  **  Bercri^^J 
en  Dicembre,**  in  the  Luxembourg. 

FRANfAis,  FRANgois-Louis  ( b.  Plombiferes,  1814  ;  -^• 
1897),  one  of  Corot 's  most  faithful  and  devoted  disciples,  ^^ 
represented  in  the  Luxembourg  by  a  *'  Fin  d*Hiver  "  of  gre^** 


1830-1899.  THE  LANDSCAPE  PAINTERS.  323 

beauty,  which  shows  the  influence  of  the  master  and  friend 
who  died  in  his  arms.  A  most  striking  and  interesting 
portrait  of  Fran9ais  was  painted  in  1897,  a  few  weeks  before 
his  death,  by  M.  Carolus-Duran.  This  is  now  in  the  Luxem- 
bourg— a  precious  addition  to  that  great  collection.  The 
greater  part  of  M.  Fran^ais'  work  has  been  reproduced  in 
eaux-fortes,  or  wood  engravings.  He  furnished  numerous 
drawings  for  illustrated  books. 

BiLLOTTE,  Ren6,  *  (b.  Tarbes),  a  pupil  of  Fromentin, 
is  beginning  to  be  better  known  in  London  than  most  con- 
temporary French  painters  of  landscape.  He  is  the  painter 
of  Snow  and  of  Quarries.  "  La  Neige  a  la  Porte  d'Asniferes," 
Liiixembourg,  is  a  fine  example  of  his  work.  And  his  contri- 
butions to  the  Salon  of  the  Champ  de  Mars,  1898,  were  of 
a  high  order  of  merit — true  to  nature,  and  full  of  real  appre- 
ciation of  colour  and  poetic  insight. 

IwiLL,  Marie- Joseph,  *  (b,  Paris),  among  the  younger 
painters  holds  a  foremost  place.  His  eight  pictures  in  the 
Champ  de  Mars  in  1897  were  one  of  the  most  important 
contributions  made  by  any  landscape  painter  that  year.  His 
**  Assisi "  was  most  striking,  with  the  brown  bed  of  the 
Tiber  below.     So  also  was  **  Les  Graves  de  Berck'*. 

Adan,  Louis-]fcMiLE  (6.  Paris,  1839),  pupil  of  Picot  and 
Cabanel — (See  Imaginative  Painters).  Damoye,  Pierre 
Emmanuel  {b.  Paris),  pupil  of  Corot,  Bonnat,  and  Daubigny 
— ^IjE  Poittevin,  Louis  (6.  La-Neuville),  pupil  of  M. 
fiouguereau,  must  also  be  mentioned,  though  space  fails  to 
enumerate  more  of  the  admirable  landscape  artists  of  the 
day. 


CHAPTEE  XVI. 

THE  PEASANT  PAINTERS. 

The  great  struggle  for  liberty  and  truth  in  Art,  begun  by 

G^ricault  and  Delacroix,  and  carried  on  by  the  landscape 

painters  in  the  thirties,  reached  a  further  stage  in  the  forties. 

For  twenty-five  years  the  public  and  the  Institute  had  waged 

war  against   the   Komantics   who  rebelled   against  a  false 

classicism,  and  the  Naturalists  who  dared  to  paint  nature 

as  they  saw  it.     They  now  found  themselves  confronted  with 

a  fresh  development — one  destined  to  afifect  the  art  of  the 

whole  civilized  world — confronted  with  two  men  to  whom 

the  honour  belongs  of  having  once  and  for  all  defied  and 

shaken  off  the  oppressive  and  deadening  tyranny  of  academic 

tradition — with  two  men  who  dared  to  paint  the  human 

beings   about    them  with  the  same  passion  for  truth,  that 

their  friends  and  associates  showed  in  landscape. 

These  men — '*  the  Eealists,''  as  they  were  contemptuously 

called — have  completed  the  work  of  the  modem  revolution. 

They  have  changed  the  whole  modem  outlook  on  Art.    They 

have   shown  us  the  truth.     They  have  shown  us  that  the 

peasant  is  no  longer  a  sort  of  stage  property,  merely  to  be 

used  to  embellish  a  landscape,  set  up  in  becoming  clothes 

with  a  lamb  or  a  milkpail  at  the  turn  of  a  road  or  the  corner 

of  a  wood.     They  have  shown  us  that  there  is  deep  signi^ 

ficance — poetry,  pathos,  tragedy  and  comedy,  in  the  everyday 

life  of  the  fields  and  of  the  workshop.     They  have  shown  u 

that  the  painter,  if  he  would  indeed  be  a  **  reahst,*'  must  s 

the   spirit   as   well   as   the  mere  matter.      That  there  ar^ 

beautiful  as  well  as  ugly  sides  to  life.     That  the  artist  wh 

chooses  what  is  merely  hideous   or   revolting,  is   as  littL*^ 

worthy  to  be  called  a  realist,  as  the  other  who  refuses  U  ** 

see  that  beautiful  young   women  with   smooth  hair,  whi 

(324) 


1848-1884.  THE  PEASANT  PAINTERS.  325 

hands,  and  untanned  skin,  are  not  commonly  found  gleaning 
3om  or  herding  cattle  in  French  fields. 

To  Gustave  Courbet  and  Jean  Fran9oi8  Millet  this  great 
revolution  is  due. 

The  **  Discovery  of  the  Peasant,"  as  it  has  been  called, 
svhich  created  so  wild  an  outcry  in  the  middle  of  the  century, 
is  now  not  only  an  accepted  fact,  but  its  results  are  seen 
n  every  exhibition  we  enter.  In  France,  in  England,  in 
BoUand,  in  Belgium,  in  America,  every  show,  little  or  big, 
jwarms  with  Peasant  Life,  and  le  brave  ouvrier.  And  we  are 
ipt  to  forget  that  before  the  advent  of  J.  F.  Millet,  Gustave 
Uourbet,  and  later  on  Bastien-Lepage,  pictures  of  the  actual 
peasant,  in  the  joys  and  the  sorrows  of  his  life,  were  absolutely 
ion-existent.  And  further — what  gives  such  deep  value  and 
significance  to  this  movement  is,  that  these  men  painted  the 
ife  that  was  their  own,  the  people  and  places  and  animals 
fcmong  which  they  had  lived  from  childhood.  In  a  word, 
;he  pictures  of  these  men  are,  one  and  all,  the  expression 
)f  the  Democratic  Spirit.  And  the  more  true  they  are — 
he  nearer  they  get  to  the  spirit  of  the  fields,  the  woods, 
he  workshop,  the  bam — the  closer  they  keep  to  the  actual, 
Jways  seen  with  that  divining  of  the  hidden  truth,  that  we 
all  "  the  artistic  sense'* — so  much  the  finer  are  their  pictures 
s  works  of  Art. 

Moreover,  the  individual  temperament,  and  the  race 
istincts  of  each  of  these  artists,  leave  their  distinct  traces 
n  his  work.  The  French  peasant,  the  peasant  of  the  north 
specially,  is  by  nature  serious  and  grave,  with  a  touch  of 
melancholy.  "  L'ouvrier  de  Paris  est  un  r^volt6 — le  pay- 
san  au  contraire  est  un  r^sign^,"  it  has  been  well  said. 
L.nd  that  resignation  is  nowhere  more  strongly  shown  than 
a  the  works  of  J.  F.  Millet,  the  peasant  painter.  For  he, 
•nd  his  successor,  Bastien-Lepage,  painted  their  own  life, 
he  hfe  of  their  families,  the  Hfe  of  their  villages.  With 
^lillet  and  Bastien-Lepage  we  get  the  peasant  as  they  knew 
^ini,  each  in  their  own  province.  The  peasant  of  Normandy 
Qd  the  Seine-et-Mame — the  peasant  of  the  great  plains  of 
^^  Meuse.    With  Courbet,  the  revolutionary,  we  get  not  only 


326  A  HISTORY  OF  FRENCH  ART.  Ch.  XVI. 

the  life  of  the  Jura  peasant — the  life  of  the  Jura  forests  with 
its  roedeer  and  its  hounds — but  the  life  of  the  "  rivolW 
— of  the  workman  of  the  city,  the  maker  of  Smeuia, 
the  builder  of  barricades.  While  Lhermitte  shows  that 
although  he  has  travelled  by  another  road,  he  has  ako 
arrived  at  the  truth.  He  is  with  the  people,  not  of  them. 
In  his  pictures  we  feel  that  it  is  an  expression  of  the  dramatic 
sense,  the  strong  sympathy  of  the  artist  who  apprehends  the 
situation.  Not  the  man  of  the  people  painting  the  drama  of 
his  own  life. 

When,  however,  we  come  to  the  work  of  the  highly 
popular  artist,  Jules  Breton,  we  feel  at  once  that  his  pictures, 
charming  as  they  are,  lack  the  truth,  the  force,  the  power, 
that  **  v6rit6  qui  empoigne,'*  in  fine,  the  very  qualities  which 
make  the  work  of  the  other  artists  of  such  extreme  value 
to  the  Art  of  the  nineteenth  century.  Jules  Breton  is  a 
painter  of  pleasant  things,  of  beautiful  things — yet  of  things 
not  as  they  are,  but  as  they  might  be  in  some  better  world. 
We  see  that  although  there  was  a  certain  feeling  for  truth  in 
some  of  his  earliest  pictures,  such  as  the  *'  Benediction  des 
Bl^s,"  this  was  cast  aside  for  deliberate  compositions,  painted 
from  carefully  selected,  pre-eminently  suitable  peasant  models. 
His  pictures  are  not  pictures  of  real  people,  in  the  joys  and 
sorrows  and  hardships  of  their  everyday  life.  They  are  not 
pictures  of  real  people  painted  out  of  doors,  in  the  air  and 
light  of  the  country  in  which  they  live. 

**  engager  I'id^al  du  r^el,  c*est  bien  la  le  travail  de  Tartiste, 
**  et  qu'est  ce  que  I'ldeal  dans  I'Art  si  ce  n*est  Tessence  du 
**Vrai."^  It  is  the  truth  that  these  men  have  taught  us. 
It  is  the  truth  henceforth  that  we  demand ;  not  some  pretty, 
untruthful  idealism,  from  which  we  must  sooner  or  lat^r 
shake  ourselves  free.  We  want  the  real  truth.  Not  a  mere 
sordid  imitation  of  the  outside  of  things :  but  the  greater 
truth,  "  I'essence  du  Vrai,"  which  gives  us  not  only  the 
faithful  rendering  of  the  outer  semblance,  but  the  hidden 
spirit,  that  inner  radiance  which  is  the  life. 

Millet,  Jean-Franpois,  *  (6.  Gr^ville  (Manche),  1814 ;  d. 

^  Charles  Blanc. 


I 


1848-1884.  THE  PEASANT  PAINTERS.  327 

Barbizon,  1875). — Jean  Fran9ois  Millet  came  of  good  peasant 
stock,  who  had  lived  for  many  generations  in  the  hamlet  of 
Gruchy,  in  the  Commune  of  Griville,  near  Cherbourg.  His 
father,  though  he  worked  hard  in  the  fields  was  an  artist  at 
heart,  alive  to  the  beauties  of  nature.  "  Normandy  peasants 
"  are  hke  Scottish  country  folks,  for  though  generally  poor 
"they  are  frequently  very  well  trained  and  deeply  read.'* 
And  at  eighteen,  when  his  father,  seeing  the  lad's  talent, 
consented  to  his  going  to  Cherbourg  to  learn  to  paint,  Jean 
Fran9ois  could  read  his  Bible  and  his  Virgil  in  Latin  ;  and 
these  remained  his  favourite  books. 

For  a  time  he  studied  with  Mouchel  in  Cherbourg,  who 

prophesied  he  would  be  "  a  great  painter  ".     But  in  1835 

his   father's  death  forced  him,  as  eldest  son,  to  return  to 

Gruchy  to  manage  the  farm.     This  he  did  quite  simply,  with 

calm  resignation.     His  mother  and  grandmother,  however, 

realized  the  immense  sacrifice.     And  in  1836  they  sent  him 

back  to  Cherbourg,  where  he  worked  with  Langlois,  himself 

a.  pupil  of  Gros.     Langlois,  who  Millet  was  already  able  to 

help   with  his  pictures,  obtained  a   grant  for  him  of  £16 

a.    year  from   the   Municipal   Council  of  Cherbourg.     This 

^was  increased  by  the  council  of  the  province  to  £40 ;  and  in 

December,  1836,  he  started  for  Paris.     Here,  after  a  time, 

lie  entered  Paul  Delaroche's  studio,  where  the  master  disliked 

liim  and  he  learnt  little.    In  the  next  few  years  he  supported 

liimself  by  painting  nude  figure  pictures  and  portraits  ;  and 

in  1840  sent  a  portrait  of  his  father  to  the  Salon.    It  however 

xnade  no  impression.     At  Cherbourg  he  was  asked  to  paint  a 

"portrait  of  the  deceased  mayor  from  a  miniature.     And  here 

liis  respect  for  truth  began  to  stand  in  his  way.     For  he  used 

a  model  for  the  hands  of  his  portrait ;  and  this  model  was  a 

labouring  man,  who  had  also  been  in  prison.      That  the 

respected   late   mayor's   hands   should    be   painted    from   a 

criminal,    deeply   shocked   the    excellent   provincials.      The 

council  refused  to  pay  for  the  picture ;    and  many  of  his 

friends  turned  against  him. 

In   1841   Millet  married  Mile.  Pauline  Virginie  Ono  of 
Cherbourg;    and  went   to  Paris  in  1842,  when  a  portrait 


328  A  HISTORY  OF  FRENCH  ART.  Cbl  XVL 

was  refused  at  the  Salon.  In  1844  he  sent  in  the  "  Laiti^re  " 
in  oils,  and  **  La  Legon  d'fequitation  "  in  pastel.  This  latter 
"  was  greatly  admired  by  Diaz  for  its  colour,  and  by  Thore 
**  for  its  harmony  *'}  This  was  the  one  ray  of  light  in  years  of 
poverty,  distress,  and  discouragement.  For  his  troubles  grew 
apace ;  and  as  a  climax,  in  April,  1844,  his  wife  died. 

The  next  year  matters  began  to  mend  a  little.  His 
portrait  painting  grew  more  popular  in  Cherbourg.  He  was 
even  offered  the  post  of  drawing-master  to  the  College,  which 
he  declined.  And  as  he  could  not  bear  to  face  Paris  again 
without  a  home,  at  the  end  of  the  year  he  married  Mile. 
Catherine  Lemaire  of  Cherbourg — the  devoted  and  courageous 
Madame  Millet,  who  only  died  in  1896.  On  their  way  to 
Paris,  Millet  and  his  wife  spent  a  month  at  Havre,  where  he 
painted  many  portraits  and  the  "Ofifering  to  Pan,"  now  at 
MontpelUer,  and  also  had  a  small  exhibition  which  brought 
him  popularity  and  a  little  money.  At  this  period  he  painted 
numbers  of  small  pictures  of  nude  figures  with  great  skill. 
But  on  accidentally  hearing  himself  called  **  Millet,  who  only 
paints  naked  women,"  he  determined  to  give  up  the  nude 
entirely.  This  is  a  matter  of  regret,  for  such  a  picture  as 
**  L* Amour  Vainqueur  "  ^  is  of  the  highest  value  for  its  beauti- 
ful drawing  and  sentiment  as  well  as  for  the  richness  of  its 
colour. 

Millet  now  began  to  gather  friends  about  him — Diaz  was 
the  first  and  the  warmest.  His  picture  of  **  CEdipus  taken 
from  the  tree,"  was  well  noticed  in  the  Salon  of  1847  by 
Th^ophile  Gautier  and  Thore,  who  both  prophesied  that  the 
painter  would  become  famous.  In  the  same  year  he  drew 
the  well-known  crayon  portrait  of  himself.  And  in  the  year 
of  revolution,  though  only  just  recovering  from  severe  illness, 
he  sent  his  **  Vanneuse  "  to  the  Salon,  where  it  was  given  a 
place  of  honour  in  the  Salon  Carr^.^ 

In  1849  Millet  left  Paris,  taking  his  wife  and  babies  to 
Barbizon.     This  move  was  partly  to  avoid  the  cholera  :  but 

*  D.  C.  Thomson.  «  Collection  of  J.  S.  Forbes,  Esq. 

^  This  picture,  sold  at  the  Secretan  Sale,  was  burnt  in  a  disastrous  fire  in 
America. 


1848-1884.  THE  PEASANT  PAINTERS.  329 

chiefly  because  he  longed  for  the  pure  country  air  to  breathe, 
and  for  peasants  to  paint.  Bousseau  and  Diaz  were  already 
settled  there.  And  here  Millet  made  his  real  home.  He  had 
now  found  his  true  vocation.  To  the  Salon  of  1850-51 
he  sent  one  of  his  finest  pictures  —  the  first  "  Sower "  ; 
followed  in  1851  by  **  Going  to  labour  ".  And  for  the  next 
twelve  years  he  painted  at  his  very  best  The  **  Kepas  des 
Moissonneurs  "  in  the  Salon  of  1853,  gained  him  a  second  class 
medal.  And  in  1855  his  '*  Greffier  "  was  secretly  bought  by 
Bousseau  for  4000  francs.  For  though  their  merit  began  to 
be  recognised  to  some  degree,  the  pictures  did  not  sell ;  and 
by  this  time.  Millet  with  his  large  and  rapidly  increasing 
family,  was  harassed  by  debts,  and  sorely  wanted  money. 
The  misery  of  his  life  has  been  greatly  exaggerated.  But 
that  from  1850  to  1860  the  struggle  for  life  was  a  very  hard  one, 
there  is  no  doubt.  His  want  of  method,  his  dreamy  dis- 
position, his  generous,  hospitable  nature,  kept  him  in  constant 
difficulties.  But  even  at  their  worst,  nothing  hindered  his 
painting.  In  1856  he  painted  the  superb  "  Berger  au  Pare  *\ 
The  **  Glaneuses  **  were  in  the  Salon  of  1857 ;  and  the 
famous  "Angelus"  in  that  of  1859. 

In  1860,  Millet,  who  was  still  pressed  for  money,  entered 
into  a  contract  with  M.  Arthur  Stevens  of  Paris,  brother  of  M. 
Alfred  Stevens  the  well-known  Belgian  painter.  By  this,  the 
dealer  agreed  to  buy  all  Millet's  works  for  three  years,  allowing 
him  £40  a  month ;  paying  him  at  the  rate  of  £4  for  drawings, 
and  as  much  as  £120  for  the  more  important  pictures. 
During  these  years  Millet  painted  among  other  pictures 
**  L'homme  a  la  Houe,''  **  La  Naissance  du  Veau,'*  **  La 
Tondeuse,**  **  La  Cardeuse,"  **  La  Gardeuse  d'oies,"  etc. 
And  about  the  same  time  the  grand  and  little-known  picture, 
"Maternity".  In  the  Salon  of  1865  he  exhibited  **  La 
Bergfere  *'.  This  picture  is  now  in  the  collection  of  M. 
Chauchard  ;  and  hangs  opposite  the  **  Angelus,"  with  the 
*"  Sheepfold  at  night  "  between  them.  In  colour,  composition, 
and  feeling,  the  Bergfere  is  one  of  the  most  beautiful  of  all 
Millet's  pictures. 

The  Exposition  Universelle  of  1867  gave  Millet  the  oppor- 


330  A  HISTORY  OF  FRENCH  ART.  Ch.  XVI. 

tunityfof  a  magnificent  display — Rousseau  being  president 
of  the  Jury.  He  sent  to  it  the  "  Glaneuses,"  the  *'  Bergere,'* 
the  "  Angelus,"  the  *'  Tondeuse/'  the  "  Berger  an  Pare," 
*'  Death'^and  the  Woodcutter,"  the  **  Pare  a  Moutons,"  the 
"  Potato  Planters,"  and  the  **  Potato  Gatherers  ".  For  this 
splendid  collection  he  received  a  first  class  medal.  But 
against  this  great  success,  which  thoroughly  estabhshed  his 
reputation,  came  the  death  of  Eousseau  in  December  of 
the  same  year — a  blow  which  completely  unnerved  Millet 
and  seriously  affected  his  health.  In  1868  he  was  made 
Chevalier  of  the  Legion  of  Honour.  And  when  the  appoint- 
ment was  mentioned  at  the  meeting  in  the  Salon  Carre  of  the 
Louvre,  the  authorities,  who  had  been  a  little  doubtful  as  to 
how  the  artists  would  receive  it,  were  completely  disconcerted 
for  a  minute  or  two  at  the  burst  of  loud,  prolonged,  sincere 
applause  that  greeted  Millet's  name. 

He  was  •  now  at  the  height  of  any  fame  he  attained 
during  his  life.  Acknowledged  as  a  master,  though  still 
detested  by  the  classics,  he  was  named  one  of  the  Jury  of 
the  Salon.  His  pictures  sold  more  easily,  and  for  better 
prices.  Unhappily,  however,  his  health  began  to  fail 
seriously  in  1870  ;  and  frequent  illnesses  interfered  with  his 
work.  The  Kepublican  Government  gave  him  a  commission 
in  1874  for  four  decorative  panels  for  the  Pantheon — *'  The 
Four  Seasons  ".  He  at  once  began  charcoal  sketches  for 
them.  But  it  was  too  late.  Throughout  the  autumn  hia 
feebleness  increased.  And  on  the  20th  of  January,  1875,  he 
died,  surrounded  by  his  devoted  family. 
Examples — Louvre  : — 

Les  Glaneuses.     644. 

Le  Printemps.     643. 

tglise  de  Greville.     641. 

L'Angelus;  La  Bergere;  Le  Pare  a  Moutons  (nuit),. 
Coll.  of  M.  Chauchard,  Paris. 

L 'Amour  Vainqueur;  L'Angelus  (pastel);  and  forty 
to  fifty  drawings,  J.  S.  Forbes,  Esq. 

Pictures  in  the  collections  of  Hon.  Sir  John  Day  ; 
James  Donald,  Esq. ;  Alexander  Young,  Esq.,  etc. 


1848-1884.  THE  PEASANT  PAINTERS.  331 

In  public  galleries  in  New  York  and  Boston.  And,  The 
Sower,  La  Tondeuse,  Femme  menant  boire  sa 
vache,  and  many  others,  Coll.  Quincy  Shaw, 
Esq.,  Boston,  U.S.A. 

CouRBET,  GusTAVE  (6.  Omans  (Doubs),  1819;  d.  Tour 
de  Peilz  (Suisse),  1877).— With  Gustave  Courbet,  the  son  of 
a  wealthy  farmer  of  Omans  in  the  Doubs,  we  find  different 
expression  of  Democratic  Art  to  that  of  J.  R  Millet  The 
boy  was  destined  by  his  ambitious  father  for  the  bar.  But 
even  at  the  little  seminary  at  Omans,  he  showed  more 
aptitude  for  drawing  than  for  lessons.  And  years  after,  one 
of  his  school-fellows,  Monsignor  Bastide,  would  speak  of 
"  un  portrait  ipouvantable  que  fit  de  moi  mon  ami  Courbet 
**  a  quinze  ans  '*. 

Nature  was  more  attractive  to  the  young  **  savage  ** 
than  books.  Nature  round  Omans  is  indeed  attractive. 
And  young  Courbet  loved  his  native  country  and  all  that 
pertained  to  it,  with  passion.  When  at  twenty  he  was 
sent  to  Paris  to  **  faire  son  droit,'*  he  hastened  to  do 
something  quite  else.  He  had  learned  "  the  principles  of 
art  "  from  a  painter,  M.  Flageoulet,  at  Besan9on.  And  as 
soon  as  he  arrived  in  Paris  law  was  thrown  to  the  winds ; 
he  frequented  the  studios  of  Auguste  Hesse  and  Steuben, 
and  copied  the  Dutch,  Flemish  and  Venetian  masters  with 
a  sort  of  **  frenzy  *\  But  he  was  too  much  of  a  country 
man  to  be  happy  in  Paris.  He  needed  the  clear  air,  the  free, 
out-door  life  of  his  beautiful  Jura  country,  and  most  of  his 
year  was  spent  in  his  old  home.  The  life  of  the  fields,  the 
woods,  the  village,  he  knew  and  loved.  And  this  was  what 
he  set  himself  to  paint.  A  Eepublican  by  education  and 
inclination,  he  was  further  penetrated  by  a  passionate 
sympathy  for  the  working  classes.  Among  them  he  began 
to  find  subjects  for  his  pictures.  And  after  the  revolution  of 
1848,  he  threw  himself  with  renewed  enthusiasm  into  this 
hne  of  thought.  It  is  significant,  however,  that  Courbet's 
first  picture  in  the  Salon  of  1844  was  a  portrait  of  himself. 
He  was  a  prey  to  an  overweening  vanity.  I  have  been  told  by 
one  who  was  his  intimate  friend,  that  there  was  one  subject 


332  A  HISTORY  OF  FRENCH  ART.  Ch.  X^T 

on  which  M.  Courbet  would  talk  for  ever,  and  that  was  '*  M. 
Courbet  himself  '*.  Therefore  from  1844  we  get  pictures  of 
Courbet  standing,  Courbet  sitting,  Courbet  smoking,  Courbet 
reading — in  fact,  Courbet  at  every  hour  of  the  day. 

In  1849,  before  the  pohtical  reaction  had  begun,  Courbet 
received  a  second  class  medal  at  the  Salon  for  the  '*Apres 
diner  a  Ornans  ".  This  put  him  hors  concours,  i.e.,  permitted 
him  to  exhibit  henceforth  without  passing  the  Jurj'  of  the 
Salon.  The  next  year  he  determined  to  make  his  name 
famous,  and  sent  nine  pictures  to  the  Salon — two  landscapes, 
four  portraits,  and  three  large  compositions — "  L'enterre- 
ment  d'Ornans,"  **  Les  Casseurs  de  Pierres,"  **  Le  Eetour  de 
la  Foire  *\  The  reaction  was  in  full  tide,  and  these  pictures 
raised  a  storm  of  fury.  The  works  of  art  as  such  were  never 
thought  of.  It  was  the  supposedly  dangerous  sociahstic 
suggestions  of  their  subjects  which  exasperated  the  authori- 
ties. And  the  exasperation  was  increased  by  Courbet's  second 
class  medal,  which  enabled  him  to  exhibit  as  many  more 
Stonebreakers  and  Village  Funerals  as  he  chose.  It  is  safe 
to  say  that  no  artist  has  ever  been  treated  to  such  indignities 
in  the  way  of  criticism  as  Courbet.  But  here  again  his 
extraordinary  vanity  came  in.  After  the  2nd  of  December, 
1851,  as  his  men  of  the  people  gave  such  offence,  he  deter- 
mined to  try  peasant  women.  So  in  the  next  three  years 
we  get  his  *'  Baigneuses,'*  **  Fileuse,''  **  Cribleuses  de  Ble  ". 
But  they  were  as  little  appreciated  as  the  others.  And  now 
laughter  was  added  to  abuse.  Courbet's  vanity,  his  intense 
desire  for  personal  success,  forced  him  on.  If  he  could  not 
capture  that  success  with  one  set  of  subjects  he  must  find 
another.  Unlike  Millet  and  Eousseau,  he  could  not  fight  a 
losing  battle  for  the  sake  of  an  ideal.  And  though  he  was 
never  untrue  to  his  studies  of  hmnanity,  he  laid  them  aside 
for  awhile,  devoting  himself  more  exclusively  to  nature — to 
forest,  sea,  and  sk\%  green  leaves  and  snow,  animals  and 
flowers. 

Before  doing  so,  however,  he  painted  in  1855  a  singular 
picture,  **  L'ateher  du  peintre — all^gorie  r^elle,"  in  which  he 
summed  up  the  last  seven  years  of  his  life — the  types  \\nth 


1848-1884.  THE  PEASANT  PAINTERS.  333 

whom  he  had  been  occupied.  On  the  right  the  beggar,  the 
labourer,  the  tradesman,  the  priest,  the  poacher,  the  croque- 
jnort.  On  the  left  his  friends;  among  them  portraits  of 
Baudelaire,  Champfleury,  Proudhon,  Promayet,  Bruyas. 
WTiile  between  these  groups,  Courbet  himself  sits  painting 
a  landscape  of  Omans.  In  this  same  year  he  painted  the 
magnificent  **  Homme  bless^,'*  and  his  own  portrait,  known 
as  "THomme  a  la  ceinture  de  cuir  ".  These  were  both 
bought  by  the  State  in  1881,  and  are  now  in  the  Louvre. 
Both  these  pictures  are  painted  with  such  reticence  and  care, 
that  it  is  curious  to  recollect  that  they  were  supposed  in  1855 
to  be  revolutionary  in  execution  as  well  as  in  feeling. 

The  greater  part  of  every  year  Courbet  spent  wandering 

through  the  mountains  about  his  old  home,  or  in  journeys 

to  Montpellier  and  Berry.     With  a  gun  beside  his  palette, 

the  great  preacher  of  '*  pleine  air  **  produced  such  pictures  as 

the  "Biche  forc^e  4  la  neige,"  *'Le  Cerf  a  lean,'*  "  Les 

Braconniers,"  "  La  Curee,"  ''  L'hallali  du  Cerf  ".     As  I  have 

said,  Courbet  courted  success.     And  success  began  with  his 

"  Fighting  Stags,'*  in  1861,  which  twenty  years  later  was 

bought  by  the  State,  and  is  now  in  the  Louvre.     But  in  1866 

came  his  greatest  triumph,  with  the  **  Kemise  des  Chevreuils 

au  Kuisseau  de  Plaisirs  Fontaine  ".     Thanks  to  the  public 

spirit  of  certain  gentlemen,  this  is  also  in  the  Louvre.     It  is 

hardly  possible   to  imagine  a  more  exquisite  rendering  of 

nature  than  this  picture  of  the  harbour  of  the  dainty  Eoe- 

deer,  secure  in  their  cool,  shady  retreat,  beside  the  stream 

in  the  Jura  valley.      This  picture,  and   the  "Casseurs   de 

Pierres,'*  perhaps  show  us  Courbet 's  genius  "at  its  very  best. 

The  poetry  of  nature   in  one.      In  the  other  a  masterly 

rendering  of  the  toil,  the  weariness,  the  dull  monotony  of 

the  labourer's  life. 

Many  of  his  nude  pictures  are  fine.  The  drawing  and 
texture  are  admirable.  But  the  colour  of  his  flesh  is  often 
so  cold,  that  it  leaves  the  impression  on  the  eye  of  a  dead 
Tather  than  of  a  living  body.  This  is  specially  noticeable  in 
the  famous  **  Femme  au  perroquet  ". 

Courbet's  system,  as  he  himself  explains  it,  was  to  replace 


334  A  HISTORY  OF  FRENCH  ART.  Ch.  XVl. 

the  cult  of  the  ideal  by  the  sentiment  of  the  real.  **  Savoir 
**  pour  pouvoir,  telle  fut  ma  pens^e.  Etre  si.  m^me  de  traduire 
"  les  moeurs,  les  idees,  I'aspect  de  mon  ^poque,  selon  mon 
**  appreciation  ;  ^tre  non  seulement  un  peintre,  mais  encore 
**  un  homme ;  en  un  mot,  faire  de  Tart  vivant,  tel  est  mon 
**  but.*'  This  excellent  explanation  of  his  position  as  a 
**  Kealist  "  prefaced  the  catalogue  of  a  private  exhibition  of 
his  works  in  1855.  And  after,  as  he  considered,  regenerating 
modem  painting,  he  thought,  unfortunately,  that  he  was 
equally  capable  of  regenerating  humanity. 

As  time  went  on  he  became  more  and  more  incensed 
against  all  authorities,  political  or  artistic.  And  partly  from 
conviction,  partly  from  pose,  partly  from  the  desire  for  noto- 
riety, he  lavished  abuse  on  *'  Them,*'  as  he  termed  all  those 
in  authority.  In  1870  he  was  nominated  Chevalier  of  the 
Legion  of  Honour.  This  filled  him  with  indignation.  And 
he  refused  in  such  a  letter  as  has  seldom  been  sent  to  the 
Minister  of  Fine  Arts. 

Then  came  the  war  of  1870,  and  the  Commune  of  1871. 
Courbet  now  seems  to  have  lost  his  head  completely. 
After  the  4th  of  September,  Jules  Simon  made  him  President 
of  the  Commission  of  Fine  Arts.  And  one  of  his  first  acts 
was  to  ask  that  the  Vend6me  Column  might  be  removed 
from  Paris,  to  efiface  all  traces  of  the  Empire,  whether 
First  or  Third.  \\Tiile  at  the  same  time,  by  one  of  those 
singular  contradictions  we  sometimes  meet  with  in  Paris 
during  times  of  excitement,  he  was  full  of  concern  for  the 
safety  of  the  Arc  de  Triomphe ;  and  one  at  least  of  his 
proposals  for  its  preservation  gave  rise  to  more  amuse- 
ment than  confidence.  But  the  Column  was  his  b^te-noir. 
And  during  the  Commune,  when  he  was  made  Directeur  des 
Beaux  Arts,  others  who  sympathised  with  this  foohsh  fury 
against  a  historic  monument  encouraged  him  in  his  desire 
for  its  destruction.  On  the  12th  of  April,  therefore,  a  decree 
appeared,  ordering  the  demolition  of  the  Column.  As  all 
know,  it  was  pulled  down.  But  Courbet*s  actual  share  in 
the  matter  has  never  been  fairly  demonstrated.  It  was 
convenient  to  throw  the  whole  odium  upon  him.    And  when 


1848-1884.  THE  PEASANT  PAINTERS.  335 

he  was  arrested  at  the  beginning  of  June,  1871,  he  was 
condemned  to  six  months  imprisonment,  and  to  defray  the 
whole  cost — some  400,000  francs — of  the  reconstruction  of 
the  Column. 

The  unfortunate  artist  eventually  managed  to  cross  the 
frontier ;  and  spent  the  last  years  of  his  life  at  La  Tour-de- 
Peilz,  where  he  still  succeeded  in  producing  some  fine  works, 
such  as  "  La  Truite,"  and  the  portrait  of  his  father.  But 
his  health  and  spirits  were  broken.  And  he  died  in  1877. 
Examples  in  Louvre  : — 

L'enterrement  a  Omans.     143. 

L*homme  bless^.     144. 

Combat  de  Cerfs.     145. 

Bemise  des  Chevreuils  au  ruisseau  de  Plaisirs  fontaine. 

146. 
L'homme  d.  la  Ceinture  de  cuir.     147. 
Le  Philosophe  Trapadoux,  Coll.  M.  Antonin  Proust. 
Les  Casseurs  de  pierres.  Coll.  M.  Binant. 
Biche  forc^e   sur   la  neige,   Coll.   M.   le   Comte   de 

Douville-Maillefeu. 
La  Femme  au  Perroquet,  M.  M.  Durand-Eilel. 
Pay  sage,  Alexander  Young,  Esq. 
L 'Immensity,  Const antine  A.  lonides,  Esq. 
Bastien-Lepage,  Jules.  *  (b.  Damvilliers,  1848 ;  d.  Paris, 
-*-884), — the  son  of  Claude  Bastien,  one  of  the  small  peasant- 
t^ioprietors  of  the  Meusian  district,  was  bom  at  Damvilliers, 
^  village  near  Verdun,  which  in  the  days  of  Fran9oi8  I.  had 
^€en  strongly  fortified.     Madame  Bastien 's  father,  M.  Le- 
page, a  retired  tax-collector,  made  his  home  with  the  family, 
-fc^s  little  pension  helping  to  keep  the  household  in  com- 
^(^arative  ease.     There  was  no  lack  of  refined  tastes  in  the 
family.    Claude  Bastien  drew  well ;  "the  mother  embroidered 
"**  patterns  of  her  own  tracing  "  ;  and  the  delightful  old  grand- 
father, so  charmingly   described  by  M.  Andr^  Theuriet  in 
**  Sous  Bois,"  was   renowned  all  the  country   over  for  the 
beauty  of  his  flowers. 

As  a  tiny  child,  Jules  showed  an  uncommon  talent  for 
drawing,  which  was  fostered  by  his  father,  who  made  him 


336  A  HISTORY  OF  FRENCH  ART.  Ch.  XVL 

draw  some  object  in  the  room  every  evening  before  going 
to  bed — believing  that  his  talent  would  help  him  later  on  to 
a  post   in  the  administration  of  forests.     At  eleven  Jules 
went  to  the  College  of  Verdun.     And  here  his  artistic  gifts 
attracted  so  much  attention  that  M.  Fouquet,  the  drawing 
master,  told  him  he  ought  to  be  an  artist.     The  idea  grew  in 
the  boy's  mind.     He  cared  for  nothing  but  drawing.    And 
when  he  left  college  at  eighteen,  he  declared,  to  the  utter 
dismay  of  his  parents,  that  he  wished  to  go  to  Paris  and 
study  painting,  instead  of  trying  for  the  safe  official  post  for 
which  their  sacrifices  had  prepared  him.     The  father  and 
grandfather   opposed   what   seemed   to  them  so   wild  and 
reckless   a  scheme.      His  mother  alone  pleaded  for  him,  in 
spite  of  her  horror  of  the  unknown  perils  of  the  great  city. 
But  happily  a  relation  in  the  Bureau  des  Postes  in  Paris 
suggested  a  way  out  of  the  difficulty.     And  in  1867  Jules 
qualified  as  assistant  in  the  Post  Office,  and  went  to  Paris 
as  a  supernumerary  clerk.    Here  for  six  months  he  Uved  two 
lives  in  one — sorting  letters  from  3  a.m.  to  7  a.m.  ;  and  spend- 
ing every  free  moment  of  the  day  at  the  courses  of  the  Ecole 
(les  Beaux  Arts.     Naturally  he  broke  down  under  the  strain. 
His  relations  were  at  last  convinced  that  it  was  useless  to 
oppose  so  fixed  a  determination.     His  mother  actually  went 
out  to  field  work  to  earn  a  little  money  for  her  boy.     The 
grandfather  contributed   all   he   could   out    of    his   slender 
savings.     And  when  the  Council-General  of  the  Dept.  de  la 
Meuse  added  an  allowance  of  600  francs,  Jules,  with  barely 
enough  to  keep  body  and  soul  together,  entered  M.  Cabanel's. 
studio  in  1868,  and  became  a  regular  student  at  the  l^cole 
des  Beaux  Arts. 

The  first  picture  he  exhibited  was  the  portrait  of  a  young 
architect  in  a  green  coat,  at  the  Salon  of  1870.  It  attracted 
some  attention.  But  that  summer  War  was  declared. 
Jules  joined  a  company  of  francs-tireurs  under  the  painter 
Castellani.  He  was  wounded  in  the  chest  by  a  fragment  of 
a  shell,  in  the  trenches.  The  same  day  another  shell  struck 
his  studio,  and  ruined  the  picture  he  had  just  painted — "  La 
Source " ;    and   when    peace    was    signed    he  went    home 


1848-1884.  THE  PEASANT  PAINTERS.  337 

broken  in  health,  to  recover  slowly  in  his  native  air,  and 
paint  his  neighbours  for  practice.  When  he  returned  to 
Paris  in  1872,  the  struggle  for  Ufe  was  harder  than  ever  in 
the  impoverished  country.  But  his  quiet  determination 
carried  him  through  ;  though  he  was  forced  to  turn  his  hand 
to  anj^hing  for  a  living,  from  fans  and  shop-signs  to  news- 
paper illustrations. 

In   1873  a  perfumer  ordered  an   advertisement   for  his 

wares  ;  and  Jules  produced  a  little  picture  after  the  manner 

of  Watteau — youths  and  maidens  coming  hand-in-hand  to 

drink  of  the  fountain  of  youth  in  a   green  meadow.     He 

wished  to  send  it  to  the  Salon.     The  perfumer  consented  on 

condition  that  it  bore  his  address  and  the  name  of  his  special 

cosmetic  !     This  naturally  could  not  be.     The  bargain  came 

to  an  end ;    and  the  picture  was  exhibited  as  **  Le  Prin- 

temps  '*.     To  the  Salon  of  1874  he  sent  another  panel  of  the 

same  type — **  La  Chanson   du  Printemps,'*  in  which   the 

influence  of  Puvis  de  Chavannes  is  plainly  seen.     But  it  also 

displays  a  touch  of  reaUsm.     The  little  peasant  girl  listening 

fco  the  dancing  Cherubs  was  a  child  from  his  own  village ; 

and  the  red  roofs  of  Damvilliers  are  seen  in  the  background. 

A  far  more  important  work,  however,  was  exhibited  in 

the  same  Salon — the  noble  portrait,   '*  Mon   grand  pfere,'* 

signed  for  the  first  time  with  the  name  '*  Jules  Bastien- 

Ijepage  "  ;  for  Jules   out  of  gratitude  and  affection  to  his 

mother's  family  had  adopted  their  name.     The  picture  was 

the  event  of  the  Salon.     A  crowd  gathered  before  it  the 

nioment  the  doors  had  opened ;  and  Bastien-Lepage  found 

himself  famous.      The  kindly  old   man,   in   his   every-day 

clothes,  painted  actually  **  en  plein-air,"  sitting  among  the 

flowers  that  he  loved  in  his  garden,  struck  a  note  so  new,  so 

powerful — the  drawing  was  so  superb — the  painting  so  ad- 

Dairable — the  whole   thing  was  so  instinct  with  life — that 

though  the  unconventional  methods  raised  great  discussion, 

the  talent  and  strength  of  the  new  painter  were  beyond 

dispute.      This   success  brought  the  young  artist  not  only 

fame    but    commissions.      M.    Hayem    (the    distinguished 

wnateur)  ordered  his  portrait,  which  appeared  in  1875,  with 

22 


338  A  HISTORY  OP  FRENCH  ART.  Ch.  XVI. 

"  La  Communiante  *'.  This  latter  picture  marked  a  new 
departure.  Its  extraordinarily  fine  brushwork,  its  extreme 
delicacy  and  finish,  its  uncompromising  truth  of  detail, 
recall  the  work  of  the  old  Flemish  masters,  in  strong  contrast 
to  the  broader  methods  of  his  earlier  pictures.  And  it  began 
the  series  of  small  portraits  which  form  so  remcurkable  a  part 
of  Bastien-Lepage's  work. 

In  this  same  year  (1875)  he  determined  to  compete  for 
the  Prix  de  Eome.    The  merits  of  his  picture  **  L*annonciation 
aux  Bergers  "  have  never,  I  think,  been  suflSciently  recog- 
nized.    It  only  obtained  the  second  prize,  the  first  going  to 
Comerre,  a  more  academic  artist.     But  the  next  morning 
Bastien-Lepage*s   fellow  competitors  had  fastened  a  palm 
branch  to  its  frame — a  silent  token  of  their  opinion.     Keenly 
disappointed,   more  for  the  sake  of  his  parents  than  for 
himself,  Bastien-Lepage  competed  again  the  next  year.    But 
**  Priam  at  the  feet  of  Achilles  '*  was  so  uncongenial  a  subject 
that  he  failed  once  more — happily  perhaps  for  his  own  talent  • 
And  he  went  back  to  Damvilliers  to  work  out  the  great 
problem  he  had  set  himself — how  to  paint  the  Peasant  in 
the  open  air.     Had  he  gone  to  the  Villa  Medicis  we  might 
never  have  had  **  Les  Foins,'*  the  ''Potato  gatherers,**  or 
**  Jeanne  d'Arc  ". 

He  was  now  in  full  tide  of  work,  prosperous  and  famous, 

to  the  delight  of  his  parents,  whose  pride  in  his  pictures  and 

his  success  was  intense.     In  1876,  with  M.  Andr6  Theuriet 

and    his  brother  fimile,  he  took  the   walking  tour  in  the 

Argonne,   so  enchantingly   recorded   as   "  La   Chanson  du 

Jardinier  *'  in  Saus  Bois.     But  that  autumn  brought  the  first 

break  in  the  happy  home  in  the  Grande  Place.      Claude 

Bastien  died  suddenly  of  congestion  of  the  lungs,  to  tb© 

intense   sorrow   of   his    son,   who   only    found    comfort   itx 

work.      To  the  Salon  of  1877  he  sent  the  portraits  of  his 

parents.     To  that  of  1878  the  beautiful  httle  portrait  of  M- 

Andre  Theuriet,  and  his  chef  d'oeuvre,  **  Les  Foins,"  now  on© 

of  the  treasures  of  the  Luxembourg.      He  now  spent  tb® 

winter    months    in    Paris  —  his   brother  !l&mile,   who   wa^ 

studying    Architecture,   sharing    his    large    studio    in   tb^ 


1848-1884.  THE  PEASANT  PAINTERS.  339 

Impasse  du  Maine.     Each  year  saw  some  large  composition 

of  peasant  life,  as  well  as  more  of  the  exquisite  little  portraits. 

In  1879  he  paid  his  first  visit  to  England,  where  he  was 

warmly  welcomed.     He  studied  Rembrandt's  etchings  at  the 

British  Museum,  painted  portraits,  sketched  the  shipping  in 

the  Thames,  and  spent  the  last  day  of  his  stay  in  making  a 

silver-point  drawing  of  the  Prince  of  Wales,  which  developed 

into  the  splendid  little  Holbeinesque  portrait  in  oils.     On  his 

return  to  Paris  he  received  the  Legion  of  Honour.    And  then 

went  home  to  DamviUiers  to  paint  the  great  picture  he  had 

dreamt  of  for  years — "  Jeanne  d'Arc  ^coutant  les  Voix  ". 

Noble  and  striking  as  is  the  figure  of  Jeanne — a  real  Meusian 

peasant — the  picture,  partly  on  account  of  the  visualized 

"Voices,"  did  not  attain  the  success  that  the  artist  and  his 

friends  had  hoped.     The  M^daille  d*Honneur  went  to  Aim6 

Morot's  "  Good  Samaritan  *'.    And  for  the  first  time  Bastien- 

Lepage  began  to  doubt  his  own  powers — that  saddest  phase 

of  depression  that  can  befal  the  artist.     But  a  second  visit  to 

England  restored  his  confidence.    And  the  next  two  years  were 

:    the  period  of  his  most  active  production.     In  1881  he  made  a 

;    short  tour  to  Como  and  Venice.     But  Venetian  art  did  not 

appeal  to  him.      He  was  indeed  **  Le   Primitif "  that  his 

friends  loved  to  call  him.     And  London,  and  the  life  of  its 

streets,  entertained  and  charmed  him  far  more  than  Tintoret 

and  Titian.     In  June,  1882,  he  paid  his  last  visit  to  England, 

and  painted  M.  Coquelin,  Blackfriars  Bridge,  a  large  picture 

of  a  flower  girl,  and  the  delightful  Uttle  **  Shoeblack  '*, 

Popular  as  he  was  in  London,  he  was  if  possible  even 
more  so  in  Paris.  And  his  close  friendship  with  the  strange 
genius,  Marie  Bashkirtsefif,  became  one  of  the  important  facts 
of  his  life.  But  the  end  of  both  the  friends  was  nearer  than 
any  one  dreamed.  In  1888  a  fatal  malady  was  undermining 
his  health  though  he  concealed  his  sufferings,  and  no  one 
guessed  that  the  painter  of  '*  L*Amour  au  Village,"  f^ted  and 
acclaimed  by  all  Paris,  was  stricken  with  a  terrible  and 
deadly  disease.  But  soon  the  truth  could  no  longer  be 
Wdden.  His  health  failed  fast.  **  A  journey  to  Algiers  was 
'*  recommended,  and  his  *  valiant  little  mother,*  as  he  called 


340  A  HISTORY  OP  FRENCH  ART.  Ch.  XVI. 

**  her,   who  had   never  left   home  except  for  a  few  days, 
**  at  once  prepared  to  accompany  him/*  ^     Though  at  first  he 
revived,  nothing  could  stay  the  inevitable  end.     His  brother 
lilmile  joined  him,  bringing  news  of  the  immense  success  of 
the  exhibition  of  his  works  at  Georges  Petit's  ;  and  in  June 
he  was  taken  back,  slowly  dying,  to  Paria     Marie   Bash- 
kirtseff  was  dying  too ;    and  the  last  meeting  of  the  two 
young  geniuses  is  one  of  the  saddest  romances  of  modem 
days.     Eleven  days  later  Marie  died.     Jules  Bastien-Lepage 
lingered   for  five  weeks  more ;  and  saying  with  a  smile  to 
his  mother,   '*  It  is  time  for  children  to  go  to  sleep,"  his 
sufferings  ended  on  9th  December,  1884. 
Examples : — 

Les  Foins,  1878,  Luxembourg. 

Portraits    of    '*  Mon    Grand    pfere,"     1874;     **  Mes 
Parents  "  ;    M.    E.   Bastien-Lepage ;    S.A.R   1^ 
Prince  de  Galles,  1879,  M.  6mile  Bastien-Lepage  • 

M.  Andre  Theuriet,  1878,  M.  Andr6  Theuriet. 

Mme.  Sarah  Bernhardt,  1879,  M.  Blumenthal. 

Jeanne  d'Arc   ^coutant  ses    voix,   Metropohtan  Ar^ 
Museum,  New  York. 

La  Saison  d'Octobre,  or  The  Potato  Gatherers,  187^-9 
George  M*Culloch,  Esq. 

Going  to  School,  J.  S.  Forbes,  Esq. 
Lhermitte,  Leon-Augustin,  0.*  {b.  Mont-Saint-Pfere? » 
Aisne). — M.    L6on    Lhermitte,    a  pupil   of  Lecoq-de-Bois- 
baudran,  is  one  of  the  most  vigorous  of  the  living  painter^ 
of  the  peasant.      His  earlier  works  are  mostly  in  charcoal - 
And  it  is  by  these  that  he  is  best  known  in  England,  *s 
these  splendid  black-and-white  drawings  of   the  life  of  th^ 
workshop  and   the   fields  have  been  exhibited   in   London 
at  various  times.     He  first  exhibited  a  charcoal  drawing  in 
the  Salon  of  1864,  ''  Les  bords  de  la  Mame  "  ;   followed  in 
1865  by  '*  Souvenir  d  une  vallee  a  Mont-Saint-Pere,"  also  in 
charcoal.     In  1874  he  received  a  third  class  medal;  and  a 
second  class  in  1880.    He  was  created  chevalier  of  the  Legion 
of  Honour  in  1884  ;  and  is  now  ofiicier. 

'  Julia  M.  Ady. 


1848-1884.  THE  PEASANT  PAINTERS.  341 

His  first  important  oil   painting  was  exhibited  in   the 

Salon  of  1874,  *'  La  Moisson  '\     FoUowed  in  1876  by  the 

charming  **  Lavage  des    Moutons  '\      In    the    Exposition 

TJniverselle    of    1889    M.    Lhennitte's    oil    pictures,    *'  La 

Moisson,"  *'  Le  Vin,'*  **  L'aieule,''  *'  La  paye  des  Moisson- 

neurs,"  etc.,  made  a  profound  impression  by  their  power  and 

truth.     His  pastels  also,  in  the  pavilion  des  Pastellistes,  were 

of  extraordinary  vigour  and  great  beauty. 

Examples — Galerie  du  Luxembourg  : — 

La  paye  des  Moissonneurs,  1882  ;  La  vielle  demeure 

(charcoal). 
L'Aieule,  1880,  Museum  of  Ghent. 
Les  Vendanges,  1884,  Metropolitan  Art  Museum,  New 

York. 
Le  Vin,  M.  Henry  Vasnier. 
La  Mort  et  le  Bucheron,  1893,  The  Artist. 
Breton,    Jules-Adolfe,    C*    (6.   Courriferes,    Pas    de 
Calais,  1827). — A  pupil  of  F^lix  de  Vigne  and  of  Drolling, 
^I.    Jules    Breton    is    one  of   the  most  popular   of   living 
French  painters.     At    the   age  of   twenty  he   entered  the 
^cole  des  Beaux  Arts.     He  received  a  third  class  medal 
in    1855,  a  second  class  in  1857,  and  first  class  in   1859. 
Ke   was    created   chevaher   of   the   Legion   of   Honour  in 
1861  ;    and    is    now    commandeur.       In     fact    his    whole 
career  has  been  one  of  remarkable  success.      For  although 
lie    has    devoted    himself     to     the    painting    of    pictures 
of  the  French  peasant,  he  has  always  known  how  to  con- 
ciliate the  taste  of  the  public.     In  colour  and  composition 
M.  Jules  Breton's  work  is   very   beautiful   and   attractive. 
But  his  pictures   are   so   evidently  painted   from   carefully 
selected,  well-arranged   peasant  models,  that  they  lack  the 
ring  of  truth  and  conviction  which  the  peasant  pictures  of 
Courbet,    Millet,   Bastien-Lepage,   and   Lhermitte    convey. 
One  of  his  earlier  pictures,  the  **  Btoediction   des  Blfes,*' 
now  in  the  Luxembourg,  was  painted  in  1857 — the  "  Eappel 
des  Glaneuses  "  in  1859 — ''  Les  Sarcleuses  ''  in  1861. 

M.  Jules  Breton  is  the  head  of  a  family  of  artists.     His 
brother,  M.  ifcmile  Breton,  is  a  well-known  and  excellent 


342  A  HISTORY  OF  FRENCH  ART.  Ch.  XVL 

landscape  painter.     So  is  his  son-in-law,  M.  Adrien  Demont. 
While  his  daughter,  Mme.  Virginie  Demont-Breton,  is  one  ot 
the  most  powerful  French  painters  of  sea-shore  and  fisher- 
folk.     Her  picture  *'  Le  Plage  "  (1882)  is  in  the  Luxembourg. 
And  the  Museum  of  Ghent  possesses  her  very  fine  **  Loups 
de  Mer  "  of  1885. 

Examples — Luxembourg  : — 

La  Benediction  des  Bl^s  (Artois),  1857. 

Rappel  des  Glaneuses  (Artois),  1859. 

La  Glaneuse,  1877. 

Misfere  et  desespoir,  1849,  Mus^e  d'Arras. 

Plantation  dun  Calvaire,  1859,  Musee  de  Lille. 

Many  pictures  in  Provincial  Museums. 

Les  Sarcleuses,  M.  le  Comte  Duchatel. 

6tude  pour  le  Pardon,  J.  S.  Forbes,  Esq. 

Les    Communiantes,    1884,    Lord    Strathcona  and 
Mount  Royal,  Montreal. 


CHAPTEE  XVII. 


MILITARY   PAINTERS. 


HAT  France,  a  great  military  power,  should  always  have 
)S8e8sed  and  encouraged  a  long  line  of  military  painters  is 
it  natural.  With  that  clearness  of  vision,  as  regards  all 
ings  concerning  the  history  of  her  national  Ufe,  which  is 
le  of  her  most  remarkable  attributes,  France  has  gloried  in 
cording  the  prowess  of  her  armies  in  **  painted  story  '\ 
he  special  point  of  interest,  however,  in  the  military 
ctures  of  the  nineteenth  century  is  not  merely  their 
icellence  as  works  of  art.  It  is  the  evidence  they  afford  of 
e  increasing  preoccupation  among  modern  artists  with 
tual  truth — truth  not  only  of  detail  but  of  intention  ;  of 
e  desire  to  represent  not  the  mere  outside  aspect  of  that 
nth,  but,  as  with  the  peasant  painters,  to  give  its  essence. 
nd  in  this  endeavour  they  aU  betray,  whether  consciously 

unconsciously,  the  growing  force  of  the  democratic 
►int.  The  Humanists  of  the  Eenaissance  have  become 
e  individuahsts  of  the  nineteenth  century.  And  with  this 
spect  for  the  individual,  the  human  creature  as  such,  has 
-come  of  supreme  importance  in  art  as  in  literature. 

Until    the    nineteenth    century,   military   pictures   were 

trely  aristocratic  and  official.     Parrocel,  Van  der  Meulen, 

Niartin  des  Batailles,"  produced  endless  representations  of 

^  Wars   of  Louis  XIV.  and   Louis  XV.;  some  of  topo- 

aphic    value ;   some   curious    as    historic    records  ;  some 

teresting  as  tableaux  de  vuxurs,  but  one  and  all   official. 

bey  have  nothing  to  do  with  the  actualities  of  war.     The 

ctures  of  the  First  Eepublic  and  the  Empire  become  of 

eater  moment  to  the  historian.     In  order  to  minister  to 

Le  glory  of  Napoleon  after  he  became  Emperor,  all  the 

(343) 


344  A  felSTORY  OF  FRENCH  ART.  Ch.  XVIL 

campaigns  of  those  momentous  years  of  the  close  of  the 
eighteenth  and  dawn  of  the  nineteenth  centuries,  were 
carefully  recorded  by  such  artists  as  Guillon-Lethiere, 
Lecomte,  Bouchot,  Carle  Vernet,  etc.  Girodet,  Guerin, 
David,  each  painted  great  official  pictures  of  contemporary 
military  events.  And  these,  owing  to  the  exactitude  with 
which  portraits  and  details  are  treated,  are  of  extreme  value 
as  authentic  documents. 

With  the  nineteenth  century,  however,  the  individual,  the 
actual  soldier,  his  heroism,  his  suffering,  his  every-day  life, 
his  character,  comes  into  hne.     Of  Baron  Gros*  pictures  of 
the  events  of  his  own  day,  I  have  already  spoken :  but  it  is 
necessary  to  refer  again  to  them  here.     For  in  the  **  Peste 
de  Jafifa  '*  and  the  **  Battle  of  Aboukir  "  we  discover  the  first 
indications  of  realism,  the  first  suggestion  of  the  democratic 
spirit.     By  the  old  official  method  of  Van  der  Meulen  and 
Martin  des  Batailles,  the  interest  was  concentrated  on  the 
King,    the    General,    the    Stafif,    standing    in    comfortable 
security.     The  battle,  where  men  were  fighting  and  dying, 
was  a  mere  decor  de  Theatre,  with  the  appropriate  smoke  and 
flashes   from   guns   at   a   discreet   distance.      By  the   new 
method   of   democratic   realism,  the   sphere  of  interest  is 
shifted  from  the  Stafif  to  the  army — from  the  General  to 
the  fighting  man,  to  the  rank  and  file. 

To  two  supreme  artists  the  revolution  is  chiefly  due — 
Charlet  and  Rafifet.  With  Rafifet,  in  his  unequalled  litho- 
graphs, we  get  the  epic  of  war,  grandiose  and  tragic,  allied 
with  an  almost  miraculous  exactitude  of  detail — all  the  tragedy 
and  horror  of  warfare  in  a  handsbreadth.  Charlet  on  the 
other  hand,  gives  us  the  cheery,  the  amusing,  often  the 
grotesque  view  of  the  French  Soldier.  The  Gallic  flavour, 
the  Gallic  character,  of  the  little  recruit  who  calls  to  the  old 
sergeant  who  is  making  such  good  practice  among  the  enemy, 
to  leave  at  least  one  for  him — of  '*  Valentin  et  ses  prisonniers  " 
— of  the  Soldiers  of  those  tremendous  caricatures — of  those 
splendid  pages  of  the  French  Soldier's  life — comic  and 
pathetic  at  once.  With  Charlet  it  is  rarely  that  the  pathetic 
becomes  the  tragic.     When  it  does  it  is  overpowering — as  in 


1820-1899.  MILITARY  PAINTERS.  345 

the  picture  now  in  the  Museum  of  Lyons — "  li^pisode  de  la 
Oanipagne  de  Bussie  *\ 

At  Versailles  the  evolution  of  modem  military  painting 
may  be  very  fully  studied,  and  on  an  enormous  scale.  Many 
artists  who  only  attained  mediocrity  in  their  other  works — 
second-rate  followers  of  the  Eomantic  school — have  produced 
good  military  pictures,  far  more  full  of  life  and  truth  than  their 
attempts  to  revive  the  cult  of  the  Middle  Ages.  Couder's 
^'Lawfeld"  and  *'York  Town,"  Bouchot's  **  Zurich," 
Phillipot*s  "  Eivoli,"  are  all  admirable  pictures  in  the  great 
Galerie  des  Batailles — that  vast  panorama  of  the  glories  of 
the  French  arms  from  the  days  of  Clovis  to  the  first 
Empire,  which  Louis  Philippe  ordered  wholesale  from  the 
Artists  of  his  reign. 

Horace  Vemet,  the  favourite,  one  may  almost  say  the 
only  official  painter  of  the  events  of  Louis  Philippe's  reign, 
does  endeavour  to  be  historically  accurate  ;  and  we  see  that 
he  strove  for  a  certain  amount  of  local  colour  and  truth. 
The  conquest  of  Algeria  furnished  him  with  the  opportunity 
of  fiUing  room  after  room  with  huge,  carefully -balanced 
compositions,  good  in  drawing,  dull  in  colour.  In  his  por- 
traits and  in  his  localities  he  sought  to  be  exact.  But  seen 
by  the  illumination  of  later  methods,  his  pictures  are  in- 
tolerably tedious.  In  Bellange  we  get  the  transition  between 
officialism  and  reaUsm.  But  it  is  with  Pils  and  Protais  that 
we  find  the  actual  break  with  tradition,  and  that  they  are 
beginning  to  paint  what  they  see.  It  has  been  wittily 
said  that  Protais'  soldiers  dream,  while  those  of  Pils  act  and 
do  their  duty.  But  the  point  is  that  these  artists  painted 
TCal  soldiers ;  though  they  modified  these  soldiers  by  their 
own  individual  temperaments.  And  in  Pils*  great  picture  at 
Versailles  of  the  Battle  of  the  Alma,  we  see  at  once  that  the 
revolution  is  an  accomplished  fact — that  modem  military 
painting  is  bom.  It  is  a  step  that  leads  us  on  quite 
naturally,  without  shock  or  hesitation,  to  Aime  Morot's 
^^Reichshoflfen,"  or  de  Neuville's  "  Champigny  ". 

The  intention  and  object  of  militarj'  painting  of  the  last 
thirty  years  is  to  show  us  the  intimate  side  of  war.    This  of 


346  A  HISTORY  OP  FRENCH  ART.  Ch.  XVH. 

course  has  its  perils.  In  all  military  pictures  since  1870  we 
have  to  put  loss,  or  the  risk  of  loss,  on  one  side,  against  gain 
on  the  other.  We  lose,  or  we  may  lose  grandeur,  in  a  too 
exclusive  preoccupation  with  the  individual.  We  run  the 
risk  of  falling  into  anecdote — the  fait  divers — mere  melo- 
drama. But  if  we  lose  or  run  the  risk  of  losing  on  the  side 
of  grandeur,  we  gain  enormously  on  that  of  human  interest 
and  of  truth.  And  some  modem  French  military  painters 
have  proved  that  it  is  possible,  while  giving  the  absolute 
truth  of  detail,  the  most  intense  rendering  of  the  emotional 
aspect  of  war,  to  preserve  grandeur  of  style,  and  produce  a 
really  fine  as  well  as  moving  work  of  art. 

Charlet,  Nicholas-Toussaint  (6.  Paris,  1792  ;  d,  Paris, 
1845). — When  Charlet*s  father,  a  Eepublican  Dragoon,  died, 
all  the  inheritance  he  could  leave  his  boy  was  a  pair  of  boots 
considerably   the   worse   for  wear  in  the  campaigns  of  the 
Sambre  and  Meuse,  his  leather  breeches,  and  the  deduction 
of  nine  francs  seventy-five  centimes  for  linen  and  shoes  from 
his  pay.     But  happily  there  was  a  valiant  mother  to  look 
after  the  child  and  devote  herself  to  his  education.     She  firsl^ 
placed  him  at  the  school  of  the  Enfants  de  la  Patrie ;  then  a** 
the  Lycee  Napoleon.     The  excellent  woman's  means,  how"-' 
ever,  were  soon  exhausted ;    and   Charlet,  who  adored  hi  ^ 
mother,  cut  his  studies  short  and  took  a  small  post  in  on 
of  the  Mairies  in  order  to  help  her.     He  did  not  keep  it  fo 
long,  on  account  of  his  Bonapartist  opinions.     And  in  181 
we  find  him,  as  Sergeant-Major  in  the  Garde  Nationale,  a* 
the  Barriere  de  Clichy.^     The  son  of  the  old  Dragoon  of  th 
Kepubhc  fought  so  fiercely  in  that  vain  attempt  to  driv 
back    the  Kussians,   that    he    was    made    captain    of    hi 
company.     Here,  however,  his  military  exploits  began  an 
ended.      The  Empire  fell.      He  laid  down  his  arms  ;  an 
turned  to  his  pencil  instead  of  his  musket.    In  those  splendiii 
lithographs,  in  his   fine  studies  and  pictures  of  the  actua»l 
soldier  of  the  Empire,  who  he  remembered  in  his  father 

^  Horace  Vemet's  picture  in  the  Louvre  (966),  "La  Barriere  de  Clichy,  ** 
contains  portraits  of  the  artist  and  of  Charlet,  as  well  as  of  Mar^chal  Monce^^ 
M.  Odiot,  and  M.  de  Marguery-Dupaty,  homme  de  lettres. 


1820-1899.  MILITARY  PAINTERS.  347 

who  he  had  seen  and  with  whom  he  had  fought  side  by 
side  in  those  days  of  July — his  mihtary  ardour  found  ex- 
pression. And  Gros,  Eafifet,  and  Charlet  remain  the  three 
most  important  artists  of  the  Napoleonic  epoch. 

Charlet  had  two  masters.  The  first  was  one  Le  Bel — 
an  obscure  painter  of  David's  school,  of  whom  the  pupil 
speaks  in  an3rthing  but  respectful  terms.  In  1817,  however, 
he  went  to  Gros ;  in  whose  studio  he  met  Delaroche,  Roque- 
plan,  Bonnington,  Bellang^,  Lami,  Barye,  etc.  Gros  soon 
perceived  the  talent  of  his  new  pupil ;  and  urged  him  at  first 
to  try  for  prizes,  competitions,  prix  de  Rome,  and  what  not. 
Meanwhile  Charlet  was  drawing  diligently.  His  drawings 
delighted  Gros,  who  was  often  to  be  found  poring  over  them 
at  his  friend  Delpech*s,  the  publisher,  who  was  beginning 
to  show  Charlet's  first  lithographs.  It  was  now  that  his 
**  Grenadier  de  Waterloo  "  appeared.  Its  success  was  so 
immediate  that  a  second  stone  had  to  be  prepared — the  first 
was  soon  too  worn.  But  its  success  was  due  to  its  political 
signification.  As  works  of  art  Charlet*s  productions  at  first, 
whether  drawings  or  lithographs,  did  not  sell. 

In  1820  the  honest  Baron  Gros  advised  the  young  artist 
to  leave  the  studio.  **  Allez,  travaillez  seul,  suivez  votre 
"impulsion,  abandonnez  vous  ^  votre  caprice,  vous  n'avez 
"rien  A  apprendre  ici.'*  So  away  went  the  valiant,  in- 
dependent, light-hearted  Charlet  encouraged  by  the  great 
Blaster's  words,  to  draw  and  paint  the  French  army  in  all 
Its  moods ;  and  though  he  knew  poverty  at  close  quarters 
wi  those  early  days,  his  gay  humour  and  happy  philosophy 
carried  him  through  every  difficulty.  Charlet  seems  never 
to  have  forgotten  that  he  was  a  soldier's  son,  and  that  he 
bad  once  himself  worn  the  uniform  of  his  country.  Looking 
like  some  distinguished  staff  officer,  with  his  handsome  face, 
clean  shaven  save  for  the  heavy  moustache  and  imperial,  his 
hest  friends  were  officers  of  note,  such  as  Colonel  de  la 
Combe  his  devoted  biographer,  and  M.  Alexandre  de  Rigny, 
colonel  of  the  2nd  Hussards. 

Success  came  slowly.  In  1818  he  was  so  put  to  it  to 
^toi  his  livelihood  that  he  undertook  to  decorate  a  Uttle  inn 


348  A  HISTORY  OF  FRENCH  ART.  Ch. 

at  Meudon.  But  this  led  to  a  meeting  of  great  import 
While  he  was  hard  at  work  painting  ducks,  rabbits 
brioches  on  the  shutters,  he  was  asked  to  join  a  che 
party  on  the  first  floor.  One  of  the  members  met  him  sa 
"  You  do  not  know  me,  M.  Charlet,  but  I  know  you, 
**  have  a  great  respect  for  you  ;  for  your  lithographs  c 
**  only  come  from  the  pencil  of  a  good  fellow  ;  and  if  you 
**  dine  with  us  it  will  be  an  honour  and  a  pleasure  to  u 

It  was  Giricault !  And  from  that  day  a  friend 
began,  which  was  only  broken  by  G6ricault*s  death. 
1820  the  friends  went  to  London,  where  G^rica 
**  Eadeau  de  la  Meduse  "  was  exhibited.  And  each  visitc 
payment  of  his  shiUing  entrance  received  a  lithograph  ol 
picture,  the  joint  work  of  the  two  artists.  Charlet's  1 
graphs  had  an  undoubted  influence  on  Gericault  at 
moment ;  while  G^ricault's  fiery  genius  had  an  equal  i 
on  his  friend.  And  if  his  time  had  not  been  so  absc 
with  lithography  and  his  work  as  Professor  of  drawir 
the  6cole  Polytechnique,  the  number  of  Charlet's  oil  pici 
would  have  been  greatly  augmented.  That  he  had  the 
painter's  temperament  is  shown  by  his  splendid 
**  Grenadier  de  la  Garde,"  in  the  Louvre,  his  **  iipisode 
Eetraite  de  Kussie,'*  and  others — notably  the  large  pain 
at  Versailles — "  Convoi  de  blesses  "  and  **  Passage  du  ] 
a  Kehl  ".  These,  says  M.  Armand  Dayot,  **  are  honou 
**  specimens  of  oflScial  painting  .  .  .  the  Episode  de  la  Be\ 
**  de  Eussie  is  an  audacious  and  powerful  work,  almost  a  ^ 
**  of  genius  ".  Of  this  picture  Alfred  de  Musset  dar€ 
say  in  1836,  "  Except  G^ricault's  Meduse  and  Pous 
**  Dehcge,  I  know  no  picture  which  produces  such  an  eflf< 

Charlet*s   life  was    one    of    ceaseless    labour.      An( 

summed  it  up  when,  with  his  wife  and  his  two  sons  b 

him,  his  pencil  fell  from  his  hand  on  the  last  day  of  184 

he  said,  **  Good-bye.     T  am  dying,  for  I  can  work  no  louj 

Examples : — 

OH  Pictures, 

Le  Grenadier  de  la  Garde,  Louvre. 
Convoi  de  blesses,  Versailles. 


lBaD.1899.  MILITARY  PAINTERS.  349 

Passage  du  Bhin  d  Kehl,  Versailles. 

Soldat  de  la  B6publique,  Chantilly. 

Episode  de  la  Retraite  de  Russie,  Mus6e  de  Lyon. 

G^n^ral  B^publicain  d  la  t^te  de  ses  troupes,  Mme. 

Moreau-N61aton. 
Waterloo,  M.  Auguste  Cain. 

Drawings  and  Lithographs, 

Many  Sepias. 

Series  of  "  Galerie  Militaire  depuis  1792  ". 

Illustrations  for  Biranger's  "  Chansons y'  etc.,  etc. 
Charlet  said  he  had  made  more  than  1500  drawings  in 
sepia,  water-colour,  pen  and  ink,  and  eaux-fortes,  besides 
nearly  as  many  he  had  torn  up  dissatisfied,  while  M.  de  la 
Combe  has  collected  1090  lithographs. 

Vernet,  Horace,  G.O.*  (6.  Paris,  1789 ;  d,  Paris,  1863).— 
Horace  Vernet  was  by  right  of  inheritance  a  painter.  Son 
of  Carle,  and  grandson  of  Joseph  Vernet,  it  would  have  been 
strange  if  he  had  not  cared  for  Art.  Like  his  father  he  was  a 
nian  of  the  world  ;  and  passionately  devoted  to  horses,  to  arms, 
and  to  sport.  For  a  moment  it  seemed  as  if  his  love  of  things 
military  would  have  sent  him  into  the  army.  But  before  he 
was  twenty  his  father  settled  his  career  for  him  ;  married  him 
to  Mile.  Louise  Pajol ;  and  obtained  him  the  post  of  draftsman 
to  the  depdt  de  la  guerre.  His  first  patrons  were  the  Empress 
Marie-Louise  and  King  J6r6me.  At  the  Barriere  de  Chchy, 
side  by  side  with  Charlet,^  he  distinguished  himself  greatly, 
Mid  received  the  Legion  of  Honour.  Under  the  Bestoration 
Horace  Vernet  was  an  ardent  Bonapartist ;  his  pictures  and 
lithographs  did  much  to  popularise  the  Napoleonic  Legend ; 
Mid  in  1822  his  pictures  were  refused  at  the  Salon  as 
seditious.  He  therefore  opened  an  exhibition  in  his  studio, 
to  which  all  Paris  flocked,  and  the  success  was  immense* 
Louis-Philippe,  as  due  d'Orlians,  now  became  his  warmest 
patron.  And  Charles  X.,  feeling  how  important  it  was  to 
attach  such  a  successful  artist  to  his  person  and  his  cause, 
ordered  the  pictures  of  **  Bou vines  '*  and  **  Fontenoy,"  and 
a  ceiling  at  the  Louvre. 

1  Seo  Charlet. 


350  A  HISTORY  OF  FRENCH  ART.  Ch.  XVIL 

Vernet  was  now  (1828)  made  Director  of  the  tcole  de 
Kome.^     And   on   his  return  to  France,  his  patron   Lonis 
Philippe  was  upon  the  throne,  and  his  period   of   greatest 
activity   and   success   began.      For    from   his  return  from 
Rome  in   1834,  to  the  revolution  of  1848,  with  one  brief 
interval,  Horace  Vernet  may  be  said  to  be  the  one  mili- 
tary painter  of  the  reign  of  Louis  Phihppe.    He  was  now 
at  liberty  to  devote  himself  to  his  favourite  subjects ;  and 
began  by  the  great  battles  of  the  Empire — J^na,  Friedland, 
Wagram,   etc.,   followed   by  the   siege  of  Antwerp.     Then- 
came  the  Algerian  campaign,  of  which  he  became  the  real- 
historian.      His  three  pictures  of  the  siege  of  Constantine,— - 
exhibited  in  1839,  roused  the  greatest  enthusiasm  ;   for  they 
were  narrative  pictures — the  story  told  by  an  ingenious  and    - 
accomplished   historian,  in   whose  work  **  conscientious  in- 
"  f onnation  equals  certainty  of  execution  ".    The  French  public 
desired  information  about  this  new  and  exotic  acquisition, 
where  the  French  army  fought  with  such  splendid  bravery 
against  a  little-known,  courageous,  and  picturesque  people. 
Horace  Vernet  was  able  to   give  them  this  information  in 
such  guise  that  it  was  intelUgible  to  the  illiterate,  and  of 
deepest  interest  to  the  learned.     In  1842  the  African  series 
was  interrupted  for   a  moment.      Some  annoyance  caused 
him    to    drop    his  work,  leave   Paris,   and    go    to    Bussia. 
But  he  only  painted  a  couple  of  pictures  for  the  Emperor 
Nicholas.     And  returning  to  France  in  1843,  he  took  up  the 
broken  thread  of  his  battle  pictures,  and  produced  the  finest 
of   all    his    works,   the    enormous   **  Prise   de    la    Smalah 
d'Abd-el-Kader  ".     It  is  gigantic  in  size — 21  metres  long  by 
5   high — and   most  happy  and   skilful  in   its  simplicity  of 
treatment.      **It   is   a   work  in  which  the  qualities  of  the 
"  painter  efface  themselves  before  the  impeccable  science  of  a 
**  draftsman,  of  an  illustrator  of  genius.'*  -    These  words  sum 
up  at  once  the  greatness  and  the  weakness  of  Horace  Vernet. 
He  was  not  a  painter,  he  was  a  narrator. 

The  revolution  of  1848  was  a  crushing  blow  to  his  pro- 
jects and  his  hopes.     During  the  Third  Empire  he  produced 

1  See  Gu^rin.  *  De  Nolhac  and  P^rat^. 


10-1899.  MILITARY  PAINTERS.  351 

it  little,  though  Napoleon  III.  made  him  grand  officier  de 
Legion  d*Honneur  in  1862,  a  few  weeks  before  his  death, 
ifted  with  extraordinary  facility,  he  used  pencil,  brush,  and 
urin  with  almost  equal  ease  and  certainty  of  hand. 
Examples — Versailles  : — 

Prise  de  Constantine.     2021,  2022,  2023. 

Prise  du  fort  de  St.  Jean  d'Ulloa.     2024. 

Prise  de  la  Smalah  d'Abd-el-Kader.     2027. 

Etc.,  etc.,  etc. 

La  Barrifere  de  Clichy,  Louvre.     956. 

Ceiling  of  Salle  2,  Mus6e  Charles  X. ,  Louvre.    957, 958. 

Portrait,  due   d'Orl^ans,  afterwards   Louis  Philippe, 
Chantilly. 

The  Duke  of  Orleans  entering  Constantine,  and  a 
great  number  of  other  pictures,  Hertford  House. 
Eaffet,  Denis- Auguste-Marie  (6.  Paris,  1804  ;  d. 
renoa,  1860). — After  receiving  a  rough  and  ready  education 
t  a  little  school  in  the  Quartier,  Eaffet  at  the  age  of  fifteen 
7a8  apprenticed  to  a  turner  in  the  Faubourg  Saint-Antoine. 
le  stayed  here  for  three  years,  delighting  his  employer  by 
lie  skill  with  which  he  used  his  lathe.  But  his  taste  for 
liings  military  was  already  declared.  From  his  babyhood 
is  warhke  tendencies  had  manifested  themselves.  The 
'ontaine  de  Birague  and  the  steps  of  the  ilglise  de  Saint- 
*aul  witnessed  heroic  deeds  of  arms,  when  little  Eaffet — 
Iways  chosen  as  leader — led  his  liliputian  troop  into  the 
eld  armed  with  broomsticks  and  such  like,  to  the  no  small 
onstemation  of  their  peaceful  elders  in  the  Faubourg 
iaint-Antoine. 

Raffet's  artistic  faculty  was  very  late  in  developing.  In 
he  weekly  reports  which  the  head  of  the  Institution  Ballet 
ent  his  mother,  an  ominous  black  mark  always  stood 
kgainst  "  progress  in  drawing  **.  It  was  not  until  he  was 
lighteen  that  his  love  of  art  really  awoke.  Then,  to  the 
lonstemation  of  the  good  turner,  he  took  a  sudden  disgust  to 
;he  turning  of  chair-legs.  His  worship  of  the  Flag — of  all 
Dhat  pertained  to  the  glory  of  the  soldier — roused  in  him  the 
vehement  desire  to  become  the  painter  of  the  soldier.     He 


852  A  HISTORY  OP  FRENCH  ART.  Ch.  XVH. 

joyfully  left  his  lathe ;  and  went  off  to  ask  counsel  of  M. 
Cabanel,  a  painter,  gilder,  and  porcelain  decorator.  This 
worthy  man  took  the  lad  into  his  atelier,  where  he  earned 
six  francs  a  day  ;  and  besides  giving  him  sound  advice  on 
painting,  his  patron  allowed  him  to  attend  some  of  the  classes 
in  Suisse's  Academy,  then  greatly  in  vogue.  Here  Eaffet 
learnt  to  draw  from  nature,  and  made  friends  with  de 
Kudder  and  Theodore  Le  Blanc,  two  of  Charlet's  pupils. 
It  was  Theodore  Le  Blanc,  then  a  captain  of  Engineers, 
whose  death  at  the  siege  of  Constantine  in  1837,  Raffet 
immortalized  in  one  of  his  most  celebrated  lithographs. 

De   Rudder  introduced  Raffet  to  Charlet,  who  was  de- 
lighted with  his  drawings,  welcomed   him  warmly,  offered 
him  a  place  in  his  studio,  and  became  greatly  attached  to 
him.     Six  months  later  the  young  artist  entered  the  tcole 
des   Beaux   Arts.      Here   for   five   years  he  worked  under 
Charlet,  and   became  so  perfect  a  draftsman  that  the  best 
authorities  declare  it  is  difficult  to  say  which  is  the  work  of 
master  or  pupil  in  certain  works  from  1825  to  1830.     But^ 
according  to  M.  Arniand  Dayot,  Charlet   only  lightly  re^ — - 
touched  one  of  Raffet's  drawings — the  "  Waterloo  " — wher^ 
with  a  few  touches  he  toned  some  of  the  lights  which  ha<V 
been  left  a  little  too  strong.     Raffet,  however,  perceived  that:== 
he  ran  a  certain  risk  of  becoming  merely  the  follower  o 
Charlet's   compelling   talent.      He    had    mastered    all    th 
subtleties  and  mysteries  of  lithography.     And  he  turned  t 
Baron  Gros,  whose  battlepieces  had  inflamed  his  imagination^* 
for  something  broader  and  more  vigorous.     A  few  months 
after  he  entered  Gros'  studio  he  published  an  Album,  con — 

taining    the    famous    "  Waterloo  '*   and    **  La   Moskowa  ** 

Gros  happened  to  see  the  former,  sold  for  a  franc  on  th 
Quays.  He  exclaimed  with  admiration,  asked  the  name  o 
the  artist,  and  when  told  it  was  a  young  man  named  Raffet^i^ 
a  pupil  of  Baron  Gros,  denied  his  existence  !  But  from  that^ 
day  Gros  remembered  the  name  of  his  brilliant  pupil,  wh 
he  said  had  come  on  a  fruitless  errand,  as  he,  Gros,  coul 

teach  him  nothing  more  than  he  already  knew  about  battles 

Raffet  nevertheless  worked  on  steadily  in  the  studio,  gainings 


1820-1899.  MILITARY  PAINTERS.  363 

immense  power  in  drawing.  At  the  same  time  orders  came 
thick  upon  him ;  and  he  produced  illustrations,  vignettes, 
drawings,  and  the  thirty-three  plates  for  the  MusSe  de  la 
Revolution  Franfaise,  in  which  his  talent,  which  had  de- 
veloped so  slowly,  shows  itself  complete. 

One  album  of  hthographs  now  succeeded  another.  In 
the  intensely  interesting  collection  of  Eaffet's  works,  pre- 
served under  the  pious  care  of  his  son,  M.  Auguste  Eaflfet,  of 
the  D^partement  des  Estampes,  BibHothfeque  Nationale,  the 
variety  of  subject  and  of  style  is  extraordinary.  We  find  a 
vignette  outside  some  popular  song,  an  advertisement  for 
some  book  or  play,  next  to  some  lifelike  sketch  of  a  soldier, 
some  magnificent  Uthograph  where  he  has  put  10,000  men 
in  to  the  space  of  an  open  octavo,  or  some  caricature,  which, 
while  it  made  the  pubUc  laugh,  cut  at  the  same  time  like  a 
^whip  lash.  At  the  end  of  1831  Eaffet  made  a  hasty  journey 
to  Antwerp.  He  wanted  to  see  his  hero,  the  soldier,  at 
i?vork  in  earnest.  He  arrived  in  time  to  see  the  surrender  of 
t;he  Citadel ;  and  hurried  back  to  Paris  with  sketch  books 
filled  with  drawings  from  life,  which  were  soon  transformed 
into  the  fine  Album  of  the  Siege  of  Antwerp.  This  pubhcation 
oompleted  his  reputation.  His  fame  was  secure.  But  he 
^was  to  do  better  still.  Two  of  his  greatest  triumphs  were 
produced  in  1833,  the  placards  for  the  poems  N6mesis  and 
Napoleon  en  Egypte,  These  **  will  rank  for  ever  among  the 
**very  purest  marvels  of  lithography".^ 

While  working  almost  ceaselessly  at  his  lithographs, 
Raflfet  yet  found  time  to  paint  direct  from  nature.  His  oil 
pictures  are  rare,  and  he  never  exhibited  them  in  the  Salon. 
But  such  pictures,  sketches,  and  studies  as  exist  show  a  very 
brilliant  colourist.     In  water-colour  however  he  did  much. 

The  eccentric  and  remarkable  wanderer  and  patron  of 
^he  arts,  Prince  Anatole  Demidofif,  was  closely  attached  to 
Haflfet.  And  with  this  singular  and  devoted  companion,  a 
^ries  of  journeys  began  which  gave  Eaffet  extraordinary 
opportunities.  Such  of  his  original  sketch  books  of  these 
Journeys  as  we  have  been  fortunate  enough  to  see/  reveal  the 

'  Annand  Dayot. 

23 


354  A  HISTORY  OF  FRENCH  ART.  Ch.  XVLL 

man  and  the  artist  in  a  delightful  manner.     Not  only  do 
they  show  the  keen  observer,  intense  enjoyment  of  every 
novelty,   an   absolutely   truthful  method   of  work   in   tiny 
studies  of  uniforms,  accoutrements,  the  special  set  of  a  strap, 
a  buckle,  an  epaulet,  a  bit  of  harness  :  but  the  vast  plains  of 
the  Danube  and  the  Crimea — magnificent  ceremonials  and 
reviews  where  thousands  of  men  are  engaged — are  indicated 
with  such   marvellous   power  and   subtle  knowledge,  that 
the  few  strokes  on  the  six-inch  page  of  a  Uttle  sketch  book 
give  the  effect  of  grandeur  we  too  often  find  lacking  in  a 
huge  picture.     With  Prince  Demidoflf,  Raffet   travelled  in 
Spain,  where  we  get  bullfights  and  bullfighters,  Andalusian 
beauties  and  dancers.     At  Gibraltar  he  was  fascinated  by  the 
43rd  Highlanders ;  and  some  of  his  large  water-colour  and 
lithograph  studies  and  portraits  are  of  great  interest.     The 
journey  in   1836  took  the  Prince  and  the  artist  down  tix^ 
Danube,  through  southern  Russia  and  the  Crimea.^     They 
also  visited  England  and  Scotland. 

But  one  of  Raflfet's  most  valuable  contributions  to  con- 
temporary history  is   the   book  of  full-length   water-colour 
portraits  of   "  Diplomates   aupr^s  de  la   Sainte   Sifege "  at 
Rome  and  Portici  in  1849.     The  heads  are  finished  with 
extreme  care  and  deJicacy,  and  are  some  of  the  most  lifelike 
and  characteristic  portraits  of  the  time.     They  begin  with 
Pius  IX.  and  Cardinal  Antonelli.     And  the  racial  differences 
between   the   representatives   of   the    different   nations  are 
depicted  with  a  saga^sity  and  vivacity  which  is,  as  far  as  I 
know,  unequalled.    This  book  is  preserved  in  the  Bibliothfeque 
Nationale — a  rare  feast  for  the  student  of  modem  history. 

This  journey  to  Rome  at  the  time  of  the  siege  was  also 
productive  of  a  magnificent  series  of  drawings  of  the  French 
army  and  the  events  of  the  siege.  Among  them  "Votre 
reception  n'est  ni  polie  ni  politique  " — and  the  beautiful 
plate  of  the  engagement  imder  the  great  Stone  Pines  of 
Panfili  are  of  special  value.  Raflfet*s  second  visit  in  the 
spring  of  1860,  in  which  to  get  fresh  notes  to  complete  bis 
Albimi  of  the  siege  of  Rome,  cost  the  world  a  great  artist. 

1  See  Prince  Demidoff's  well-known  book  of  Tiavels,  illuBtrated  by  Raffet. 


1820-1899.  MILITARY  PAINTERS.  355 

He  contracted  fever — and  died  on  his  way  home  at  Genoa,  in 
February,  1860. 
Examples : — 

Grenadier  de  la  V^  Eepublique  (oils),  Louvre.     761 

bis. 
Complete    collection    of    Lithographs,    Bibliotheque 

Nationale. 
Diplomates,   1849   (water-colour),   Bibliothfeque    Na- 
tionale. 

a 

Water-Colours  of  Algerian  Campaign,  1841,  Chantilly. 
Canonnier  de  la  Eepublique  (oils),  M.  Cain. 
Barkhat,^  a  Eussian  Horse  (oils),  E.  E.  Leggatt,  Esq. 
Six  sketch  books  of  Journey  down  the  Danube  and 
Crimea,  from  collection  of  Prince  Demidoff,  Miss 
Lucy  Cohen. 
The    most   celebrated  of   the  Lithographs   in  the 
Napoleonic    series    are :     **  Moskowa.*'     "  Bataillon 
Sacr6  a  Waterloo."   "  Lutzen."  "  L'ceil  du  maitre." 
**  Attention  !  L*Empereur  a  Tceil  sur  nous  !  "  **  Serrez 
vos  rangs !  **    **  lis   grognaient   et   le  suivaient   tou- 
jours."     '^La  Eevue  Nocturne."     '*  Le  E^veil." 
In  the  Algerian  Series  :  **  Marche  sur  Constantine." 
"  Combat  d'Oued  Alleg." 
Bellang6,  Hippolyte  (6.  Paris,  1800 ;  d.  Paris,  1866). 
^BeUangA  entered  the  l^cole  des  Beaux  Arts  in  1818.     A 
pupil  of  Gros,  he  represents  the  transition  period  between 
officialism  and  the  intimate  and  realistic  painting  of  Military 
pictures.      His   **  Prise   de   Mouzaia "   at  Versailles   is   an 
admirable  example  of  this  transition. 
Examples — ^Versailles  : — 

Wagram,   1749;    Prise  de  Mouzaia,   5123;    Combat 

d'Anderlecht. 
Two  pictures,  Chantilly. 

Fording  a  Stream  ;  The  Despatch  ;  Grenadier ;  Hert- 
ford House. 
Protais,  Paul  Alexandre  {b,  Paris,  1826). — With  the 
Crimean  War,  Protais,  like  Pils,  found  his  opportunity.    And 

^  From  the  Demidoff  collection. 


366  A  HISTORY  OF  FRENCH  ART.  Ch.  XTH. 

he  was  one  of  the  first  to  break  away  from  the  aristocratic 
and  oflScial  view  of  war,  and  paint  the  soldier  as  he  saw  him. 
He  has  always  seen  him  through  a  veil  of  sentiment ;  "the 
** melancholy  soldier/'  as  M.  Bigot  says,  who  seems  "to 
"  emerge  from  a  reading  of  Bern  or  of  Obermann  **. 

In  Versailles  we  have  a  good  example  of  his  work — the 
Prise  du  Mamelon  Vert.     1904. 

Avant  le  combat,  and  Apr^s  le  combat,  Chantilly. 

Pictures  in   the   Museums    of    Marseilles,    Orleans, 
Toulon,   etc. 

La  Separation  .  .  .  arm^e  de  Metz,  1872,  Mme.  la 
Baronne  James  de  Eothschild. 
PiLS,  Isidore,  O.*,  M.  de  l'Inst.  (6.  Paris,  1815 ;  d. 
Paris,  1875). — Isidore  Pils  inherited  from  his  father  not 
only  a  clearly  marked  artistic  sense,  but  the  power  of 
lively  and  accurate  observation.  The  father,  a  gallant 
and  cultivated  soldier  who  Oudinot  attached  to  his 
personely  spent  the  intervals  of  actual  fighting  in  making 
vigorous  sketches  of  all  he  saw  in  the  campaigns  of  the 
First  Eepublic  and  Empire.  His  son  Isidore's  vocation 
was  manifested  early  ;  and  at  fifteen  the  lad  entered 
Lethifere's  studio,  leaving  it  two  years  later  for  Picot's.  He 
was  preparing  to  compete  for  the  Prix  de  Rome  in  1836, 
when  the  consumptive  tendencies  he  had  inherited  from  his 
mother  first  showed  themselves.  His  father  was  poor.  So 
he  had  to  take  refuge  in  the  H6pital  de  Saint-Jean — to 
which  he  was  destined  to  return  more  than  once. 

In  1838,  however,  he  gained  the  Grand  Prix  de  Rome,  and 
set  out  for  the  Villa  Medici.  But  Italy  did  his  delicate  health 
harm  instead  of  good.  Racked  with  fever,  interrupted  by 
journeys  in  search  of  relief  to  Ischia,  Naples  and  the 
mountains,  his  work  suffered.  Nor  did  Italy  suit  his  talent. 
All  his  life  through  his  career  was  blighted  by  constant  illness. 
But  with  a  gentle  and  half-sorrowful  obstinacy  Pils  strove  to 
overcome  all  obstacles,  and  to  discover  the  true  path  to  follow. 
He  had  hitherto  tried  religious  commonplaces.  In  1848  bis 
"  Rouget  de  I'lsle  '*  was  inspired  by  the  spirit  of  the  times. 
Then  he  began  like  his  father  to  observe  what  was  going  on 


1820-1899.  MILITARY  PAINTERS.  357 

about  him,  and  to  paint  what  he  saw.  The  **  Death  of  a 
Sister  of  Charity  *'  and  **  Prifere  k  THospice  "  were  scenes  he 
had  witnessed  in  his  long,  sad  sojoumings  at  the  H6pital 
Saint- Jean.  Then  a  **  Distribution  de  soupe  **  by  soldiers  to 
the  poor  in  the  Gardens  of  the  Luxembourg,  revealed  to  him 
his  true  vocation.  He  became  a  modern  painter,  a  miUtary 
painter.  And  the  Crimean  War  soon  confirmed  his  popu- 
larity with  the  **  D^barquement  en  Crim^e,"  and  the  fine 
"  Bataille  de  TAJma,''  for  which  he  was  awarded  a  First  medal. 
Unluckily  an  ofiicial  order  from  Government  for  the 
**  Reception  des  Chefs  Arabes  ''  interrupted  him  in  his  new- 
found Une  of  work.  He  spent  two  years  in  Algeria  making 
studies  for  it.  But  constantly  ill — once  at  the  point  of  death 
at  Fort  Napoleon — plunged  without  preparation  into  the 
new  and  strange  life,  light,  colour  and  types  of  the  East, 
Pils  was  as  one  lost.  He  had  neither  physical  strength  or 
artistic  vigour  and  agility  to  stand  such  a  shock,  necessitating 
a  completely  fresh  point  of  view.  The  great  theatrical 
picture  proved  a  failure,  which  sorely  discouraged  the  poor 
painter  of  the  "  Alma  ".  And  his  studies  of  Kabylles  are  far 
superior  to  it. 

During  the  Siege  of  Paris  he  produced  some  remarkable 

water-colours,  full  of  his  old  vigour.     For  he  had  returned  to 

his  soldiers  who  he  loved  and  understood,  his  soldiers  who 

had  brought  him  his  real  success.  ^   In  oils  he  always  found 

difficulties.     And  when  as  Professor  at  the  iicole  des  Beaux 

Arts,  and  Membre  de  I'lnstitut,  he  was  commissioned  to  paint 

the  ceiling  of  the  grand  staircase  of  the  Opera  House,  he  failed 

again.     Hopelessly  discouraged,  worn  out  with  ill  health,  he 

died  a  few  months  later,  'Crying  in  his  last  delirium  to  his 

pupils  to  work,  work  always  "  d'apres  nature,  d'aprfes  nature," 

and  calhng  on  the  name  of  G^ricault,  the  hero  of  his  youth. 

Examples  : — 

Bouget  de   I'lsle  chantant  pour  la  premiere  fois  la 
Marseillaise,  Louvre.     702. 

Passage  de  TAlma,  Versailles.     5014. 

La  prifere  k  I'Hospice,  Ville  de  Toulouse. 

Water-colours  of  Soldiers,  Chantilly. 


358  A  HISTORY  OF  FRENCH  ART.  Ch.  XVIL 

Detaille,  Edouard,  0.*,  M.  de  lInst.  {b,  Paris,  1848). 
— Monsieur  Detaille,  a  Parisian  bom  and  bred,  was  educate 
at  the  Lyc^e  Bonaparte.  At  College  his  exercise  books  were 
covered  with  drawings.  But  he  is  a  most  determined 
worker.  And  this  passion  for  drawing  did  not  prevent  his 
gaining  a  solid  education,  and  his  diploma  of  Bachelier  h 
lettres  at  seventeen.  This  once  accompUshed,  his  family 
allowed  him  to  follow  his  irresistible  vocation  ;  and  he 
entered  Meissonier's  studio  in  November,  1865.  Here  he 
spent  two  years  ;  and  a  close  affection  and  regard  sprang  up 
between  master  and  pupil.  At  first  the  way  was  not  easy. 
The  future  master  had  to  unlearn  all  he  knew — to  give  up  the 
chic  for  serious  study.  But  as  M.  Claretie  says,  **  resolu, 
**  tres  energique,  avec  sa  fine  nature  de  Parisien  qui  semble 
**  double  d'Anglais,"  M.  Detaille  by  sheer  determination  was 
able  to  sever  himself  for  awhile  from  what  he  dehghted  in,  and 
give  himself  wholly  to  absolute  study  of  the  very  rudiments 
of  his  art,  until  the  day  when  Meissonier  said,  **  It  is  weU, 
**  now  you  can  walk  alone  '' !  By  means  of  endless  studies 
of  every  kind — horses,  soldiers,  people  of  every  type  (every 
one  of  them  from  the  life),  landscapes,  dead  game,  studies 
from  the  nude — M.  Detaille  gained  that  amazing  certainty  of 
hand  and  eye  which  we  find  in  his  best  pictures  or  in  his 
smallest  drawing. 

His  first  picture  was  not  a  military  subject.  It  was  the 
Studio  of  his  Master,  in  the  Salon  of  1867.  The  winter  of 
1807-68  he  spent  in  the  south  of  France,  where  he  painted 
his  **  Cuirassiers  ferrant  leurs  chevaux  sur  la  route  d'Antibes  " 
and  his  **  Halte  de  Tambours,"  which  so  delighted  his 
*'  model  *'  that  he  bought  it  on  the  spot  for  800  francs, 
according  to  M.  Claretie,  selling  it  later  for  a  big  price  to 
Princesse  Mathilde.  In  1869  Th^ophile  Gautier  began  to 
praise  the  young  artist  highly  for  the  attitudes,  truth  and 
spirit  of  his  grenadiers — **  Le  Eepos  pendant  la  Manoeuvre  ". 
And  in  the  same  year  he  showed  several  charming  Direotoire 
and  Empire  pictures,  both  in  oils  and  water-colours.  His  first 
great  success,  however,  was  in  the  Salon  of  1870 — **  Combat 
entre  les  Cosaques  et  les  gardes  d'honneur  ".     It  is  so  extra- 


.820-1899.  MILITARY  PAINTERS.  359 

Drdinarily  living  in  its  truth  of  detail,  that  it  has  been  said 
one  could  swear  the  painter  must  have  been  there  and  seen 
it  all.  M.  Detaille  however  was  soon  to  see  War  in  earnest, 
and  leave  his  Directoire  and  the  Wars  of  Napoleon  for  the 
horrible  realities  that  he  witnessed  and  took  part  in. 

In  August,  1870,  he  left  his  studio  and  half-drawn  picture, 
and  enlisted  in  the  8th  battalion  of  the  Garde  Mobile  de 
la  Seine.  He  was  first  encamped  at  Saint-Maur  ;  then  sent 
to  Villejuif.  In  the  battle  of  Chatillon,  M.  Detaille  was  in 
the  barricaded  house.  Then  he  was  moved  to  Pantin,  and 
fought  at  Bondy.  And  in  November  General  Appert  made 
him  his  secretary.  This  gave  the  young  artist  more  liberty ; 
and  enabled  him  to  see  nearly  all  the  events  of  the  siege,  fol- 
lowing Charlet's  well-know^n  precept,  **  II  faut  tout  croquer 
**  sous  le  feu  ".  The  one  which  struck  him  most,  was  the 
fierce  battle  of  December  2  on  the  Marne,  which  he  saw 
%t  close  quarters.  He  recorded  it  in  a  terrible  drawing  from 
oaemory — a  rank  of  Saxons  struck  down  by  a  mitrailleuse. 

In  the  Salon  of  1872  M.  Detaille  exhibited  his  famous 
*  Vainqueurs  ** — the  Prussians  leaving  a  house  in  the  out- 
skirts of  Paris.  This  was  a  great  success,  and  the  young 
painter  was  given  the  Legion  of  Honour.  He  followed  it  in 
1873  with  *'  En  Retraite  "  ;  in  1874  with  the  "  Cuirassiers 
3e  Morsbronn  *' ;  and  in  1875  with  the  delightful  **  Eegiment 
jui  passe  "  on  the  Boulevard. 

It  is  needless  to  follow  the  highly  successful  and  dis- 
tinguished artist  step  by  step.  But  his  association  with 
AJphonse  de  Neuville,  his  friend  and  rival,  merits  notice  as 
in  interesting  and  instructive  episode  in  the  histories  of  the 
ijwo  greatest  modem  artists  of  the  soldier.  The  two  artists — 
ot  whom  Meissonier  said  with  a  touch  of  almost  paternal 
affection,  "  ils  ont  bien  du  talent,  ces  jeiines  ijens  " — travelled 
together  in  the  summer  of  1874  to  Sedan,  and  visited  the 
battlefields  of  Metz,  Forbach  and  Froeschwiller.  They 
vrorked  together  in  the  superb  Panorama  of  Champigny  in 
Buch  complete  sympathy,  that  it  requires  an  expert  to  say 
^here  the  work  of  one  begins  and  the  other  ends.  But 
xievertheless  a  very  distinct  difference  exists  between  their 


360  A  HISTORY  OF  FRENCH  ART.  Ch.  XVIL 

work  as  artists.  M.  Detaille  does  not  seek  for  that  drama  in 
his  pictures  which  gives  so  poignant  a  significance  to  every- 
thing de  Neuville  painted.  He  contents  himself  with  the 
utmost  exactitude  he  can  attain.  And  in  that  attainment  he 
is  unsurpassed  among  modem  artists.  But  while  his  pic- 
tures interest,  they  do  not  stir  the  heart  and  excite  the 
patriotic  ardour  and  imagination  of  the  spectator  as  those 
of  de  Neuville ;  who,  while  he  gives  the  absolute  truth  of 
detail,  gives  a  glimpse  of  the  hidden  truth,  the  spirit  of 
heroic  endeavour  and  endurance,  evQn  in  disaster. 

M.  Detaille's  career  has  been  one  of  brilliant  success. 
The  Panorama  of  Champigny  was  followed  in  1883  by  one 
of  E^zonville,  exhibited  in  Vienna  that  year.  His  best 
known  work  of  1897  is  the  fine  equestrian  portrait  picture 
of  the  Prince  of  Wales  and  the  Duke  of  Connaught, 
T.R.H.'s  Diamond- Jubilee  gift  to  The  Queen.  M.  Detaille 
is  a  well-known  and  always  welcome  guest  in  England. 
And  his  pictures  and  drawings  are  immensely  popular  both 
in  Europe  and  America. 
Examples : — 

Le  R6ve,  1888.     Luxembourg. 

Sortie  de  la  Gamison  de  Huningen,  20  AoM,  1815, 

1892.     Luxembourg. 
'*  Haut    les   T6tes,"    Grenadiers  A  cheval  &  Eylau. 

Chantilly. 
Cosaques  de  T Ataman.     Emperor  of  Bussia. 
Bivouac    des     tirailleurs    de    la    famille     imp^riale. 

Emperor  of  Bussia. 
Portraits  of  H.B.H.  the  Prince  of  Wales  and  H.R.H. 

the  Duke  of  Connaught.     H.M.  The  Queen. 

En   Beconnaissance,  Champigny.      M.  M.   Boussod 

and  Valadon. 

Neuville,  Alphonse  de,  *  (b.  Saint  Omer,  1835  ;  d. 

Paris,  1887). — **  Un  peintre  de  race,  ^mouvant,  personnel  et 

"  vrai."  Alphonse  de  Neuville*s  family,  rich  and  well  connected, 

destined  him  for  some  brilhant  ofiicial  post.     Their  dismay 

therefore  was  great  when,  after  obtaining  his  haccalauriat  al 

sixteen,  he  announced  that  he  would  do  nothing  but  follow 


1820-1899.  MILITARY  PAINTERS.  361 

the  profession  of  arms  :  and  after  much  opposition  he  entered 
the  preparatory  Naval  School  of  L'Orient.  While  there  his 
true  vocation  revealed  itself.  M.  Duhousset,  the  professor  of 
drawing  and  an  excellent  and  enlightened  man,  soon  per- 
ceived de  Neuville's  talent.  Believing  that  he  had  the 
making  of  a  real  artist,  he  devoted  himself  to  developing  his 
pupil's  powers ;  and  at  the  end  of  the  perparatory  year 
Duhousset  prophesied,  **  Eemember,  whatever  you  do,  you 
**  will  never  be  anything  else  than  a  painter  ".  On  his  return 
home  de  Neuville  found  that  his  family  had  changed  its 
mind,  and  forbade  him  to  enter  the  Naval  School.  To  this 
he  submitted  without  much  reluctance ;  for  this  year  had 
■convinced  him  that  Art  rather  than  Arms  was  to  be  his 
mistress.  And  he  consented  to  go  to  Paris  and  study  law, 
which  would  give  him  a  respite,  and  time  to  study  drawing. 

In  Paris  he  joined  the  most  popular  law  classes,  and 
never  attended  them  !  All  his  time  was  spent  in  drawing 
soldiers  at  the  ficole  Militaire,  or  the  Champ-de-Mars.  At 
the  end  of  three  years  he  managed  to  get  through  his 
examination  somehow,  to  the  delight  of  his  relations,  who 
saw  him  on  the  steps  of  a  fine  official  career.  But  de 
Neuville  then  made  the  frightful  announcement  that  he  was 
going  to  be  an  artist.  The  family  were  horrified.  A  year's 
determined  opposition  ensued.  He  remained  quite  calm.  A 
painter  or  nothing,  was  the  ultimatum  of  this  ''enfant  terrible  ". 
At  last  his  father  gave  way  before  such  determination ;  and 
took  him  to  Paris  to  see  if  he  had  any  prospect  of  success. 

The  beginning  was  not  encouraging.  First  they  went  to 
Bellang^.  He  was  in  a  bad  humour,  and  advised  the  young 
man  to  "go  back  to  the  country  "  and  get  some  good  post 
that  would  enable  him  to  live  comfortably,  unknown,  but 
peaceful.  Then  to  Yvon.  He  was  civil — looked  at  the 
sketches,  and  said  there  was  nothing  serious  in  them.  **  Go 
*'  back  to  the  country."  Picot,  to  whom  de  Neuville  went  by 
himself  a  few  days  later,  was  contemptuous — and  told  him  to 
work  in  charcoal,  as  he  was  unworthy  to  paint.  After  his 
third  study  de  Neuville  left ;  took  a  little  studio  ;  and  in  the 
winter  of  1858-59  he  painted  the  **  Batterie  St.  Gervais  " 


362  A  HISTORY  OF  FRENCH  ART.  Ch.  XVH 

(Sibastopol).  This  he  thought  it  right  to  show  to  Picot, 
who  was  amazed  at  the  qualities  he  saw  in  his  despised 
pupil.  It  was  exhibited  in  the  Salon  of  1859  and  gained  a 
third  medal.  Delacroix  now  was  extremely  kind  to  the  young 
artist,  who  spent  hours  alone  with  him,  getting  precions 
counsel. 

In  1861  his  **  Chasseurs  de  la  Garde  '*  in  the  trenches 
gained  a  second  class  medal ;  and  he  was  now  recognised  as  an 
artist  who  must  be  considered.  But  his  pictures,  in  spite  of 
much  praise,  did  not  sell.  So  he  took  to  illustrations.  M. 
de  St.  Victor  says  that  "  no  artist  but  Gustave  Dore  had  so 
**  rapid  a  hand  or  so  fertile  a  power  of  improvisation  ".  His 
drawings  in  the  Taiir  du  Monde  alone  would  fill  five  or  six 
volumes,  besides  Guizot's   Histoire  de   France,  etc.,  etc. 

In  1864  a  very  important  picture,  "  Attaque  des  rues  de 
Magenta,"  was  bought  by  the  State  for  his  native  town,  St. 
Omer.  And  in  1866  the  **  Sentinelle  de  Zouaves  "  is  de- 
scribed as  **  a  work  of  a  more  intimate  character,  which 
**  already  suggested  his  later  manner  '*.  In  the  "  Chasseurs  de 
la  Tchemaia  "  of  1868-69,  the  modem  tendencies  are  more 
pronounced.  It  is  the  trooper  himself  who  interests  this 
modem  master.  The  battle  now  is  relegated  to  the  back- 
ground. The  soldier,  his  ways,  his  looks,  his  character, 
takes  the  front  place. 

When  the  War  broke  out  de  Neuville  served  first  as  an 
auxiliary  engineer  officer,  and  then  as  orderly  officer  on  the 
staff  of  G^niral  Callier.  He  thus  witnessed  all  the  fighting 
on  the  north  of  Paris  during  the  siege.  His  "  Bivouac 
devant  le  Bourget "  began  his  new  series,  in  1872.  And  from 
henceforth  he  imposed  on  himself  the  poignant  role  of 
historian  of  the  War  of  1870.  In  1873  came  his  greatest 
triumph — the  well-known  **  Derniferes  Cartouches  a  Balan  "— 
and  the  "  Combat  sur  la  voie  ferr^e  ".  To  show  how  he 
worked,  the  history  of  the  **  Derniferes  Cartouches  '*  is  of 
deep  interest.  He  went  to  Balan  with  one  of  the  officers 
who  had  been  present,  and  sketched  all  the  action  on  the 
spot  from  his  descriptions.  Hastening  back  to  Paris  he 
spent  a  month  in  heaping  materials  together — clothes,  arms, 


1820-1899.  MILITARY  PAINTERS.  363 

etc.,  etc.  Then  he  shut  himself  up,  and  no  one  saw  him. 
But  for  several  days  the  neighbours  were  startled  by  strange 
sounds  —  breakages,  blows  of  a  hatchet,  reports  of  fire- 
arms. The  first  visitor  who  penetrates  to  the  studio  starts 
back  in  alarm.  The  walls  are  full  of  bullet  holes,  the 
furniture  broken,  doors  off  their  hinges  cleft  with  the  hatchet, 
windows  hanging  from  their  frames,  curtains  torn — and  in 
dense  smoke  de  Neuville,  with  his  eyes  flaming,  is  painting 
the  little  Moblot  of  the  **  Derniferes  Cartouches  ".  Several 
years  later,  when  he  had  moved  to  his  fine  studio  in  the  rue 
Legendre,  close  to  Meissonier's  palace  on  the  boulevard 
Malsherbes,  and  next  door  to  his  devoted  friend  Detaille,  he 
sedd  the  old  atelier  was  still  in  the  same  state — he  could  not 
bear  to  give  it  up.  *'  II  m*a  port6  bonheur.  C'est  la  que 
"  j'ai  fait  aussi  le  Combat  sur  la  voie  ferr^e,  et  Villersexel. 
**  n  me  rappelle  mes  premiers  succes.  De  temps  en  temps 
**jy  vais  faire  un  petite  pelerinage."  ^ 

I  have  already  mentioned  the  close  friendship  existing 
between  de  Neuville  and  M.  Detaille,  who  he  called  "  la 
sagesse  de  Nations  *' ;  for  the  latter  always  arranged  all  de- 
tails in  their  many  journeys.  It  lasted  unbroken  to  the  end 
of  de  Neuville's  brilliant  but  all  too  short  career.  For  in 
1887  he  died,  after  months  of  terrible  illness. 
Examples— Luxembourg  :  — 

Le  Bourget,  sketch,  1873 ;  Attaque  par  le  feu  d*une 
maison  barricad^e  a  Villersexel,  sketch,  1875  ;  Le 
Parlementaire,  1884,  repetition. 

Combat  sur  la  voie  ferr^e,  Chantilly. 

Les  derniferes  Cartouches,  1873,  M.  C.  J.  Lefevre. 

Bivouac  devant  le  Bourget,  Musee  de  Dijon. 

Batterie  St.  Gervais  (Sebastopol),  Musee  de  St.  Omer. 

Champigny,  Versailles. 

Le  Bourget,  1878,  Vanderbilt  Collection,  New  York. 

Une    Surprise  aux    environs    de    Metz,    1875,    and 
Capture  difficile,  John  Nicholas  Brown,  Esq. 
Meissonier,  Jean-Louis-Ernest,  G.O.  *,  M.  de  l'Inst. 
(^.  Lyons,  1815 ;  d.  Paris,  1891),  stands  on  the  borderland 

^  Goetschy. 


364  A  HISTORY  OF  FRENCH  ART.  Ce.  XVIL 

as  it  were  between  genre  and  military  painting.  Though 
the  greater  number  of  his  well-known  works  belong  to  the 
former  group,  yet  some  of  his  most  important  belong  to 
the  latter.  Therefore,  as  one  of  the  chief  historiographers 
of  the  Napoleonic  epoque,  I  shall  class  him  for  convenience 
sake  among  the  military  painters.  The  master  is  as  well- 
known  in  England  and  America  as  in  France. 

About  1830  he  came  to  Paris,  and  found  his  way  to 
Cogniet's  studio.     But  his  talent  was  already  formed.    In 
this  period  of  violent  dissensions,  of  theories  upheld  almost 
at  the  point  of  the  sword  between  the  two  rival  camps  of 
Classics  and  Bomantics,  Meissonier,  a  mere  lad,  was  strong 
enough  and  original  enough  to  stand  alone,  to  be  himself. 
The  Dutch  masters  were  utterly  neglected,  almost  unknown 
in  those  days,  in  France.    To  them  Ernest  Meissonier  turned. 
And  in  the  Salon  of  1834  he  exhibited  a  little  picture,  **  Bour- 
geois flamands  '* ;  to  be  followed  in  1836  by  the  "  Joueurs 
d'^checs,'*   and   **  Le  petit   Messager".      This  fetched  the 
sum  of  100  francs  then ;  for  the  poor  boy  from  Lyons  was 
glad  enough  to  sell  his  petits   boiishomvies  at  such  a  price, 
and  the  young  artist's  dibuts  were  difficult.     But  in  1840  he 
gained  a  third  class  medal ;  in  1841  a  second  class  with  his 
well-known  *'  Partie  d'ifichecs  '* ;  and  in  1843  a  first  class, 
with  '' Un  peintre  dans  son  atelier*'.     Meissonier  was  now 
a  made  man.      His  small  and  exquisitely  finished  pictures 
became  more  and  more  popular.    Dutch  subjects — the  Bravi 
of  the  Italian  Benaissance — France  of  the  seventeenth  and 
eighteenth  centuries — followed  each  other  in  rapid  succession. 
And  the  petits  bonshommes  were  no  longer  sold  for  100  or  even 
1000  francs. 

It  was  in  1861,  however,  that  a  commission  from  the 
Emperor  turned  his  talent  into  a  fresh  line  of  thought  and 
work — a  picture  of  Solf^rino.  The  picture  did  not  plearse  the 
Tuileries  ;  so  it  was  turned  over  to  the  State  budget,  and  is 
now  in  the  Luxembourg.  But  admirable  as  it  is  in  itself,  it 
is  of  yet  more  importance  as  having  turned  Meissonier  from 
pure  genre  to  military  history.  Once  started  in  the  new 
line,  he  threw  himself  into  it  with  the  utmost  vigour. 


aO-1899.  MILITARY  PAINTERS.  365 

He  soon  however  quitted  contemporary  history  for  the 
ore  picturesque  and  more  dramatic  episodes  and  costumes 
:  the  Wars  of  Napoleon  I.  And  now  come  the  mag- 
ficent  series  which  have  made  his  name  for  ever  famous — 
1805,"  "  1807,"  "  1814,"  "  Le  Guide,"  "  Le  portrait  du 
3rgent,"  "  Moreau  et  son  6tat  Major,"  "  V6dette,"  "  L'or- 
)nnance,"  etc.,  etc.  All  the  episodes  and  events  of  the 
•^eryday  life,  of  the  glory  and  disasters,  of  those  memor- 
)le  campaigns. 

Every  line,  every  touch,  was  the  result  of  the  most  care- 
.1,  exact  study.  To  paint  the  Napoleon  of  **  1814,"  pale  and 
agic,  M.  Meissonier  had  an  absolutely  exact  copy  of  the 
.mous  Redingote  grise  made  by  his  tailor.  And  dressed  in 
lis,  and  mounting  a  wooden  horse  in  the  studio  saddled 
cactly  like  the  Emperor's,  M.  Claretie  says  the  artist  spent 
3ur8  upon  hours  in  almost  tropical  heat,  studying  every 
im  of  the  folds  and  creases  that  the  coat  would  take  on  the 
Drse's  back,  the  light  on  the  boots,  and  each  minute  detail, 
hich  was  drawn  over  and  over  again  with  that  unerring 
9ind. 

Such  drawings  and  studies  as  those  now  placed  in  the 
luxembourg  are  of  the  very  deepest  interest  and  importance, 
id  repay  the  most  careful  attention.  Three  are  the  gift  of 
[.  Charles  Meissonier,  the  painter's  son — also  an  artist. 
he  others  were  bought  by  the  State  at  the  Meissonier  sale 
1893. 
Examples  in  the  Luxembourg  : — 

Napoleon  III.  a  Solferino,  205  ;  Napoleon  III.  entour6 
de   son   etat   Major,   206 ;    L'attente,   207 ;    Le 
Chant,   sketch,  208 ;    6tude   de   paysage,   209 ; 
Blanchisseuses  a  Antibes,  210 ;    Portrait,   Alex- 
andre Dumas. 
'*  1805,"  Cuirassiers  de  1805  avant  le  combat ;  Ve- 
dette sous  Louis  XV. ;  Amateurs  de  Tableaux, 
Chantilly. 
'*  1814  "  and  many  others,  M.  Chauchard. 
Le  Guide,  M.  Prosper  Crabbe. 
Fifteen  pictures,  Hertford  House. 


366  A  HISTORY  OF  FRENCH  ART.  Ch.  XVI 

Friedland,  "  1807  "  (oils),  Central  Museum,  New  York 
Friedland,    ''ISO?"    (gouache),    John    Balli,    Es^ 

London. 
A  Noble  Venetian  (portrait  of  Artist),  M.  E.  Gambar 

Nice. 
Causerie,  John  M.  Keiller,  Esq. 
Gentleman  of  Louis  XIII.,  Sir  James  Joicey,  M.P. 
**  1814,"  sketch,  Mrs.  Guthrie. 


CHAPTER  XVni. 

GENRE  PAINTERS  AND  ORIENTALISTS. 

!)erm  Genre  is  such  an  elastic  one,  that  it  is  difficult  to 
its  legitimate  range,  or  define  its  exact  signification, 
g  French  genre  painters  especially,  we  find  work  of 
Qe,  almost  distracting  variety — from  the  literary  and 
ic  painting  of  Cogniet  to  the  idylls  of  Henner — ^from 
bleatix  de  mceurs  of  Boilly  to  the  modem  classicism  of 
Qe — from  the  still  life  of  Vollon  to  the  orientalism  of 
nps  and  Fromentin.  The  extraordinary  command  over 
and  means,  the  high  level  of  excellence  in  the  actual 
nanship  of  their  profession  attained  by  French  artists 
aks  to  the  unrivalled  training  they  receive — increase 
fficulty  when  we  come  to  decide  who  shall  be  selected 
3es  where  the  general  standard  is  so  high.  Indeed,  so 
is  the  field,  that  one  runs  the  risk  of  merely  presenting 
of  names,  in  endeavouring  to  give  any  idea  of  the  genre 
jrs  of  Modem  France.  A  certain  amount  of  classifica- 
tiowever,  is  possible.  And  I  propose  to  keep  as  closely 
ly  be  to  six  or  seven  tolerably  defined  groups  ;  though 
veil  to  bear  in  mind  that  these  groups  are  necessarily 
vhat  arbitrary,  and  that  many  of  the  artists  they  in- 

have  distinguished  themselves  in  other  branches  of 
ng.  But  at  best  this  chapter  cannot  be  more  than  a 
1,  and  a  very  imperfect  sketch,  of  so  elaborate  a 
It. 

le  historic  and  literary  painters,  such  as  Cogniet,  J.  P. 

ms,  Cormon,  Maignan,  Luminais,  Courtois,  are  inter- 

Their  pictures  are  often  of  considerable  merit  as 

of  art ;  and  are,  besides,  worthy  of  attention  as  clever 

ological  records,  such  for  instance  as  Cormon's  "Stone 

etc. 

(367) 


368  A  HISTORY  OF  FRENCH  ART.  Ch.  XVni. 

Still  more  interesting  are  the  Neo-Greeks  or  Pompelans 
of  1848.  If  the  Romantics  had  revived  and  rehabilitated  the 
cult  of  the  middle  ages,  so  this  little  company  of  ultra-refined 
artists  revived  the  cult  of  paganism.  **  Literature  and  paint- 
**  ing  were  inundated  with  pastiches."  It  was  **  a  sort  of 
'*  effeminate  Greece,  like  enough  to  that  Attica  of  the  rue  de 
**  Br^da,  discovered  by  Pradier*'.  These  excellent  people, 
who  possessed  both  talent  and  good  taste,  took  themselves 
very  seriously.  They  believed  they  were  inaugurating  a  real 
revolution  ;  that  they  were  the  last  word  of  what  was 
modern ;  while  in  fact  their  revolution  was  but  a  masque- 
rade. It  was  pretty  enough  while  it  lasted.  But  it  quickly 
disappeared,  to  give  place  to  a  much  more  solid  and  real 
revival  of  classicism.  For  although  for  a  while  the  Neo- 
Greeks  had  been  grouped  round  M.  G6r6me,  he  was  far  too 
strong  a  master  and  profound  a  scholar  to  tolerate  their 
graceful  afifectations.  M.  Ger6me  has  been  the  chief  apostle 
of  the  school  of  the  Modern  Classics — those  learned  artists 
who  seek  to  bring  before  us  the  actual  life  of  everyday  Greece 
and  Rome,  accurately  pourtrayed,  from  the  type  of  the 
human  beings  to  the  texture  as  well  as  the  form  and  colour 
of  their  garments.  While  with  M.  Henner  we  get  another 
development  of  Classic  Art.  For  in  his  poetic  rendering  of 
the  human  form,  we  are  transported  into  the  Greece  of  the 
Poets,  far  back  in  the  beginnings  of  time,  when  man  and 
nature  were  not  troubled  by  clothes  or  archaeological  re- 
search— when  every  wood,  every  valley  had  its  nymph,  and 
the  Gods  held  high  Court  on  Olympus. 

In  another  group  we  find  subject  painters  of  a  senti- 
ment, such  as  Jules  Lefebvre  or  Bouguereau.  In  another 
the  masters  of  still  life — Vollon  and  Desgoflfe. 

The  painters  of  Mcvurs,  of  everyday  life,  are  always- 
popular.  And  in  the  case  of  many  of  the  painters  I  have 
placed  under  this  head  they  deserve  popularity,  for  they  are 
excellent  artists.  We  find  among  them  the  delightful 
Boilly.  Tassaert,  the  painter  of  sordid  miseries  of  the  poor. 
Bonvin  and  his  Religieux  and  Religieuses.  Butin  and  his^ 
fisher-folk.      Deschamps  the  painter  of  Babies.      While  with 


\ 
\ 


1830-1898.        GENRE  PAINTERS  AND  ORIENTALISTS.  369 

Roll   and  Dagnan-Bouveret  we  reach  two  of  the  strongest 
of  contemporary  painters.     Of  these  two  artists  I  shall  speak 
at  length.     But  Dagnan-Bouveret  leads  us   on   from  mere 
genre  to  one  of  the  most  interesting  developments  of  nine- 
teenth century  art — the  school  of  the  OrientaUsts.     From 
the  sixteenth  century,  when  Simon  Vouet  went  to  paint  the 
Grand  Turk  at  Constantinople,  many  French  painters  have 
occupied   themselves  with  the  East.      The  true  Orientalist 
school,  however,  came  into  being  with  this  century.     Many 
circumstances  have  combined  to  turn  the  attention  of  France 
to  the  East.      The  Greek  War  of  Independence ;  the  con- 
quest of  Algeria ;  the  opening  of  the  Suez  Canal ;  politics, 
colonization,  science,  literature,  have  all   aided   this   better 
knowledge,  this  more  vivid  interest,  creating  a  demand  for 
greater  exactitude  of  detail  and  local  colour.     French  artists, 
i     stirred  by  these  and  other  impulses,  have  eagerly  grasped  the 
I    chance  of  wider  opportunities  of  study  than  even  Italy  can 
5    afford.     And  in  the  East  they  have  found  problems  of  colour, 
f    of  line,  of  light,  hitherto  undreamt  of,  into  whose  solution 
-'     they  have  thrown  themselves  with  passion — problems  which 
*'     grow  in  intensity  and  interest  the  further   east   we   go — 
problems  which  tell  us  that  in  the  lands  of  the  sunrise  a  vast 
untrodden  field  still  awaits  the  artist  of  the  future. 

In    their    earnest    endeavours    to    solve   above   all   the 

mysteries   and   splendours   of  light,   the   Orientalists   have 

done  much  to  redeem  genre  from  the  degradation  of  the 

mere  anecdote.     For  it  must  be  confessed  that  the  peril  of 

the  French  g^nre  painter  is  his  extraordinary  facility  and 

;-.     admirable  training.     He  may  so  easily  be  tempted  merely  to 

tiJ'    produce  the  fait  divers,  the  melodrama  of  the  boulevard,  the 

*    cleverly   drawn    and    painted   scene  which    entertains   the 

nTi    public,  who  does  not  want  to  think,  but  finds  its  pleasure  in 

trt   such  a  magnificently  painted  Unir  de  force  as  Eoy bet's  fat 

r  ^  flirting  cook  plucking  the  turkey.     He  may — worst  of  all — 

bd^'   treat  his  noble  profession  as  a  mere  trade,  and  say  with  one 

p '-  Wghly  successful  and  popular  painter  that  **rArt  c'est  un 

i  -J  commerce  "  ! 

r^r        CoGNlET,  L6oN   (b.  Paris,  1794;    d.    1880),— a  pupil  of 


370  A  HISTORY  OP  FRENCH  ART.  Ch.  XVIIL 

Gu^rin's,  would  almost  seem  at  first  sight  to  belong  to  the 
Classics.  But  as  a  master  of  other  masters  he  belongs 
wholly  to  the  living  painting  of  the  end  of  the  nineteenth 
century  ;  for  it  has  been  truly  said,  **  II  a  fait  des  peintures, 
'*  mais  surtout  il  a  fait  des  peintres  *\  His  studio  was  one  of 
the  most  popular  and  respected  in  Paris ;  and  among  his 
pupils,  who  loved  the  man  and  honoured  the  master,  we 
find  some  of  the  most  distinguished  artists  of  the  last  forty 
years — Barrias,  J.  P.  Laurens,  Gagliardini,  Jules  Lefebvre, 
Luminais,  and  M.  Bonnat,  whose  noble  portrait  of  his  old 
master  is  one  of  the  glories  of  the  Luxembourg. 

Cogniet  gained  the  Grand  Prix  de  Eome  in  1817.  And 
in  reply  to  questions  from  Guerin  to  whom  he  was  tenderly 
attached,  he  confesses  that  what  strikes  him  more  than  "the 
**  sculpture  of  the  ancients,  the  painting  of  the  masters,  or 
^*  the  physiognomy  of  the  Eoman  people  "  are  the  beauties 
of  nature  not  only  in  Italy  but  on  the  way  thither.  Excel- 
lent and  honest  artist !  He  never  failed  in  his  allegiance  to 
nature  ;  or  tried  to  impose  a  hard  and  fast  system  on  his 
pupils.  Cogniet  soon  deserted  classic  subjects  to  become  a 
painter  of  history,  whether  in  his  well-known  *'  Tintoret 
peignant  sa  fiUe  morte  **  (Musee  de  Bordeaux),  or  the 
admirable  *'  Grenadier  de  Moscou,'*  which  is  like  a  bit  of 
Beranger  in  painting.  Or  the  ceiling  at  the  Louvre, 
"  Bonaparte  in  Egypt,**  which  helped  to  make  his  fame. 
Or  that  really  excellent  '*  Garde  Nationale  1793,"  at 
Versailles. 

Laurens,  Jean-Paul,  0.*  {b.  Fourquevaux,  Haute- 
Garonne,  1838), — pupil  of  Cogniet  and  Bida,  may  be  taken 
as  the  modern  type  of  the  historical  painter.  His  pictures 
are  strong  and  living  representations  of  historic  events,  ren- 
dered with  real  artistic  feeling  and  a  fine  sense  of  colour. 
His  vocation  was  determined  by  the  visit  of  a  band  of  travel- 
ling ItaUan  painters  to  his  native  place,  where  they  were 
engaged  on  some  painting  in  the  cathedral.  The  young 
Laurens  watched  them  at  their  work ;  and  when  they  left 
Fourquevaux  he  followed  them  for  a  time  on  their  wander- 
ings, taking  part  in  their  work  and  their  adventures.     Then, 


898.        GENRE  PAINTERS  AND  ORIENTALISTS.  371 

f  to  Toulouse,  he  gained  the  prize  at  the  ifccole  des 
x  Arts  of  that  city,  which  enabled  him  to  spend  three 
1  in  Paris  with  Bida  and  Cogniet. 
[is  first  Salon  picture  (1864)  was*  the  *'  Death  of  Tibe- 
'.  And  in  1869  he  obtained  a  medal — painting,  drawing, 
making  lithographs  meanwhile  to  earn  a  living.  His 
1  of  the  **Duc  d'Enghien,**  in  1872,  was  his  first  decisive 
)ss.     And  since  that  time  his  position  has  been  an  assured 

He  is  now  President  of  the  Salon,  and  OflScier  de  la 
on  d*Honneur. 
Ixamples — Luxembourg  : — 

L'Excommunication  de  Eobert  le  Pieux. 

Delivrance  des  Emmur^s  de  Carcassone. 

La  Mort  du  due  I'Enghien,  Alen9on. 

L'Interdit,  Le  Havre. 

Mort  de  Marceau. 

Faust,  M.  Besonneau,  Angers. 
Iaignan,  Albert,  0.*  (b.  Beaumont,  Sarthe,  1845), — a 
[  of  M.  Luminais,  is  a  staunch  upholder  of  historical 
ting,  an  artist  who  cares  to  represent  not  merely  the 
but  the  idea  behind  the  fact.  His  *'  Louis  IX.  and  the 
jr  "  (Angers),  his  **  Kenaud  de  Bourgogne  et  les  Bour- 
i  de  Belfort"  (Belfort),  his  ''Admiral  Carlo  Zeno" 
e),  are  well-known  in  public  collections.  The  Luxem- 
g  possesses  a  singular  picture  representing  Carpeaux 
ig  asleep  in  his  chair,  while  all  the  figures  which  the  old 
er  had  made  live  in  bronze  and  marble,  dance  round 
and  the  great  Fountain  of  the  Observatory.  The 
)mmage  a  Clovis  H."  is  an  admirable  example  of  his 
:  in  the  Mus6e  de  Eouen.  And  so  is  his  **  Death  of 
iam  the  Conqueror,"  exhibited  in  1898  in  the  Guildhall 
ibition.  In  his  **  Paradis  Perdu,"  exhibited  in  the 
ibition  of  1889,  M.  Maignan  showed  superb  force  and 
ir  as  a  water-colour  artist. 

jUMINAIs,  Evariste-Vital  (6.  Nantes,  1822),  was  also 
3f  Cogniet's  pupils,  a  historical  painter  of  much  merit. 
JouRTOis,  Gust  AVE  {b.  Pusey,  Haute-Saone), — a  pupil  of 
rer6me,  is  another  painter  of  historic  and  literary  subjects 


372  A  HISTORY  OF  FRENCH  ART.  Ce.  XVUL 

who  has  also  produced  many  portraits.  His  very  beantifal 
work,  **  Une  Bienheureuse'*  (The  Sleep  of  the  Blessed  Dead), 
which  gained  a  first  gold  medal  in  the  Paris  Exhibition, 
1889,  was  exhibited  af  the  Guildhall,  1898.  So  also  was  his 
remarkable  and  daring  portrait  of  Mme.  Gautreau,  which  in 
its  singularities  of  pose  and  arrangement  recalls  some  picture 
of  Piero  della  Francesca.  In  both  his  mastery  over  varying 
tones  of  white  is  of  great  interest. 

CoRMON,  Ferdinand,  0.*  {b,  Paris), — a  pupil  of  Fromen- 
tin's,  has  chosen  a  line  of  work  specially  his  own,  devoting 
himself  to  the  early  ages  of  the  human  race.  In  his  immense 
canvas,  now  appropriately  placed  above  the  fine  collection  of 
flint  implements  in  the  great  hall  of  Saint-Germain-en-Laye, 
he  has  depicted  the  **  Stone  Age  ".  His  *'  Funeral  of  a  Chief 
in  the  Iron  Age  '*  belongs  to  M.  Avice,  and  was  exhibited  in 
the  Guildhall  Exhibition,  1898.  And  at  the  Luxembourg, 
his  **  Cain,'*  flying  across  the  sandy  desert,  illustrates  Victor 
Hugo's  lines — 

'*  Lorsque  avec  ses  enfants  vetus  de  peaux  de  betes, 
"  £chevele,  livide  au  milieu  des  tempetes, 
*•  Cain  se  fut  enfui  de  devant  Jehovah.  .  .  ." 

Lefebvre,  Jules,  C.*,  M.  de  lInst.  (6.  Touman, 
Seine-et-Marne,  1834), — one  of  Cogniet's  best  known  pupils, 
has  been  called  '*  the  Sully  Prudhomme  of  painting'*.  His 
delight  is  in  rendering  the  human  form  in  its  utmost  perfec- 
tion, by  means  of  such  nude  figures  as  the  **  V^rit^  *'  of  the 
Luxembourg,  the  **  Cigale,"  **  La  Gloire  du  Matin,*'  "  Diane 
surprise,"  or  *'  Le  E^ve  ".  He  has  also  painted  many  por- 
traits. His  pictures  have  always  had  a  great  vogue  both  on 
the  continent  and  in  America.  They  are  painted  with 
extreme  finish  and  care,  and  the  draftsmanship  is  beyond 
reproach. 

Bouguereau,  a.  William,  C.*,  M.  de  l'Inst.  (b.  La 
liochelle,  1825). — Pupil  of  Picot,  M.  Bouguereau  gained  the 
Grand  Prix  de  Eome  (histoire)  in  1850.  He  received  a  second 
class  medal  in  1855 ;  and  a  first  class  in  1857.  He  was 
elected  a  Member  of  the  Institute  in  1876  ;  appointed  Com- 
mander of  the  Legion  of  Honour  in  1885  ;  and  received  a 


1830-1898.        GENRE  PAINTERS  AND  ORIENTALISTS.  373 

M^daille  d'Honneur  in  1878  and  in  1885,  besides  foreign 
orders.  His  career  therefore  has  been  one  of  great  success 
since  his  first  Salon  picture  of  1847 — *'  Egalit^  (devant 
TAnge  de  la  Mort ").  His  pictures,  of  an  extremely  smooth, 
waxy  texture,  fine  drawing,  and  academic  perfection,  have 
enjoyed  great  popularity  on  both  sides  of  the  Atlantic, 
and  command  high  prices.  The  subjects  are  semi-religious, 
such  as  the  *'  Vierge-Consolatrice  '*  of  the  Luxembourg — or 
mythologic,  as  **  L'amour  bless6  " — or  of  children  under  such 
titles  as  "  Premier  Deuil,'*  or  **  La  Sceur  ainee  ". 

Three  pictures  are  in  the  Luxembourg : — Triomphe 
du  Martyr,  29  ;  Vierge-Consolatrice,  30  ;  La 
Jeunesse  et  T Amour,  31. 

Two  children  sleeping.  Collection  of  Mr.  J.  D.  Allcroft. 

A  Peasant ;  The  first  kiss.  Sir  H.  D.  Davies,  M.P. 

Cupid  and  Psyche,  George  McCulloch,  Esq. 

And  great  numbers  have  gone  to  America. 
Hamon,  Jean-Louis  (6.  Plouah,  Cdtes  du  Nord,  1821 ;  d. 
1874),  was  the  leader  of  the  Uttle  group  of  the  Neo-Greeks — 
who,  if  their  influence  was  not  profoimd,  certainly  formed 
a  charming  episode  in  the  Art  of  the  century.  Theophile 
Gautier  with  his  almost  unrivalled  power  of  saying  the  right 
thing  in  the  right  way,  describes  them  thus :  **  They  recall, 
**  due  proportion  preserved,  the  minor  Poets  of  the  Greek 
**  Anthology  ;  charming,  ingenious,  subtle  intelligences,  who 
**  do  not  get  beyond  the  elegy,  the  little  ode,  or  the  epigram ; 
"  or  again  engravers  of  gems  who  put  a  bacchanal  into  the 
"  bezil  of  a  ring.  They  have'a  horror  of  all  that  is  vulgar  or 
"  showy,  and  vigour  seems  almost  brutahty  to  them.  They 
"  paint  as  Sybarites  crowned  with  roses,  from  an  ivory  palette, 
"  in  Pompeian  studios,  where  Anacreon,  Theocritus,  Bion, 
"  Moschus,  Andr6  Ch^nier,  to  whom  they  go  for  inspiration, 
"  lie  on  a  table  of  citron  wood/' 

Hamon,  a  charming  painter  of  dainty  things,  has  been 
unduly  despised  and  neglected.  If  his  glass  was  not  a  large 
one,  he  drank  in  it.  And  his  **  Com^die  Humaine  *'  now  in 
the  Louvre,  the  delightful  little  idyll  **  Ma  soeur  n'y  estpas," 
and  a  whole  series  of  charming  little  pictures  of  Loves  caged 


374  A  HISTORY  OF  FREN'CH  ART.  Ch.  XVIIL 

in  hencoops,  chained  butterflies,  **La  cantharide  esclave," 
**  La  Saison  des  papillons,"  and  such  like  graceful,  poetic, 
antique  inventions,  delighted  both  pubUc  and  critics  for  a 
time.  While  his  last  success  just  before  his  death — *'  Triste 
Rivage,"  where  the  Poets  and  the  Lovers  bom  of  their 
dreams  with  Love  himself  to  guide  them,  press  forward  to 
welcome  Ophelia,  just  cast  upon  the  shore — was  his  swan- 
song,  touching  a  deeper  and  more  enigmatic  note  than  any 
he  had  reached  before. 

G£r6me,  Jean-Leon,  C.*,   M.  de  lInst.  (b.  Vesonl, 
1824). — If  for  a  while  the  Neo-Greeks  grouped  themselves 
about  this  great  painter,  it  was  that  in  Delaroche's  studio  they 
found  themselves  under  the  spell  of  his  strong  and  vigorous 
personality.      His   father,  a  goldsmith  of  Vesoul,  not  only 
gave  his  boy  the  best  education  he  could  :  but  when  he  saw 
that   young   Leon   carried   off  every   prize  in  drawing,  he 
brought  him  from  Paris  a  box  of  colours  and  a  picture  by 
Decamps.     The  copy  the  lad  made  of  this  picture  was  seen 
by  a  friend  of  Paul  Delaroche  ;  and  at  his  instance  yountj 
Ger6me  was  sent  off  to  Paris  w^ith  a  little  fortune  of  £50,  to 
enter  the   popular   master's    studio.      Here   he   stayed  for 
about  three  years.     But  during  one  of  his  absences  at  Vesoul, 
a  terrible   occurrence,  resulting  in  the  death  of  one  of  the 
pupils,  caused  Delaroche  to  close  his  atelier.     When  Ger6me 
returned  from  Vesoul,  the  master  told  him  to  go  to  Drolling 
— *'I  wish  for  no  more  pupils.     Besides  I  am  going  off  to 
**  Borne  ".     M.  Ger6me  with  the  calm  determination  whict 
has  always  distinguished  him,  refused  to  agree  to  such  * 
decision.     **  I  do  not  accept  two  masters.     I  shall  not  ^^ 
**  to  Drolling.    If  you  are  going  to  Eome  I  shall  go  too.'*    Ai^-* 
they  went.      This   was  in  1844.     When  they  returned    ^^ 
Paris,  M.  Gerome  entered  Gleyre's  studio  for  a  time.     B**^^ 
he  soon  returned  to  Delaroche,  with  whom  he  collaborated  ^^ 
the  '*  Passage  des  Alpes  par  Charlemagne  " — at  Versailles. 

Failing  to  obtain  the  Prix  de  Bome,  he  sent  his  fir^* 
picture  to  the  Salon  of  1847.  It  was  the  **  Combat  ^^ 
Coqs  ".  The  success  was  immediate.  The  young  paint^^' 
acclaimed  by  Th^ophile  Gautier  as  a  new  master  whose  adve  J^^ 


130-1898.        GENRE  PAINTERS  AND  ORIENTALISTS.  375 

larked  the  year,  found   himself  famous.     And  from  that 
ioment  his  triumphs  have  followed  hard  on  each  other. 

M.    G6r6me  has  made   the    Greece    of   Alcibiades,   the 

k)ine  of  the  Caesars,  the  hfe  of  Egypt,  besides  that  of  his 

wn  country,  live  for  us  on  his  canvas.     Whether  it  is  the 

reathless  pause  of  the  **  Pollice  Verso  "  in  the  Amphitheatre 

-or   the  tragic  "  Duel  de  Pierrot  "  in   the   snow — in  his 

Eminence  Grise  '*  coming  slowly  down  the  staircase  of  the 

'alais-Cardinal — the  "  Prisonnier  "  being  rowed  up  the  Nile 

-or  that  extraordinary   meeting  of   East   and   West,   the 

Siamese  Ambassadors  received  by  Napoleon  III.  at  Fon- 

linebleau  *' — one  and  all  show  extreme  erudition,  astonishing 

icihty,  care,  thought,  power.     But  they  also  show  a  deep 

Qsight  into  the  time,  the  place,  the  characters,  which  prove 

i.  G6r6me  to  be  more  than  the  mere  archteologist — prove 

dm  to  be  a  seeker  for  truth,  a  thinker,  an  artist  and  a  poet. 

Like  so  many  modem  artists,  M.  Ger6me  is  not  content 

vith  paint  and  canvas  alone.      And  his  **  Gladiators,"  his 

*  Anacreon,'*  and  the  **  Tanagra  "  of  the  Luxembourg  show 

lim  to  be  a  skilful  sculptor  as  well. 

Examples : — 

Combat  de  Coqs,  1847,  Luxembourg. 

Exception  des  Ambassadeurs  Siamois,  Versailles. 

Duel  de  Pierrot,  Chantilly. 

Sifecle  d*Auguste,  Musee  d'Amiens. 

Le  Prisonnier,  Musee  de  Nantes. 

Cl^op&tre  et  Csesar,  0.  Mills,  Esq.,  New  York. 

Louis  XIV.  et  le  Grand  Conde,  Vanderbilt  Collection. 

L'J&minence  Grise,  1876,  Mrs.  S.  D.  Warren,  Boston. 

La  Mort  de  Caesar,  M.  J.  Allard. 

Execution  of  Mar6chal  Ney,  Alex.  Henderson,  Esq., 
M.P. 

Le  Bain  Maure,  H.  J.  Turner,  Esq. 
Henner,  Jean-Jacques,  0.*,  M.  de  lInst.  (b.  Bem- 
viller,  Alsace,  1829). — In  the  same  year,  1847,  that  M.  Ger6me 
nade  his  triumphant  debut  with  the  '*  Combat  de  Coqs,"  a 
^oung  Alsacian,  five  years  his  junior,  entered  the  Ecole  des 
Beaux   Arts.     The   boy  had    been    brought   up  upon   the 


376  A  HISTORY  OF  FRENCH  ART.  Ch-  XVnUM 


\. 


Holbeins  of  B4le,  near  by  his  home.  And  as  his  parents 
watched  him  drawing  his  bonshommes,  saw  him  each  year 
carry  off  the  drawing  prizes  at  his  school  at  Altkirch,  and 
heard  of  young  men  who  had  gained  the  Grand  Prix  de 
Eome  in  far-oflf  Paris  and  become  famous,  they  determined 
their  Jean-Jacques  should  be  famous  too.  The  father  bought 
old  pictures  here  and  there,  and  hung  them  up  to  teach  him. 
And  on  his  deathbed  he  made  his  children  swear  that  they 
would  give  le  petit  the  chance  of  becoming  a  great  man. 
Well  did  they  keep  their  word.  And  well  did  Jean-Jacques 
Henner  deserve  their  loyal  devotion. 

In  1858,  after  some  years  spent  first  in  DroUing's,  then 
in  Picot's  studio,  Henner  gained  the  Prix  de  Home  with  a 
**  Death  of  Abel  ".  It  already  showed  those  quahties  in  the 
painting  of  flesh  for  which  the  master's  work  is  so  remark- 
able. In  Eome  M.  Henner  at  once  fell  in  love  with  the 
**  sombre  masses  of  the  trees  which  will  henceforth  be 
**  found  in  nearly  all  his  pictures,  and  which  are  Uke  his 
**  signature  '*}  Quietly,  steadily  he  worked.  And  after  his 
return  from  Eome,  his  success  began.  In  1863  and  1865  he 
had  already  gained  medals ;  the  third  came  in  1866  for  his 
portraits  in  the  Salon  of  that  year.  M.  Henner's  portraits 
have  always  been  an  important  and  deeply  interesting  part 
of  his  great  work.  In  them  he  seeks  for  more  than  the  outer 
semblance.  He  questions,  he  divines,  he  tries  to  seize  the 
inner  Hfe,  the  hidden  character  of  his  sitter.  Few  more 
intensely  expressive  portraits  have  been  seen  of  late  years, 
than  his  profile  of  an  American  lady  in  deep  mourning,  which 
was  exhibited  in  the  Salon  of  1895. 

But  the  chief  glory  of  M.  Henner's  work  is  in  genre. 
And  if  with  M.  Ger6me  we  see  the  life  of  historic  Greece 
and  Eome,  in  M.  Henner's  Naiades  and  Baigneuses  we 
meet  the  very  spirit  of  the  antique  which  the  poets  have 
sung.  He  believes  in  the  truth  :  but  in  that  truth  which 
does  not  banish  either  the  idea  or  the  ideal.  And  therefore 
while  painting  the  human  form  as  few  men  now  paint  it,  he 
gives  us,  whether  in  his  portraits,  or  in  some  lovely  nude 

1  J.  Clarctie. 


330-1898.        GENRE  PAINTERS  AND  ORIENTALISTS.  377 

igure,  piping  on  a  reed  flute  in  the  dusky  twilight,  in  the 
hadow  of  the  trees,  a  poem  that  lives  and  will  live. 

Examples — Luxembourg  : — 

Suzanne  au  Bain,  1865  ;   Naiade,  1875  ;  Dormeuse, 

1893.  ^  • 
Biblis  chang^e  en  Source,  1867,  Mus^e  de  Dijon. 
Portrait  de  mon  Frfere,  1883,  M.  Henner,  Bemwiller. 
La  Source,  Lord  Strathcona  and  Mount  Eoyal. 

VoLLON,  Antoine,  0.*  (b.  Lyons,  1833),  is  the  greatest 
iving  representative  of  those  painters  of  still  life  for  whom 
he  French  school  has  long  been  celebrated.  '*  La  plus 
*  excellente  manifere  de  peindre  est  celle  qui  imite  mieux  et 
'qui  a  le  plus  de  conformity  au  naturel  qu*on  represented* 
rhese  words  of  Leonardo  da  Vinci's  have  been  M.  Vollon's 
vatchword.  And  the  masters  to  whom  he  has  gone  for 
ounsel,  have  been,  curiously  enough,  not  Chardin,  but 
lieonardo  and  Velasquez. 

As  a  child  he  worked  as  a  graver.  As  an  apprentice  he 
^as  an  enameller.  But  this  beautiful  art  did  not  satisfy  his 
.rtistic  ambitions.  He  left  the  workshop ;  and  began  to 
>aint  nature  without  a  master.  His  first  picture,  **  Aprfes  le 
Jal,"  had  a  success  at  Lyons.  And  this  gave  him  courage  to 
ome  to  Paris,  where  he  sent  a  '*  Portrait  of  a  Man  '*  to  the 
^alon,  which  the  Jury  promptly  refused.  He  then  turned 
0  his  Natures  Maries,  And  in  1864  the  Salon  accepted 
Art  et  gourmandise,"  and  an  **  Int^rieur  de  Cuisine  "  now 
t  Nantes ;  and  in  1866  the  delightful  **  Singe  k  I'Accordeon  '*. 
i'hus  began  those  Poissons  de  Mer,  Chaudrons,  armour, 
Tiits,  the  gold  and  silver  of  his  vases  and  platters,  the 
darkle  of  jewels,  and  all  the  vigorous,  brilliant,  living  colour 
ad  light  and  air  of  his  so-called  '*  Natures  Mortes,"  which 
ave  make  his  name  famous  in  both  hemispheres. 

But  Vollon  is  not  merely  the  greatest  living  painter  of 
:ill  life.  He  dehghts  himself  from  time  to  time  with  a  fine 
kndscape — a  picture  such  as  his  **  Port  Vieux  de  Marseille,'* 
r  the  ** Route  de  Roquencourt  pres  Versailles  ".  Or  gives  us 
.uch  a  striking  study  of  humanity  as  the  **  Espagnol,"  or  the 
jrand   **  Femme  du  Pollet  k  Dieppe,"  which  held  its  own 


378  A  HISTORY  OF  FRENCH  ART.  Ch.  XVIU. 

as  one  of  the  most  impressive  pictures  in  the  Centennial 
Exhibition  of  1889. 

Examples — Luxembourg  : — 

Curiosites,  1868  ;   Poissons  de  Mer,  1870. 

Le  Singe  a  I'Accordeon,  1866  ;  Le  Chaudron,  Musee 

de  Lyons. 
Int^rieur  de  Cuisine,  Mus^e  de  Nantes. 
Le  Singe  du  Peintre,  Musee  de  Kouen. 
La  Femme  du  Pollet  k  Dieppe,  Mr.  Duncan. 

Desgoffe,  Blaise-Alexandre,  C*  (6.  Paris,  1830),  is 
another  painter  of  still  life,  whose  admirable  work  merits 
close  attention.  His  favourite  subjects  are  crystal  vases, 
jewels,  and  the  triumphs  of  the  old  Goldsmith's  and 
Armourer's  Art.  The  Luxembourg  possesses  three  fine 
examples  of  his  pictures,  Nos.  87,  88,  89.  There  are  also 
examples  at  Chantilly. 

The  Luxembourg  also  has  a  *'  Coin  d'Atelier ''  by  Dantan 
(Joseph-Edouard),  who  paints  interiors,  especially  the  interior 
of  studios,  with  rare  facility. 

BoiLLY,  Louis-Leopold  (b.  La  Bassee  prfes  Lille,  1761  ; 
d.  Paris,  1845). — First  among  the  painters  of  rruxurs  is  the 
delightful  Boilly,  born  at  the  little  town  of  La  Bassee  while 
Boucher  was  still  alive  and  Greuze  and  Fragonard  were  at 
the  height  of  their  fame.  His  well-known  **  Arriv^e  d'une 
Dihgence,"  now  in  the  Louvre,  is  a  curiously  exact  record  of 
contemporary  life  in  1803.  So  also  are  the  small  and 
charming  pictures  **  Cache-Cache  '*  and  **  La  Toilette," 
which  were  seen  in  May,  1897,  in  the  very  remarkable 
exhibition  of  Portraits  de  Femmes  et  d'Enfants  at  the 
Beaux  Arts.  While  in  the  beautiful  little  picture  of  "  Mme.. 
Tallien  assise  dans  un  Jardin,'*  he  gives  an  important  and 
exquisitely  finished  portrait.  There  is  also  an  excellent 
Boilly  in  the  Musee  de  Eouen  and  an  admirable  example  at 
Chantilly. 

Tassaert,  ^^iCHOLAS-FRANgois-OcTAVE  (6.  Paris,  1800; 
(I.  1874),  constituted  himself  the  painter  of  the  sordid  miseries 
of  the  poor  in  Paris.  Whether  such  subjects  can  be  reckoned 
with  as  high  art  is  a  question.     Tassaert's  pictures — some 


?30-189a         GENRE  PAINTERS  AND  ORIENTALISTS.  379 

f  them  of  a  poignant  indecency — are  nearly  always  more 
terary  than  artistic.  They  however  enjoyed  a  considerable 
ogue  ;  and  their  chief  admirer  was  Alexandre  Dumas. 
Iver  thirty  examples  of  Tassaert's  work  were  sold  at  the 
imous  sale  of  the  Dumas  collection  in  1892. 
The  Luxembourg  has  a  good  specimen  : — 

Une  Famille  Malheureuse.    274.  ^ 

While  Tassaert  records  the  sordid  side  of  extreme  poverty, 

BoNViN,  FRANgois-SAiNT,  *  (b.  Paris,  1817  ;  d.  St.  Ger- 

lain-en-Laye,  1887),  will  always  be  known  as  the  kindly 

ainter  of  the  Convent.     An  artist  of  high  merit,  Bonvin's 

irork  was  produced  in  circumstances  of  such  difficulty,  that 

is  quality  becomes  even  more  surprising.     For  in  order  to 

\e  he  was  obliged  to  take  a  small  post  in  the  Prefecture  of 

^olice,  becoming  later  on  Inspector  of  the  Cattle  Market  at 

^oissy.     And  yet,  in  the  intervals  of  official  work,  thanks  to 

true  artistic  temperament  and  a  splendid  detennination,  he 

)und  time  to  produce  such  admirable  works  as  : — 

L'iicole  des  Frferes,  M.  Lutz. 

Les  petites  orphelines. 

L*Ave  Maria,  Luxembourg. 

Les  Soeurs  de  Charity,  Musee  de  Niort. 
BuTiN,  Ulysse,  *  (b.  St.  Quentin,  1838 ;  d.  Paris,  1883), 
le  pupil  of  Picot  and  Pils,  devoted  his  talent  more  ex- 
usively  to  the  life  of  the  coast-dwellers  of  Brittany — the 
irdy  and  romantic  fisher-folk,  whose  lives,  whose  characters, 
hose  ways,  and  homes,  have  inspired  so  many  artists  of 
te,  both  in  literature  and  painting.  Ulysse  Butin's  fine 
cture  of  **  La  P^che,"  belonging  to  M.  Charles  Ferry, 
jcalls  some  of  our  English  Sea  and  Coast  painters  in  its 
eling  for  nature  and  the  hfe  of  sea-faring  people.  His 
icture  in  the  Luxembourg,  **  L'enterrement  d'un  Marin, 
VillerviUe  (Calvados),"  gives  an  admirable  idea  of  his 
nowledge  of  the  people  he  painted,  and  of  his  artistic 
apacity. 

Ebnouf,  Emile,  *  ( b,  Paris,  1845  ;  d,  Le  Havre, 
.894),  is  another  delightful  Sea-painter.  The  Luxembourg 
x)Bses8e8  his  '*  Brumes  du   Matin".     *' Le  Pilote,"  a  well- 


380  A  HISTORY  OF  FRENCH  ART.  Ch.  XVni. 

known   picture,   is  in   the   Muste  de  Eouen.      And  "La 
Veuve  *'  in  the  Mus6e  de  Quimper. 

Flameng,  Marie- Auguste,  *  (b.  Metz,  1843 ;  d.  Paris, 
1894),  is  another  artist  who  was  captivated  by  the  life  of  the 
northern  coasts.  The  Luxembourg  possesses  his  charming 
**  Bateau  de  P6che,  a  Dieppe  ".  While  the  Mus^e  de  Tonl 
has  an  **  Embarquement  d'huttres  a  Cancale,"  1888.  But 
the  painters  of  fisher  folk  and  of  Breton  peasants  are  legion. 
And  although  many  are  painters  of  merit,  there  is  not  space 
to  enumerate  them  all.  We  must  therefore  pass  on  to  one 
of  the  more  important  of  genre  painters. 

Roll,  Alfred-Philippe,  0.*  (b,  Paris,  1847). — A  Parisian 
born,  pupil  of  M.  M.  Ger6me  and  Bonnat,  M.  Roll  is  an 
artist  gifted  with  such  extraordinary  facility,  that  it  is  diffi- 
cult to  say  which  may  be  called  his  special  line  of  work. 
And  one  approaches  each  fresh  picture  that  he  paints  with  a 
certain  interest  and  curiosity  as  to  how  he  will  render  his 
subject.  **  The  artist  who  continues  Courbet  among  us  with 
**  the  greatest  brilliancy,*'  M.  Roll  disdains  **  invention  ".  He 
is  a  painter  of  the  actual.  Confident  in  his  power,  he  attacks 
subjects  of  immense  difficulty,  and  carries  them  through 
with  a  triumphant  audacity  positively  startling  at  times. 
His  well-known  and  enormous  canvas  in  1889  of  the  "  Ffete 
du  Centenaire  des  T^^tats  Generaux  "  is  a  victory  of  no  mean 
order  over  paralyzing  difficulties,  in  the  huge  crowd  of  nota- 
bilities of  the  day  grouped  round  poor  M.  Camot,  in  hot 
sunshine  beside  the  Bassin  de  Neptune  at  Versailles. 

In  the  **  Joies  de  la  Vie,'*  another  large  decorative  canvas 
for  the  Hotel  de  Ville,  by  unclothing  his  personages  among 
the  roses  and  flowery  grass  M.  Roll  has  gained  the  oppor- 
tunity he  delights  in  of  painting  the  play  of  sunshine  on 
flesh,  while  he  takes  his  picture  out  of  the  actuahty  of 
to-day — though  it  cannot  be  said  he  has  made  it  either 
poetic  or  antique.  His  **  Europa  "  at  the  Exposition  Uni- 
verselle  of  1889  was  another  example  of  this.  Though  she 
was  nude,  with  her  charming  little  brown  bull,  she  was  just 
as  much  a  woman  of  to-day  as  "  Manda  Lam^trie,  Fermiere  " 
next  to  her. 


1830-1898.        QENRE  PAINTERS  AND  ORIENTALISTS.  381 

The  **  Gr6ve  des  Mineurs/'  and  "  Le  Travail,  chantier  de 
Suresnes,"  are  extremely  powerful  bits  of  actuality.  In  the 
latter  —  another  huge  canvas  —  M.  EoU  has  shown  that 
panting  engines,  crossing  rails,  sweating  workmen,  can  be 
so  treated  as  to  make  a  fine  picture.  While  in  the  Strike  he 
has  introduced  the  ugly  and  tragic  touch  of  human  interest 
in  an  impressive  mcmner. 

The  versatile  artist  is  at  the  height  of  his  fame  and 
popularity.  And  so  distinct  is  his  talent  that  one  may  hope 
to  see  it  develop  still  further. 

Examples — Luxembourg  : — 

En  Avant,  1887  ;   Manda  Lam^trie,  Fermifere. 
Centenaire  des  ;^tats  G^n^raux,  Versailles. 
Grfeve  des  Mineurs,  Musee  de  Valenciennes. 
F^te  de  Silfene,  Mus^e  de  Gand. 
Portrait  M.  Alphand,  La  Sorbonne. 

Dagnan  -  BouvERET,  Pascal-Adolphe-Jean,  0.*  (6. 
Paris),  is  undoubtedly  one  of  the  most  interesting  and 
important  modem  artists  in  France.  His  powers  are  so 
great,  his  work  is  so  varied,  that  it  is  diificult  to  say  whether 
he  can  be  called  a  genre  painter,  an  Orientalist,  or  a  mystic. 
Pupil  of  M.  G6r6me,  Chevalier  of  the  Legion  of  Honour  in 
1885,  and  OflScier  in  1894,  M.  Dagnan-Bouveret's  career  has 
deservedly  been  one  of  immense  success. 

His  first  pictures  in  the  Salons  of  1875-77  were  classic 
pictures  and  portraits.  In  1878  he  obtained  a  third-class 
medal.  And  the  next  year  exhibited  his  first  studies  of  the 
ways  of  his  contemporaries,  **  Une  noce  chez  un  Photo- 
graph ".  In  1882  came  **  La  Benediction"  ;  with  the  amus- 
ing "  Vaccination"  in  the  next  year  ;  and  in  1885  **  Le  Pain 
B6nit,"  now  in  the  Luxembourg.  All  these  pictures  showed 
such  keen  observation,  such  humorous  appreciation  of 
character,  such  fehcity  of  treatment,  that  M.  Dagnan- 
Bouveret's  admirers  were  led  to  expect  far  greater  things  of 
him.  And  they  were  not  disappointed.  For  in  1887  he 
exhibited  his  magnificent  **  Pardon  Breton,"  which  was  the 
event  of  the  Salon. 

But  in  that  same  Salon  he  had  a  second  picture  of  quite 


382  A  HISTORY  OF  FRENCH  ART.  Ch.  XVHI. 

equal  significance,  which  marked  a  new  departure  in  the 
artist's  career — the  strangely  beautiful  picture  of  the  Virgin 
Mary  walking  under  a  pergola  of  vines,  the  strong  sunlight 
shining  through  the  semi-transparent  leaves  upon  her  soft, 
warm-white  draperies.  The  sensation  the  picture  created 
was  profound.  It  gave  the  first  indication  of  the  mystic 
tendencies  of  the  artist,  which  have  since  fully  developed  in 
his  two  large  compositions :  "  The  Last  Supper,**  exhibited 
at  the  Goupil  Galleries  in  1897  ;  and  the  **  Supper  at 
Emmaus,**  shown  at  Messrs.  Tooth*s,  1898.  But  it  further 
showed  that  M.  Dagnan-Bouveret,  like  so  many  artists  of 
to-day,  had  fallen  under  the  spell  of  the  East ;  and  that 
henceforth  he,  like  his  brother  Orientalists,  would  be  pro- 
foundly occupied  with  those  questions  of  line,  light,  and 
colour  which  await  their  solution  in  the  East. 

This   has   proved   to   be   the  case.      And   his   Algerian 
pictures  have  placed  M.  Dagnan-Bouveret  in  the  forefront 
of  the  Orientalist  school.     While  as  a  portrait  painter  this 
distinguished  and  gifted  artist  ranks  high. 
Examples — Luxembourg  : — 

Le  Pain  Benit,  1885. 

T6te  de  femme  Arabe  (Ouled  Nayl),  1888. 

Le  Pardon,  1887,  M.  Engel-Gros. 

L'accident,  1880,  Walters  Collection,  Baltimore. 

La  Viorge,  1885,  Pinacotheque,  Munich. 
The  Orientalist  school  of  this  century  may  be  said  t^ 
have  begun  with  Delacroix  and  Decamps. 

Decamps,  Alexandre-Gabriel  (b,  Paris,  1803;  d.  Fon^ 
tainebleau,  1860),  began  his  visions  of  the  East  early.     FotT 
in   1827   he   exhibited   a  **  Soldier  of  the  Vizir's   Guard,'" 
followed  in  1831  by  a  **  Vue  prise  dans  le  Levant,"  and 
**  Cadji-Bey,"  chief  of  police  in   Smyrna,   on  his  rounds. 
From  this  time  Decamps  continued  his  noble  studies  of  the 
East.     For  in  Turkey  and  Asia  Minor  he  found  the  light 
and  colour  for  which  his  strong  and  vigorous  imagination 
craved.     In  some  of  his  French  pictures,  such  for  instance 
as  the  **  Garde-chasse,"  we  recognise  a  forerunner  of  the 
peasant  painters,  and  understand  Decamps'  admiration  and 


30-1898.        GENRE  PAINTERS  AND  ORIENTALISTS.  383 

lection  for  J.  F.  Millet.     But  in  his  eastern  pictures,  while 

adeavouring  to  render  truth   and   local   colour,  Decamps 

ives  a  fierce  and  savage  interpretation  of  what  he  sees — 

la  vision  d'un  Orient  brul6  par  une  lumifere  implacable  ". 

Examples  : — 

La  Caravane,  sketch,  Louvre.     205. 
Bouledogue  et  terrier  ^cossais,  Louvre.     206. 
Turkish  children  by  the  fountain  ;   Rebecca  at  the 

well;   and  several  others,  Chantilly. 
Scourging  of  Christ,  M.  Chauchard. 
The  Ape  and  the  Tortoise,  M.  Durand-Ruel. 
Arabs  resting ;    Police  Patrol,    Smyrna ;   and  many 
others,  Hertford  House. 
Decamps  was  soon  followed  by 

Marilhat,  Prosper  {b.  Vertaizon,  Puy-de-Dome,  1811 ; 
.  Paris,  1847),  who  took  a  more  gentle  and  classic  view  of 
yria  and  Egypt.  He  kept  closer  to  reality  than  Decamps, 
ainting  subjects  which  suited  his  taste  **  almost  like  por- 
•aits ".  His  drawing  was  careful,  his  colour  soft  and 
''arm,  his  light  strong ;  and  everything,  though  exact,  was 
^ndered  with  real  poetic  feeling. 
We  find  in  the  Louvre  his — 

Ruines  de  la  Mosquee  du  Khalife  Hakem,  au  Caire. 
Four  pictures,  Chantilly. 

Troupeau  de  buffles  au  bord  du  Nil,  M.  H.  Gamier. 
Le  Caf6  Turc,  Mme.  Moreau-Nelaton. 
Benisoef  on  the  Nile  ;    The  Erechtheion  ;   Banks  of 
the  Nile,  Hertford  House. 
Soon  beside  these  two  early  Orientalists,  the  great  master, 
)elacroix   takes    his  place — **  le   vrai    maltre   moderne,   le 
''  souverain  traducteur  de  la  gr&ce  et  de  la  force  Arabe  et  de 
la  magie  du  paysage  Africain,"  as  Fromentin  said  of  him. 
^Tiile  Decamps  had  taken  Turkey   and  Asia  Minor,  and 
JarilhatjSyria  and  Egypt,  Delacroix  went  to  Morocco  for 
lis  setting.     And  he  was  the  first  to  give  the  true  sensation 
►f  the  East  in  his  splendid  visions  of  colour  and  light  and 
aovement.     Then  came  the  delightful  painter  and  writer, 
Fromentin,  Eugene,  0.*  {b.  La  Eochelle,  1820 ;  d,  1870). 


384  A  HISTORY  OF  FRENCH  ART.  Ch.  XMH. 

— One  of  the  most  attractive  personalities  of  the  middle  of 
the  century,  with  the  twofold  gifts  of  writer  and  painter, 
Eugene  Fromentin  was  an  artist  to  the  core.  And  whether 
on  canvas  or  in  his  books,  it  is  always  the  poet  who  speaks. 
A  pupil  of  Cabat  the  landscape  painter,  Fromentin  at 
twenty-five  was  in  full  possession  of  his  talent.  In  1847, 
after  spending  four  years  in  Algeria,  he  exhibited  his  "Gorges 
de  la  Chififa,"  which  made  a  deep  impression.  It  struck  a 
fresh  chord  among  the  Orientalists.  A  colourist  and  a  poet, 
Fromentin  rendered  all  the  novel  and  seductive  charm  of 
local  truth  combined  with  exquisite  harmony  and  purity  in 
the  three  silvery  notes  of  the  Sahel — white,  blue,  and  green. 
And  about  the  same  time  his  fate  duns  le  Sahara  was  published, 
Mme.  Georges  Sand  being  one  of  the  first  to  perceive  its 
unusual  merit,  finding  in  it  **  le  juste  et  le  vrai  maries  avec 
**  le  grand  et  le  fort  ". 

Fromentin  desired  to  give,  with  the  most  absolute  truth 
of  local  character,  a  calm  and  poetic  vision  of  the  East— of 
the  Arab  Encampment — of  the  Hawking  party  in  the  hot, 
early  sunshine — of  the  Arab  women  on  the  Nile  bank.  And 
to  preserve  a  certain  lofty  breadth  in  his  Art,  which  he  con- 
sidered in  peril — as  indeed  it  was  and  is — from  **  curiosity 
*'  and  the  taste  for  anecdote.  Le  genre  a  d6truit  la  grande 
**  peinture  et  denature  le  paysage  m^me  *'. 

Examples —  Louvre  : — 

Chasse  au  Faucon,  la  cur^e.     305. 
Le  Campement  Arabe.     306. 
Femmes  Arabes  au  borde  du  Nil.     307. 
Arabes  chassant  au  faucon,  Chantilly. 
Many  in  America. 

Arabs  Watering  Horses,  130  ;    Crossing  a  ford,  141, 
Vanderbilt  Collection. 

Belly  and  Guillaumet  followed  Eugene  Fromentin  in  the 
close  study  of  the  East,  and  in  their  determination  to  solve 
the  problems  of  light  in  its  direct  and  indirect  efifects. 

Belly,  L^on  (b.  St.  Omer,  1827;  d.  1877),  "in  hi^ 
**  *  Feimnes  Fellahs  au  bord  du  Nil,'  and  in  his  *  Caravane 
"  *  de  pelerins  *  under  the  red-hot  desert  sun,  had  given  sucb^ 


1898.        GENRE  PAINTERS  AND  ORIENTALISTS.  385 

i  exact  sensation  of  the  East,  that  it  seemed  impossible  to 
irpass  it,  when  Guillaumet  .  .  .  brought  a  formula  which 
tight  pass  for  a  definitive  one  *'.^ 

Guillaumet,  Gustave  Achille  (b.  Paris,  1840;  d.  Paris, 
i7),  is  represented  in  the  Luxembourg  by  three  fine  pictures 
*  Laghouat,  Sahara  Alg6rien  ** ;  **  La  Seguia,  prfes  de 
jkra";  and  "Le  Desert". 

Leroy,  Paul  Alexandre  Alfred  (b.  Paris,  1860), — a 
ang  OrientaHst  who  bids  fair  to  be  a  leader,  is  also  repre- 
ited  in  the  Luxembourg  by  a  very  remarkable  landscape, 
[j*Oasis  d*El  Edntara "  ;  one  of  the  most  admirable  of 
Ddem   renderings   of  the  colour,  light,  and   heat   of   the 

Constant,  Benjamin,  0.*,  M.  de  l'Inst.  (6.  Paris),  is 
le  of  the  most  important  and  best  known  modem  artists 
bo  has  been  captivated  by  the  picturesque  splendours  of 
fitern  subjects.  In  his  great  compositions,  however,  he 
not  so  much  occupied  with  the  local  truth  as  with  the 
agnificence  and  picturesqueness  of  the  setting.  In  1872  his 
Ion  picture — the  third  he  had  exhibited — was  a  **  Samson 
Dalila  *'.  The  next  year  he  showed  a  **  Femme  de  Eiff  ". 
ad  from  that  date  we  have  had  a  series  of  subjects  with 
[orocco,  Tangiers,  and  Seville  for  their  setting,  such  as 
le  fourteenth  century  **  Lendemain  d'une  Victoire  a 
AJhambra"  ;  or  the  thirteenth  century  **  Passetemps  d'un 
^alife,**  at  Seville ;  **  Les  dernier s  rebelles  "  ;  **  Les  Favorites 
5  TEmir,"  or  **  Les  Femmes  de  THarem  ".  In  all  of  these 
ictures  an  extraordinary  command  over  colour,  drawing, 
ad  skilful  disposition  is  seen.  But  M.  Benjamin  Constant 
oes  not  wholly  confine  himself  to  these  eastern  subject 
ictures.  He  is  one  of  the  popular  portrait  painters  of  the 
ay,  delighting  to  render  the  robes  of  the  Star  of  India,  or 
tie  jewels   and  soft,  shining,  silken  draperies  of  beautiful 

'omen. 
Examples : — 

Les  Demiers  Rebelles,  Luxembourg. 
Lord  Duflferin,  portrait. 

^  L^once  Benedite. 

25 


386  A  HISTORY  OF  FRENCH  ART.  Ch.  XVia 

Lady  Helen  Vincent,  portrait. 

Passetemps  d'un  Kalife,  a  Seville,  Comtesse  de  Gasa 
Miranda  (Mme.  Christine  Xillson). 

Regxault,  Alexaxdre-Georges-Hexri  {b.  Paris,  1843; 
d.  Buzenval,  1871). — Son  of  the  celebrated  chymist  and 
physicist,  M.  H.  Victor  Eegnault,  Henri's  childhood  was 
passed  in  an  atmosphere  of  extreme  cultivation — on  one 
hand  the  strong  character  and  profomid  scientific  attain- 
ment of  his  father  ;  on  the  other  the  love  of  art  and  literatuie 
of  his  charming  mother. 

At  twenty-three,  after  a  brilliant  passage  through  the 
atelier   of   Cabanel   and   the   Ecole  des  Beaux  Arts,  Henn 
Regnault  gained  the  Prix  de  Rome,  with  his  "  Thetis  ".    While 
his  fellow  competitors   were   working  anxiously,  Regnault 
amused  himself,  singing  like  a  bird  while  he  dashed  in  his 
Thetis   just   at   the   last    moment — modifying   the   original 
sketch    considerably   as    he    painted    it.      Already   he  had 
attained  that  marvellous   impetuosity  of   execution   which 
corresponded  to  the  impetuous  and  ardent  enthusiasm  of  his 
nature.      As  if  he  had  some  prescience  of  how  short  his 
career  was  to  be,  Regnault 's  existence  was  a  breathless  one 
for    those    five    remaining   years.      In    Italy    he   "  travels, 
**  observes,  listens,  rides  on  horseback,  spurs  on  his  whole 
**  existence,  breathes  in  Art  at  every  pore  ".     And  though  he 
was   the   most   daring   colourist   of  the  day,   he  yet  could 
appreciate  the  most  delicate  nuances  of  the  great  masters. 
But  in  Fortuny's  studio  in  Rome  he  gained  his  first  vision 
of  the  East.     From  that  moment  the  East  impassioned  this 
ardent   nature.      And   in  1868  he  went  to  Spain.      There 
Velasquez  fairly  intoxicated  him.     And  as  he  was  obliged  as 
Pensionnaire  de   Rome  to  send  in  some  copy,  he  chose  th»t 
most   marvellous   Velasquez,   **  Les  Lances  *\      But  uior^ 
opportunities  were  to  come.     The  Revolution  of  1868  brok^ 
out ;  and  Madrid  was  turned  into  a  camp — a  camp  dazzling' 
with  colour  and  picturesque  incidents  and  effects.  All  was  an 
enchantment  to  the  young  artist.     And  after  seeing  Prim's 
triumphal  entry  in  October,  he  set  to  work  instantly  with  his 
usual  enthusiasm,   to  paint   *'  the  chief  in  uniform  of  a 


10-1898.        GENRE  PAINTERS  AND  ORIENTALISTS.  387 

revolution  in  rags  ".  Prim  however  was  not  flattered.  He 
fused  the  picture  ;  and  thus  it  happily  found  its  way  to  the 
lOuvre. 

But  Begnault  was  still  a  student ;  and  was  obliged  to 
ear  himself  away  from  Madrid  and  return  to  Rome.  It 
►leased  him  less  than  before,  and  he  hastily  painted  his 
nvai  of  Judith,  and  hurried  back  to  Spain.  The  war  being 
Dver  he  went  straight  to  Andalusia.  Alicante  charmed  and 
amazed  him.  But  once  at  Grenada — once  in  the  Alhambra — 
nothing  else  seemed  to  exist.  The  enthusiasm  of  his  letters 
before  this  vision  becomes  positively  lyric.  For  months  he 
lingered,  painting  his  '*  divine  mistress,  the  Alhambra ". 
Yet  after  awhile  he  desired  even  more.  He  knew  Fortuny 
had  received  his  revelation  of  light  in  Morocco.  So  to 
Morocco  he  must  go.  And  at  Tangiers  he  found  the  light 
he  sought  for. 

In  an  immense  studio  which  he  built,  he  proposed  to 
paint  a  picture  which  should  be  his  last  envoi  de  Borne,  and 
which  amid  the  splendours  of  the  Alhambra  should  symbolize 
the  magnificence  of  Moorish  civilization.  But  before  beginning 
it  he  painted  his  **  Sentinelle  marocaine,"  the  '*  Sortie  du 
Pacha,*'  the  **  Execution  sans  jugement,"  and  finished  the 
famous  **  Salom6  "  of  the  Salon  of  1870.  These  done  he 
Wrote  to  his  father  about  his  gigantic  work,  asking  him  to 
send  the  very  best  canvas,  7  met.  50  in  height  by  5*50  wide, 
aiding  details  as  to  colours,  fish  glue,  gilder's  plaster. 
*  Then  forward  with  the  big  brushes,  the  ladders,  and  to  the 
assault !  If  they  don't  give  me  the  medal  of  honour  for 
this  campaign,  I  don't  know  what  they  can  want !  " 

Alas !  another  sort  of  campaign  was  before  the  artist. 
V"ar  was  declared.  The  news  grew  worse  and  worse,  till 
begnault  could  bear  it  no  longer.  All  visions  of  the  Moors, 
be  Alhambra,  Art,  and  glory  were  thrown  aside  for  the 
lefence  of  his  country  in  her  hour  of  need.  And  through  the 
siege  of  Paris  in  the  artists'  battalion,  he  rarely  touched 
brush  or  pencil,  save  for  a  few  pencil  portraits  of  friends,  or 
three  remarkable  water-colours. 

On  January  18,  1871,  he  refused  an  oiBfer  of  promotion, 


388  A  HISTORY  OF  FRENCH  ART.  Cel  XVIH. 

ending  a  fine,  stoical  letter  to  his  captain  with  these  words : 
"  You  have  in  me  a  good  soldier ;  do  not  lose  him  by 
**  turning  him  into  a  poor  officer".  Next  day  came  the 
battle  of  Montretout.  All  day  they  fought.  And  when  the 
retreat  was  sounded  at  Buzenval,  Begnault,  sad  and  angry, 
said  to  Clairin,  his  friend  and  brother-artist,  **  I  will  be  with 
**  you  in  a  moment !  I  want  to  fire  a  last  cartridge  !  "  He 
turned  back  towards  the  enemy.  A  ball  struck  him  fuU  in 
the  forehead,  and  he  fell  dead. 

In  the  inner  court  of  the  ilcole  des  Beaux  Arts,  one  of 
the  most  beautiful  monuments  of  modem  times,  erected  by 
his  fellow-artists,  keeps  Regnault*s  memory  green — as  M. 
Chapu's  enchanting  Jetiiiesse  kneels  palm  branch  in  hand, 
before  his  bust. 

What  he  dreamt  of  doing,  what  he  had  already  accom- 
phshed,  was  seen  at  the  posthumous  exhibition  of  his  works 
and  unfinished  sketches  in  1872,  an  amazing  record  for  the 
artist  of  twenty-seven.  Gifted  with  such  a  temperament,  so 
original  as  a  thinker,  so  magnificent  and  daring  as  a  draughts- 
man, so  superb  as  a  colourist — one  ccm  but  beheve  that  Henri 
Regnault  might  have  risen  to  the  highest  attainment  of  the 
artist,  when  life  had  revealed  the  idea  behind  mere  colour 
and  form. 

Examples — Louvre  : — 

Portrait  6questre  de  Juan  Prim. 

Execution  sous  les  Rois  Maures  a  Grenade. 

Portrait  de  la  Comtesse  de  Barck. 

Alhambra,  1869,  water-colour,  Luxembourg. 


^ 


CHAPTEE    XIX. 

PORTRAIT  PAINTERS. 

f  the  portrait,  whether  on  canvas  or  in  marble,  French 

rt  during  its  worst  days  of  peril  from  foreign  influences, 

:  decadence  from  internal  weakness,  has  always  found  its 

blvation   and   its   renaissance.      Once   in   presence   of   the 

uman  being,  it  has  drawn  fresh  life  and  fresh  power  from 

le  contact.     The  very  existence  of  French  painting  began, 

J  we  have  seen,  in  portraiture.     And  from  the  Clouets  and 

omeille  de  Lyon  in  the  sixteenth  century,  a  long,  unbroken 

iccession   of    portrait    painters  —  Mignard    and    Santerre, 

largiUifere    and     Rigaud,     Nattier    and     Tocque,    Greuze, 

'ragonard,   Vig^e-Lebrun   and   many  more — triumphantly 

irried  the  tradition,  vigorous  and  vital,  down  to  the  Revolu- 

on,  and  the  nineteenth  century. 

A  portrait  painted  by  the  great  artist,  must  always  be  one 

f  the  most  intensely  interesting  productions  of  the  painters' 

rt.     For  the  portrait  painter  has  to  do  more  than  reproduce 

he  outer  seeming  of  his  sitter.     Behind  that  outer  seeming 

11  the   greatest  masters  have  shown   that  an  idea  is  ever 

resent  to  them ;  and  that  the  hidden  meaning,  the  soul,  the 

baracter,  the  temperament  of  the  human  being,  must  be 

iligently  sought  for  and  made  to  shine  forth  by  their  art. 

L'4me  et  le  corps  ne  font  ensemble  qu'un  tout  nattirel,"  said 

ossuet.     It  is  not  enough  to  **  catch  a  likeness  ".     Any  one 

ith  the  slightest  pretentions  as  a  painter  can  manage  that 

LUch.     But,  as  M.  Andre  Michel  has  truly  said :  **  While 

capable    of    drawing    eyes,   nose,   and    mouth    extremely 

Well,  you  may  be  absolutely  incapable  of  making  a  good 

portrait.     The  human  face,  infinitely  varied  in  the  exterior 

adjustment  of  its  elemental  forms,  infinitely  complex  in  the 

inner  being  which  these  forms  cover  and  reveal  .  .  .  offers 

(389) 


390  A  HISTORY  OF  FRENCH  ART.  Ch.  XIX. 

**  to  the  artist  the  most  attractive  and  the  most  diflScult  of 
**  problems.  All  are  not  capable  of  the  observation,  at  once 
**  attentive  and  docile,  naive  and  strong,  which  is  needed ;  an 
"  empire  over  oneself  and  a  patience  is  required  which  some 
"  of  the  greatest  have  not  been  able  to  attain." 

Sometimes,  as  with  Delacroix,  the  artist's  over-mastering 
personality   stands   in   the  way  of  his   work.      He  has  to 
struggle  against   a   superabundance  of  ideas :   he   sees  too 
rapidly ;  his  mind,  his  ideal,  outpaces  his  observation.    And 
though  few  feel  it  to  the  same  degree,  this  danger  lies  in  the 
path  of  every  portrait  painter  worthy  of  the  name — the  danger 
of  a  family  hkeness  between  each  portrait.     He  may  try,  but 
he  tries  in  vain,  to  blot  out  the  whole  of  his  own  personality, 
to  forget  his  own  existence,  to  live  utterly  and  completely  in 
his  model.     But  "  however  faithful  a  portrait  may  be,  how- 
**  ever   intimate   its   resemblance,   it   bears   as   an   indelible 
**  signature,  the  personal  mark  of  the  artist  who  has  painted 
**it'\     Yet  at  the  same  time,  when  kept  within  bounds  by 
the  supreme  self-abnegation  and  reticence  of  the  great  artist, 
this  personal  mark  adds  to  the  intense  and  suggestive  interest 
of  a  portrait.     We  see  a  human  being  through  the  tempera- 
ment of  a  diviner  of  mysteries.     And  no  matter  what  the 
subject,  the  work  of  art  may  be  a  great  one,  if — as  Latour 
desired  to  do — the  artist  can  **  descendre  jusqu'au  fond  et  le 
*'  remporter  tout  entier". 

Of  the  earlier  portrait  painters  of  the  nineteenth  century, 
much  has  already  been  said  incidentally  in  the  chapters  upon 
the  Classics,  the  Peasant  painters,  and  the  Genre  painters. 
David,  Gerard,  Gros,  Ingres,  among  the  Classics — Bastien- 
Lepage,  Dagnan-Bouveret,  Henner,  Benjamin  Constant, 
and  many  more  artists  of  the  last  thirty  years — have  pro- 
duced admirable  portraits.  But  these  in  most  cases  have 
not  been  the  most  important  part  of  their  work. 

In  the  works  of  these  artists,  and  of  the  portrait  painters 
par  excellence  who  in  the  nineteenth  century  have  carried  on 
the  French  tradition  of  portraiture,  two  distinct  methods  are 
seen.  In  one,  the  artist  renders  the  man  in  his  habit  as  he 
is — in  a  milieu  suggesting  his   tastes,  his   occupations,  his 


1850-1899.  PORTRAIT  PAINTERS.  391 

everyday  life — or  in  some  portrait  group.  In  the  other,  the 
sitter  is  completely  detached  from  any  suggestive  accessories. 
The  interest  is  concentrated  on  the  human  being,  his  character 
and  temperament,  unaided  by  any  adventitious  surroundings 
— set  against  a  background  which  at  most  is  merely  decorative, 
and  has  nothing  to  do  with  the  subject.  The  two  methods 
are  equally  in  favour.  A  preference  for  one  or  the  other  is 
merely  a  question  of  taste.  Both  have  been  in  use  since  the 
earliest  days  of  portrait  painting.  And  as  modem  examples 
of  both  we  may  take  two  pictures  in  the  Luxembourg — M. 
Fantin-Latour's  deeply  interesting  portrait  group,  **Un 
Atelier  aux  Batignolles  '* ;  and  M.  Bonnat's  portrait  of  his 
master,  "L6on  Cogniet".  In  the  first  the  artist  has  repre- 
sented Edouard  Manet  painting  in  his  studio  with  a  group 
of  friends  about  him,  Zola,  Claude  Monet,  Bazile,  an  Im- 
pressionist artist  who  was  killed  during  the  war,  etc.,  etc. 
In  the  second  the  humorous  face  of  the  kindly  old  artist, 
looks  out  with  sparkling  eyes,  from  a  background  undisturbed 
by  any  accessories. 

But  it  is  better  to  allow  each  artist  in  turn  to  speak  for 
himself. 

Delaunay,  Jules-Elie,  0.*,  M.  de  l'Inst.  (b.  Nantes, 
1828 ;  d.  1891). — Like  his  friend  and  compatriot  Baudry, 
Delaunay  was  a  true  Breton.  Both,  says  M.  Lafenestre, 
**  were  tender  and  proud,  sensitive  and  outwardly  reserved. 
**  Both  enamoured  of  their  work,  with  the  same  anxious 
**  conscientiousness — both  hard  working  and  determined, 
*'  beneath  an  appearance  more  or  less  worldly  and  dis- 
**  engaged,  knew  how  to  live  silently  in  a  noisy  age,  and 
*' to  remain  independent  in  the  midst  of  intrigue." 

Delaunay  was  brought  up  in  an  atmosphere  at  once" 
religious  and  patriarchal.  A  pupil  of  Flandrin,  he  executed 
a  number  of  mural  paintings  in  the  Church  of  the  Monastery 
of  the  Visitation  at  Nantes.  And  some  in  the  Chapelle  de 
la  Vierge,  Church  of  the  Trinite  in  Paris.  But  it  is  as  a 
portrait  painter  that  his  name  will  live.  If  he  had  only 
painted  the  portrait  of  **  Mme.  Bizet,"  this  alone  would  have 
been  suflScient  to  place  him  in  the  very  foremost  rank  of  art. 


392  A  HISTORY  OF  FRENCH  ART.  Ch.  XIX. 

But  it  is  only  one  among  many.  This  picture,  painted  in 
1878,  was  exhibited  in  the  Centennial  Exhibition  of  1889, 
and  again  in  the  "Portraits  de  Femmes  et  d'Enfants"  at  the 
Beaux  Arts  in  1897.  It  is  all  in  black.  And  the  great 
pathetic  black  eyes,  brimming  with  tears,  are  haunting  in 
their  anguish  and  loveliness.  The  noble  portrait  of  the 
artist's  mother,  now  in  the  Luxembourg,  is  a  chef  d'oeuvre 
of  emotionaJized  truth.  Each  of  his  portraits  is  intensely 
personal.  Take  for  instance  that  of  the  fine,  worn  soldier, 
'*G6n6ral  Mellinet  *'— the  wonderful  "  Mme.  Bizet,"  of 
which  I  have  spoken — or  "  Mme.  Toulmouche,*'  fresh  and 
smiling  in  her  summer  dress  in  the  sunny  landscape.  Each 
in  its  very  different  way  is  a  triumph  of  character  study — of 
that  shining  forth  of  the  soul,  which  makes  the  really  great 
portrait. 

Examples — Luxembourg  : — 

Peste   a   Rome,  1869,   78 ;    Portrait  de  la  mfere  de 

I'artiste,  1872,  80. 
Portrait  de  Mme.  Bizet,  Mme.  Bizet. 
Three  pictures,  Mus^e  de  Nantes. 

BoNNAT,  L6oN,  C.*,  M.  DE  l'Inst.  (b.  Bayonne,  1833). 
— Bom  at  Bayonne,  the  natural  tendencies  of  the  Meridional, 
that  vigour  and  vehemence,  that  love  of  strong,  rich,  deep 
colour,  that  audacity  of  treatment  which  we  connect  with 
southern  peoples,  were  fostered  and  developed  by  the  circum- 
stances of  L6on  Bonnat's  boyhood.     He  had  wished  to  enter 
the  navy.     But  his  father  having  established  himself  as  a 
bookseller  at  Madrid,  his  son  joined  him  there  at  fifteen, 
helped  in  his  business,  and  devoured  the  books  that  came  in 
his  way.    Among  others  he  found  Vassari,  fell  in  love  with  it, 
and  forthwith  began  to  draw.     In  the  evening  he  attended 
the  classes  at  the  Academy,  under  that  distinguished  and  in- 
spiring master,  Frederic  de  Madrazo.     But  beyond  this,  the 
lad  saturated  himself  with  the  spirit  of  the  great  masters  in 
the  unrivalled  Gallery.     Murillo,  Titian,  Ribiera,  Goya,  had 
each  some  message  for  him.     And  above  all  others  he  turned 
to  Velasquez.     At  seventeen  he  painted  his  first  picture,  the 
**  Childhood  of  Giotto  ".     Then  Madrazo  put  some  commis- 


1860-1899.  PORTRAIT  PAINTERS.  393 

sions  in  his  way — a  copy  of  a  full-length  portrait  of  Queen 
Isabella,  and  one  of  the  old  King  Fruella  11.,  which  still* 
hangs  among  the  Kings  of  Spain. 

After  his  father's  death,  the  Municipal  Council  of  Bayonne 
were  induced  to  give  young  Bonnat  an  allowance  of  1500 
francs.  And  at  twenty  he  went  to  Paris,  entered  Cogniet's 
studio  and  the  ]^cole  des  Beaux  Arts,  and  a  life  of  deter- 
mined work  began  ;  for  the  allowance  of  £60  had  to  sufl&ce 
for  all  his  needs ;  and  he  painted  everything  that  came  in 
his  way,  even  natures  mortes.  In  1857  he  competed  for  the 
prix  de  Bome  ;  and  though  he  only  gained  the  second  prize, 
Robert  Fleury  persuaded  him  to  go  to  Rome  all  the  same. 
The  Bayonne  allowance  was  continued  to  him  ;  and  early  in 
1858  he  arrived.  Here,  as  elsewhere — for  M.  Bonnat  has 
always  made  and  kept  many  friends — he  was  welcomed  by 
his  fellow  artists.  Schnetz,  the  director  of  the  Villa  M^dicis, 
gave  him  excellent  advice ;  and  Chapu,  the  sculptor,  intro- 
duced him  to  Rome. 

Michael- Angelo  in  Rome  entranced  him  as  Velasquez  had 
done  in  Madrid  ;  and  in  1859  he  thought  of  painting  **  The 
Creation  ".  But  Schnetz  advised  him  to  choose  something 
simpler ;  so  he  painted  his  **  Good  Samaritan  **.  It  was 
exhibited  in  the  Salon  of  1859,  bought  by  the  State,  and  is 
now  at  Bayonne.  In  1861  he  exhibited  **  La  Mariuccia," 
the  first  of  the  Italian  studies  which  soon  made  his  name 
known.  And  in  1863  his  charming  **  Pasqua  Maria  "  had  a 
brilhant  success,  while  he  received  a  medal  for  his  **  Martyre 
de  Saint  Andr6,**  and  was  placed  hors  concaurs.  The  warm, 
vigorous  tones,  the  intensity  of  life  he  communicated  to  such 
Italian  pictures  as  the  **  Mezzo  bajocco,  Eccelenza,"  the 
"**  Roman  peasants  before  the  Famese  Palace,*'  **  Saint 
Vincent  de  Paul  prenant  la  place  d'un  gal^rien,"  brought  the 
artist  a  speedy  recognition.  But  he  did  not  intend  to  keep 
for  ever  to  Italian  subjects.  He  went  ofif  with  Ger6me  ;  saw 
Cairo,  Jerusalem,  and  Athens  ;  drew  fresh  inspiration  from 
the  East ;  and  in  1870  began  his  Oriental  pictures  with 
*'  Une  Femme  Fellah  et  son  Enfant/'  and  **  Une  rue  de 
Jerusalem  ". 


J> 


1» 


394  A  HISTORY  OP  FRENCH  ART.  Ch.  XDl. 

When  the  war  broke  out  he  was  at  Pampeluna.  He 
hurried  back  for  the  defence  of  Paris,  and  during  the  Com- 
mune returned  to  Madrid,  to  see  Velasquez.  At  Bayonne 
he  painted  a  superb  portrait  of  Mme.  Mohnier.  And  at 
Ustaritz,  the  famous  portrait  of  the  old  Basque  servant, 
who  **  with  ten  sous  a-day  managed  to  give  help  to  others 
**  poorer  than  herself  ".  The  **  Paysanne  d*Ustaritz  "  in  the 
Salon  of  1872,  was  one  of  M.  Bonnat*s  greatest  triumphs.  It 
was  followed  in  1873  by  another — the  **  Barbier  Turc  "—an 
astounding  bit  of  colour,  which  was  exhibited  again  in  the 
Centennial  Exhibition  of  1889,  and  made  a  profound  impres- 
sion. As  did  the  terrible  but  fine  "  Christ  en  Croix  "  of 
1874. 

But  M.  Bonnat^s  portraits,  which  now  became  his  life- 
work,  made  an  even  greater  impression  in  1889.  When  they 
were  grouped  together — *' Cardinal  Lavigerie,"  **  Jules  Fen:}% 
**  Countess  Potocca,"  **  Alexandre  Dumas,"  "  M.  Pasteur, 
**  Victor  Hugo,"  **  M.  Puvis  de  Chavannes  " — seldom  have 
a  more  magnificent  set  of  human  documents — of  works  of  art 
full  of  extraordinary  insight  into  the  varying  characters  and 
qualities  of  the  sitters — of  rich,  strong,  brilliant  colour — been 
exhibited.  Each  year  adds  fresh  examples  to  the  long 
list  of  the  master's  works — to  the  gallery  of  illustrious  names 
which  the  great  artist  is  filling  for  the  historian  of  the 
future.  Each  year  those  qualities  he  possesses  in  such  an 
eminent  degree,  of  truth,  insight,  absolutely  faithful  and 
honest  work,  add  fresh  lustre  to  the  name  of  L6on  Bonnat. 
Examples — Luxembourg  : — 

S.  E.  le  Cardinal  Lavigerie,  1888. 

Leon  Cogniet,  1880. 

Le  Sculpteur  Aime  Millet,  1869. 

M.  Thiers  ;    Victor  Hugo,  Versailles. 

S.A.K.  Le  Due  d'Aumale,  Chantilly. 

Le    Christ,    1874,   Palais    de    Justice,    Paris    (Cour 
d'Assises). 

St.  Vincent  de  Paul,  1866,  :fcglise  de  St.  Nicholas  deft 
Champs,  Paris. 

Many  portraits  in  the  United  States. 


0.1899.  PORTRAIT  PAINTERS.  395 

Mrs.  John  Carter  Brown  and  John  Nicholas  Brown, 
Coll.  J.  N.  Brown,  Esq.,  Providence,  Ehode 
Island. 

Carolus  -  DuRAN,  Charles  -  AuGUSTE  -  i^MiLE,  C*  (6. 
ille,  1837). — As  with  many  another  famous  artist,  M. 
irolus-Duran*s  success  was  won  through  the  stress  of 
)verty.  difficulties,  and  actual  suffering.      For  at  one  period 

his  career  he  nearly  died  of  the  privations   he  endured, 
ring  in  Paris  for  nearly  three  years,  often  on  a  sou's  worth 
bread  as  his  food  for  the  day. 

From  his  earUest  childhood  he  showed  such  taste  for 
•awing,  that  he  was  at  last  sent  to  the  Academy  of  design 

Lille.  Here  he  made  slow  progress  under  **  le  pere 
nicJwn,''  whose  pupil  the  famous  artist  is  now  pleased  to 
.11  himself;  for  he  was  kept  to  the  "flat"  and  the 
round  "  for  years ;  and  it  was  not  until  1852  or  1853 
at  he  was  promoted  to  the  class  of  painting.  In  1855 
J  came  to  Paris  with  his  then  dying  father,  his  mother  and 
$ter.  And  now  the  terrible  struggle  began.  For  after  his 
ther's  death,  the  brave  lad  determined  he  would  no  longer 
;  a  burden  to  his  mother,  but  fight  his  own  way.     Though, 

he  now  says,  he  painted  **  nicely,"  he  knew  nothing, 
verything  had  to  be  learned.     At  last  in  despair  he  decided 

emigrate  to  Algeria  as  a  mason  ;  and  was  setting  out  to 
Eilk  to  Marseilles,  as  he  could  afford  no  other  means  of 
Einsport,  when  a  friend  offered  to  advance  him  two  terms* 
nt.  Installed  in  a  little  studio  half  underground,  he  lived 
r  three  years  as  he  could,  sometimes  going  without  dinner 
re  days  out  of  seven.  To  use  his  own  words,  "  I  painted 
my  friends  as  I  could  not  pay  for  models  ;  I  went  to  the 
Louvre  to  copy  the  masters,  to  draw  the  antiques  .  .  .  and 
to  warm  myself  into  the  bargain  ".  Worn  out  with  such  an 
jstence  he  fell  ill.  A  friend  found  him  nearly  dying  of 
ver,  took  him  to  his  own  rooms,  nursed  him  tenderly,  and 
e  future  master  slowly  recovered.  He  then  returned  to 
ille.  And  after  some  delay,  which  he  occupied  in  painting 
aall  portraits,  he  gained  the  pension  offered  by  the  depart- 
ment in  1858,    and  returned  in  triumph  to  his   studies  in 


396  A  HISTORY  OP  FRENCH  ART.  Ch.  XIX. 

Paris  with  1200  francs  a  year.  Three  years  later  he  com- 
peted again  in  Lille  for  a  sum  of  money  bequeathed  by  a 
Chevalier  Wicar,  a  contemporary  of  David,  for  the  purpose 
of  sending  some  promising  young  artist  to  Rome  from  time 
to  time.  And  gaining  the  coveted  prize,  Carolus-Duran  went 
off  to  spend  four  ideal  years  in  Italy.  £7  a  month  had  to 
suffice  for  food,  clothes,  lodgings,  models,  colours,  and  journeys. 
But  after  what  he  had  already  endured  such  an  existence 
seemed  Paradise. 

Though*  he  exhibited  a  portrait  in  the  Salon  of  1859,  and 
several  pictures  and  portraits  in  that  of  1861,  his  first  real 
success  came  with  **  L'Assassini,"  a  souvenir  of  the  Cam- 
pagna.  It  is  now  in  the  Mus^e  de  Lille,  a  fine  and  strong 
bit  of  painting.  But  M.  Carolus-Duran  had  yet  to  feel  the 
magic  of  Velasquez,  before  he  attained  his  full  strength.  Soon 
after  his  return  from  Rome  he  started  for  Spain ;  and  there 
found  both  the  country  and  the  master  capable  of  giving  an 
answer  to  all  the  questions  and  ambitions  of  his  own  vigorous 
artistic  temperament.  And  when  he  came  back  to  Paris, 
and  married  Mile.  Croizette,  herself  an  artist  of  great  charm 
and  talent — the  original  of  the  well-known  "  Dame  au  Gant " 
of  the  Luxembourg — his  career  of  triumphant  success  began. 

Those  magnificent  portraits  of  men  and  women — those 
delightful  pictures  of  his  own  babies — his  daughters  Anne- 
Marie  and  Sabine,  who  we  have  all  watched  growing  up 
year  by  year  on  their  father's  canvases  —  form  one  long 
brilliant  procession.  And  its  course  is  broken  now  and  again 
by  such  an  enchanting  caprice  as  "  Beppino,  un  futur  Doge" 
— the  dear,  staggering  sixteenth  century  baby,  now  one  of 
the  treasures  of  Mr.  J.  S.  Forbes'  matchless  collection.  Or 
by  the  dramatic  and  impressive  sadness  of  a  *'  Mise  en 
tombeau  ".  Or  again  by  masterly  landscapes  such  as  those 
in  the  Salon  of  1897,  where  we  see  the  sun  set  once  more  in  a 
blaze  of  colour  behind  Eoqueburne  across  the  marshes  of  the 
Argence,  or  over  the  plain  of  Fr^jus — or  seem  to  wander  again 
through  that  fragrant  forest  of  pines  and  myrtles  and  tall 
white  heath,  outside  M.  Carolus-Duran's  villa  on  the  Gulf  at 
St.  Eygulf. 


1850-1899.  PORTRAIT  PAINTERS.  397 

Examples  in  Luxembourg : — 

La  Dame  au  Gant,  1869. 

Un  soir  dans  TOise. 

The  daughter  of  the  Artist   and   her  two   children, 
1897. 

The  Artist  Fran9ais,  1897. 

L'Assassini,  1861,  Mus6e  de  Lille. 

Beppino,  J.  S.  Forbes,  Esq. 

The  Poet  with  the  Mandoline,  1894,  The  Artist. 
EiCARD,  Louis-GusTAVE  {b.  Marseille,  1824 ;  d.  Paris, 
1873). — A  pupil  of  Cogniet,  Bicard  strove  to  return  to  the 
methods  of  the  early  ItaUans.  His  portraits  are  of  a  most 
moving  quality.  Slightly  veiled,  with  a  tinge  of  melancholy, 
the  painter  seems  to  endeavour  to  make  the  eyes  reveal  the 
hidden  character  and  thought  of  his  sitter.  The  Louvre 
has  two  extremely  fine  examples  of  Bicard's  portraits — one 
of  himself ;  the  other  of  the  painter  **  Heilbuth  ".  The 
"  Madame  de  Calonne  "  (250)  in  the  Luxembourg,  is  also 
a  remarkable  picture,  with  a  suggestion  in  its  method  of 
treatment  of  Leonardo. 

There  are  also  portraits  by  Bicard  in  the  museums  of 
Versailles,  Marseilles,  Grenoble  and  Montpellier,  etc.  And 
an  exquisite  portrait  of  Miss  Alice  Schlesinger,  in  the 
possession  of  Miss  Schlesinger,  was  exhibited  at  the  Guild- 
hall, 1898. 

HUBERT,  Ernest-Antoine-Auguste,  C.*,  M.  de  l'Inst. 
(b.  Grenoble,  1817). — M.  Hubert  had  many  masters  ;  David, 
d'Angers,  Bolland,  and  Paul  Delaroche.  He  entered  the 
ficole  des  Beaux  Arts  in  1836 ;  and  three  years  later  won 
the  Prix  de  Bome.  In  1851  and  1855  he  gained  first  class 
medals.  He  was  made  Director  of  the  School  of  Bome  in 
1867  ;  a  Membre  de  I'lnstitut  in  1874  ;  and  in  1895  his  long 
and  useful  career  was  rewarded  by  a  medal  of  Honour. 

M.  Hubert,  now  eighty-one,  has  painted  numbers  of  sub- 
ject pictures,  mostly  Itahan — such  as  **  La  Malaria  "  (now  at 
Chantilly)  and  "  Les  Cervarolles  "  in  the  Luxembourg.  His 
portraits,  however,  are  the  most  remarkable  and  interesting 
part  of  his  work.     The  Galleries  of  Versailles  contain  two 


398  A  HISTORY  OF  FRENCH  ART.  Ch.  XIX. 

most  important  examples.  "  The  energetic  figure  of  Prince 
**  Napoleon  (5143)  forms  a  pendant  to  the  fantastic  appa- 
'*  rition  of  Princesse  Clotilde  (5144)  in  her  silk  and  white 
^*  muslin  dress,  with  gold  lace  :  the  blue  eyes  and  chestnut 
^*  hair  responding  to  the  tones  of  the  fur-trimmed  velvet 
**  mantle,  the  dull  red  of  a  curtain  in  the  shadow,  the  fading 
'*  rose  and  green  of  the  twilight  sky,  make  a  chef  d'oeuvreof 
**  this  canvas  of  Hebert's,  inspired  by  Eicard.*'  ^ 

GiGOUX,  Jean  -  FRANgois,  0.*  (6.  Besan9on,  1806), 
painter  and  lithographer,  was  one  of  the  **  bataillon  sacre  " 
who  with  G^ricault,  Bonnington,  and  Delacroix,  turned  to 
the  great  masters  of  the  Louvre  for  counsel  and  copied  them 
to  improve  their  own  technique,  a  matter  for  which  David 
and  his  school  cared  little.  M.  Gigoux's  "  Demiers  moment 
de  Leonard  de  Vinci  **  is  painted,  as  Paul  Mantz  says,  **  with 
*'  a  vigorous  execution  and  generous  impasto  pleasant  to 
"  behold  ".  And  in  his  portrait  of  the  PoHsh  general "  Joseph 
Dwemicki,*'  he  proves  himself  a  modem  of  the  modems,  an 
uncompromising  realist  in  the  best  sense.  His  portraits  of 
contemporary  artists,  of  Delacroix,  Delaroche,  Sigalon,  etc., 
etc.,  are  of  great  interest.  So  is  the  portrait  of  Charles 
Fourier,  the  founder  of  the  Phalanstere.  A  survivor  of  the 
great  battles  of  the  early  days  of  the  century,  Gigoux  to 
extreme  old  age  kept  alive  all  the  ardours  and  enthusiasms 
of  his  youth. 

Examples — Luxembourg  : — 

Portrait  du  general  polonais,  Joseph  Dwernicki,  1833. 
131. 

Charles  Fourier.     133. 

Demiers  moments  de  Leonard  de  Vinci,  Mus^e  de 
Besan9on. 

Four  Sacred  pictures,  Eglise  St.  Gervais,  Paris. 
Gaillard,  Claude-Ferdinand,  *  (b.  Paris,  1834 ;  d. 
Paris,  1887), — a  pupil  of  Cogniet,  won  the  Grand  Prix  de 
Eome  igravure)  in  1856,  for  an  '*  Acad^mu''  engraved  from 
nature.  One  of  the  people,  the  son  of  a  modest  family  of 
artisans,  the  artist  gained  in  that  early  school  of  toil,  in  that 

1  De  Nolhac  et  Pirate. 


1850-1899.  PORTRAIT  PAINTERS.  399 

struggle  for  the  actual  necessaries  of  life,  the  solid,  sterling 
character  which  is  shown  in  his  works.  On  his  return  from 
Rome  he  tried  for  the  grand  prix  de  peinture ;  but  failed. 
This  threw  him  back  on  his  original  metier.  The  **  Portrait 
de  Jean  Bellin,'*  which  he  had  engraved  from  the  famous 
original  in  Rome,  was  considered  too  independent  in  its 
methods  in  Paris,  and  was  refused  at  the  Salon.  It  was  not 
until  1865  that  his  fine  plate  in  the  Gazette  des  Beaux  Arts 
of  Ant.  da  Messina's  **  Condottifere,"  brought  complete 
recognition  of  his  talent.  He  was  regularly  employed  by 
the  Gazette  until  his  death.  And  this  constant  study  of  the 
great  masters  in  engraving  their  works  for  the  Gazette,  was 
a  precious  school  for  the  artist. 

In  1871  he  made  a  success  as  a  painter  in  the  Salon,  with 
his  very  remarkable  portrait  of  **  Ma  tante  ".  This  had  been 
preceded  by  the  magnificent  portrait  of  **  Monseigneur  de 
Segur  "  in  1866.  And  his  crayons  of  Pere  Didon,  Prince 
Bibesco,  and  Pio  Nono,  place  him  definitively  among  the 
great  portraitists.  Gaillard's  whole  preoccupation,  whether 
he  handled  the  brush  or  the  burin,  was  with  the  portrait  in 
its  deepest  sense.  And  some  of  his  portrait  etchings  from 
nature  are  of  rare  merit  and  importance. 
Examples  : — 

Among  his  best  known  engravings  are  L*homme  k 
Toeillet,  after  Van  Eyck  ;  La  Vierge  au  donateur, 
Jean  Bellini ;  portrait  of  Jean  Bellini,  from  the 
Capitol ;  portrait  du  Condotti^re,  after  Ant.  da 
Messina ;  etc.,  etc. 

Paiiitinas. 

Luxembourg : — 

Monseigneur  de  Segur,  1866. 
Mme.  E.  (la  tante  de  Gaillard),  1871. 
Saint  S^bastien,  1876. 
L'abbe  Rogerson,  1869,  M.  Judisse. 
An  exhibition  of  the  artist's  works,  drawings,  engravings, 
paintings,   was  held   in   1898  in  one  of  the  rooms  of  the 
Luxembourg  Museum. 


400  •   A  HISTORY  OP  FRENCH  ART.  Ch.  XIX. 

Cabanel,  Alexandre,  C.*,  M.  de  l'Inst.  (6.  Mont- 
pellier,  1824 ;  d.  Paris,  1889).—'*  The  student  applauded  by 
**  all  from,  his  childhood,  the  master  d  la  mode  before  he  had 
"  reached  full  manhood,  the  venerated  professor  before  age 
**  had  touched  him,  he  travelled  with  tranquil  step,  without 
**  trying  halts,  without  painful  anxieties,  along  the  straight 
"road  he  had  chosen,  to  the  very  end.'*  M.  George  Lafe- 
nestre  thus  sums  up  the  life  of  Cabanel,  a  man  much  beloved, 
whose  only  jealousy  was  in  favour  of  his  pupils  against 
rival  studios.  His  ateher  was  indeed  the  most  generally 
frequented  in  Paris ;  and  among  hundreds  of  other  pupils 
it  turned  out  such  artists  as  MM.  Bastien-Lepage,  Collin, 
Cormon,  Gervex,  Aim6  Morot,  Paul  Leroy,  Friant,  Des- 
champs,  Benj.  Constant,  Carrifere,  Besnard — artists  whose 
methods  and  aims  are  so  widely  different  as  to  show  that 
Cabanel  was  a  true  artist  himself,  more  anxious  to  draw  out 
and  form  original  talent  in  his  pupils,  than  to  impose  hard 
and  fast  academic  rules  upon  all  alike. 

Grand  Prix  de  Eome  in  1845,  he  received  a  second  class 
medal  in  1852,  and  a  first  class  in  1855.  In  1863  he  was 
welcomed  as  a  Member  of  the  Academy.  And  his  portrait 
of  the  Emperor  in  1865  gained  him  a  Medal  of  Honour  at  the 
Salon.  His  portraits  are  of  greater  value  than  his  subject 
pictures,  or  even  than  his  decorations,  which,  however, 
form  an  important  part  of  his  work.  In  1863,  the  year  he 
exhibited  the  well-known  **  Naissance  de  Vtous,"  his  portrait 
of  the  Comtesse  de  Clermont-Tonnerre  showed  the  artist's 
high  qualities  as  **  the  interpreter  of  aristocratic  beauty". 
In  1865  M.  Paul  Mantz  called  the  portrait  of  Mme.  de  Ganay 
**  a  happy  step  towards  this  modern  grace  which  still  awaits 
**its  historian  and  its  poet''.  And  from  1868  to  his  death, 
all  the  leaders  of  Parisian  society  for  twenty  years  passed 
through  his  atelier,  a  long  procession  of  the  most  charming 
and  best  known  women  of  the  aristocratic,  financial,  manu- 
facturing, moneyed  worlds,  and  of  the  foreign  colony.  While 
one  of  his  last  was  one  of  his  most  attractive  pictures — the 
beautiful  and  touching  portrait  in  1886  of  the  **  Foundress 
of  the  Order  of  Little  Sisters  of  the  Poor  ". 


1860-1899.  PORTRAIT  PAINTERS.  401 

Among  Cabaners  decorations  were  those  of  the  Salle  des 
Caryatides  in  the  Hotel  de  Ville,  destroyed  in  1871 ;  The 
Glorification  of  St.  Louis,  Chap,  de  Vincennes ;  The  Child- 
hood of  St.  Louis,  Pantheon. 

PicUires. 

Si  Louis,  Versailles. 

Naissance  de  V6nus,  Luxembourg. 

Portrait  M.  Bruyas  ;  Portrait  de  TArtiste  ;  and  several 
other  pictures,  Coll.  Bruyas,  Mus^e  de  Montpellier. 

Le  Po^te  Florentin,  M.  Bessonneau,  Angers. 
Chaplin,  Charles,  0.*  (b.  Les  Andelys,  1825 ;  d.  Paris, 
1891). — A  naturahzed  Frenchman,  son  of  an  English  father 
and  a  Norman  mother,  Chaphn*s  pictures  show  few  English 
qualities.  He  never  travelled  beyond  France.  And  it  was 
quite  late  in  hfe,  when  his  talent  was  completely  formed, 
that  he  made  acquaintance  with  the  works  of  Reynolds  and 
Gainsborough,  who  have  often  been  considered  his  artistic 
ancestors.  A  pupil  of  Drolling  and  the  ]fccole  des  Beaux 
Arts,  Chaplin's  first  Salon  picture,  in  1845,  was  a  **  Portrait 
de  femme  ".  But  for  several  years  he  felt  his  way,  painting 
ambitious  compositions,  and  landscapes  in  which  the  influence 
of  Daubigny,  Breton,  Dupr^,  and  Millet  may  be  perceived. 

His  first  success  and  first  medal  came  in  1851,  with  a 
portrait  of  his  sister.  In  1857,  a  genre  picture,  **  Les 
premieres  roses,"  was  bought  by  the  Empress.  And  two 
years  later  he  exhibited  his  first  attempts  at  decoration — 
** Poetry"  and  "Astronomy".  A  third  panel,  **rAurore," 
was  refused  by  the  Jury  on  account  of  the  figure  being 
completely  nude.  This  made  some  amount  of  stir ;  and  its 
result  was  to  bring  the  young  artist  an  important  commis- 
sion— the  decoration  of  the  Salm  des  Fleurs  at  the  Tuileries. 
These  decorations  were  of  course  destroyed  in  1871 :  but 
the  drawings  which  still  exist  are  full  of  grace  and  charm. 
His  decorations  in  private  houses  in  Paris,  Brussels,  the 
Hague,  and  New  York,  fonn  a  very  important  portion  of  his 
work.      But  his  gracious  and  charming  portraits  of  women 

are  the  part  of  his  work  by  which   Chaphn  will  be  best 

26 


402  A  HISTORY  OP  FRENCH  ART.  Ch.  XLX. 

remembered.  Though  always  somewhat  artificial  and  man- 
nered, they  recall  to  a  certain  degree  the  masters  of  the 
eighteenth  century,  with  here  a  touch  of  Boucher  or  Fra- 
gonard,  there  a  line  of  Beynolds  or  Gainsborough.  The 
**  Portrait  de  jeune  fiUe "  in  the  Luxembourg,  with  the 
sleeping  kitten  on  her  lap,  has  a  sprightly  attractiveness  all 
its  own.  So  has  the  lovely  **  Souvenirs  *'.  Luxembourg. 
55. 

Mme.  la  Comtesse  A.  de  la  R.,  Mme.  la  Comtesse  de 
la  Rochefoucauld. 

YvoN,  Adolphe,  0.*  {b.  Eschviller,  Mozelle,  1817), 
pupil  of  P.  Delaroche  and  professor  at  the  6cole  des  Beaux 
Arts,  began  his  career  as  a  portrait  painter.  But  a  journey 
to  Russia  in  the  forties  seems  to  have  turned  his  attention 
to  historical  painting.  He  began  by  a  number  of  drawings 
of  Russian  types  ;  and  in  1850  exhibited  his  **  BataiUe  de 
Koulikovo,*'  followed  by  his  large  paintings  of  the  First  and 
Third  Empires,  and  completed  the  series  with  the  **  Charge 
des  Cuirassiers  a  Reichshoflfen,**  in  the  Salon  of  1875. 

In  his  portraits  in  1888  it  was  pointed  out  that  **he  had 
**  not  ventured  to  go  into  the  depths  with  his  President  of 
'*  the  Republic.     His  M.  Ritt  was  far  more  hving.*' 

Examples — Versailles  : — 

Magenta  and  Solferino.     5015-16. 

Ney   soutenant   I'arriere-Garde  (retraite   de   Russie). 

1941. 

Three  episodes  in  the  taking  of  the  Malakoflf,  Sebas- 
topol.     1969-71. 

Gervex,  Henri,  0.*  (b.  Paris,  1852),  a  pupil  of  Fro- 
mentin,  Cabanel,  and  Brisset,  has  an  amusing  and  interesting 
document  in  the  Luxembourg,  **  Le  Jury  de  peinture,"  in 
which  the  hanging  committee  of  the  Salon  is  seen  at  work. 
It  will  be  of  value  in  future  as  a  record  of  the  now  vanished 
Palais  des  Champs  Elysees.     And   further   as  a   group  ot 
portraits  of  the  best  known  artists  of  the  day  in  1884-5, 
painted  five  years  before  the  famous  schism  which  resulted- 
in  the  establishment  of  the  Second  Salon.     Besides  this  M^ 
Gervex  has  painted  many  excellent  portraits.     His  picture 


899.  PORTRAIT  PAINTERS.  403 

int  reparation  *'  is  another  portrait  group.  For  while 
longs  more  strictly  to  genre  painting,  it  contains  por- 
\  of  the  best-known  surgeons  in  Paris.  And  his  "  Satyre 
it  avec  une  bacchante/'  in  the  Luxembourg,  is  a  good 
iple  of  the  work  for  which  the  artist  was  given  a  second 
medal  in  1874.  He  "  has  been  attracted,**  says  Paul 
bz,  **by  limiinous  effects  and  hghtness  of  shadows.  He 
worshipper  of  surface.  And  in  choice  of  tone  and  quahty 
ight  he  has  obtained  surprising  effects.'* 

Satyre  et  bacchante,  1874,  Luxembourg. 

Le  Jury  de  peinture,  1885,  Luxembourg. 

Le  docteur  P^an,  le  Docteur  P6an. 
'riant,    ilMiLE,  *    (b.    Dieuze,    Alsace-Lorraine). — M. 
at,  a  pupil   of   Cabanel   and   Devilly,  in  his  portraits 
5hes  the    ''peluche*'   background    which   is    sometimes 
ily  an  excuse  for  laziness,  and  adopts  the  second  method 
Drtrait  painting.     M.  Andr^  Michel  in  1888  says  of  one 
is   pictures,    **  I    like   to   see   people    in   their    homes, 
Tounded  by  the  common  witnesses  of  their  tastes  and 
jir  Uves  ;  our  acquaintance  with  them  is  thus  made  easier 
i  less  trivial.     I  am  infinitely  grateful  to  M.  Friant  for 
nting  Mme.  B.  in  her  boudoir,  leaning  on  her  piano,  and 
using  for  a  moment  to  speak  to  a  friend." 
Sometimes  his  portraits  remind  the  spectator  of  a  Terburg 
,   Gerard   Dow.      They   display   acuity   of   observation, 
linty  of  hand,  and  energetic  conciseness,  firm,  full  and 
>us  painting,  and  a  great  mastery  over  technical  diflfi- 
es.     In  his  well-known  picture  *'  Le  Toussaint,"  in  the 
embourg,  the  most  exact  observation  in  every  detail,  in 
y  movement  is  to  be  seen.     But  in  this  picture,  and  still 
e  in  the  **  Douleur  "  in  the  Salon  of  1898,  the  arrested 
.vement  and  a  certain  brutality  of  realistic  conception, 
ces  the  eye  most  unpleasantly,  despite  the  extraordinary 
.  of  execution. 
Examples : — 

La  Toussaint,  Luxembourg. 

Portrait,  M.  Jules  Claretie. 

Portrait,  M.  Coquelin  dans  le  r6le  de  Crispin, 


404  A  HISTORY  OF  FRENCH  ART.  Ch.  XK. 

LoBRiCHOK.  TiMOLEON,*  (6.  Comod,  Jura,  1831). — A  pupil 
of  Picot*s,  has  for  many  years  shared  with  Deschamps  the 
title  of  the  painter  of  Childhood.  But  while  Deschamps 
chooses  the  joys  and  sorrows  of  abstract  childhood,  M. 
Lobrichon  devotes  himself  to  the  portraits  of  real  children. 
He  has  painted  many  genre  pictmres  as  well.  But  in  the 
Exhibition  of  1889  he  exhibited  solely  as  a  portrait  painter. 

Debat-Ponson.  Edouard-B.,  *  (b,  Toulouse),  pupil  of 
Cabanel,  is  one  of  the  later  members  of  that  School  of 
Toulouse  whose  works  show  a  certain  affinity.  The 
sculptors  of  Toulouse  are  perhaps  superior  to  the  painters. 
For  these,  excellent  as  their  work  is,  are  all  somewhat 
incUned  to  a  sadness  and  blackness  of  colour.  In  the  Exhi- 
bition of  1889  M.  Debat-Ponson  exhibited  some  admirable 
portraits,  among  them  one  of  M.  Constans,  then  Ministre  de 
rint^rieur,  1880. 


CHAPTER  XX. 

IMAGINATIVE  PAINTERS.     DECORATIVE  PAINTERS. 

IDEALISTS.     SYMBOLISTS. 

That  the  later  vears  of  the  nineteenth  centurv  should  witness 
a  reaction  in  Art  was  but  natural,  and  to  be  looked  for  in 
the  necessary  course  of  events.      For  a  considerable  period 
the   success  of  the  actual,  of  so-called  '*  Realism/*  of  the 
most  material  \new  of  Art,  had  held  its  own  triumphantly, 
insolentlv.     It  has  onlv  been  needful  in  the  last  thirtv  vears 
to  walk  through  the  annual  exhibitions,  in  order  to  see  that 
in  the  vehement  revolt  against  the  Academic,  the  Classic,  the 
Moyen-Afje — against  all  that  has  been  included  in  the  tenn 
of    **  Pompier  " — the   dramatic  suggestions  of  literature  or 
historv'  were  despised,  and  poetrj',  faith,  imagination,  scorn- 
fully swept  aside  as  unworthy  a  moment's  attention.    In  this 
revolt,  the  popular  Art  of  the  last  thirty  years  has  become  for 
the  most  part  a  sort  of  lurid  photography — every  fait  divers 
seen  through  windows  thrown  wide  open  upon   reality,  as 
it  has  well  been  said,  taken  instantaneouslv  "  life-size  and  like- 
ness  guaranteed  ".    And  the  work  of  art  has  too  often  become 
a  mere  record — painted  it  is  true  with  skill  and  power — of 
the  lowest  tendencies  of  a  morbid  and  neurotic  society.    Such 
are  the  depths  to  which  **  Naturalism  '*  in  Art  has  fallen. 

But  we  do  not  go  to  Art  to  be  reminded  of  the  base  and 
hideous  actualities  of  life.  We  are  only  too  keenly  aware 
of  them.  Saddened  and  disgusted  with  the  brutalities  of 
existence,  we  seek  some  refuge  from  ourselves.  And  we  turn 
to  Art  to  show  us  some  fairer  state  of  being — some  calmer 
and  loftier  outlook  on  life — to  re\'ive  our  faith  in  the  ultimate 
destinies  of  mankind — to  elevate  and  ennoble  our  thoughts, 
and  kindle  our  aspirations — whether  in  the  presentment  of 

some  poetic  vision  of  nature,  or  in  the  mystic  conceptions  of 

(405) 


406  A  HISTORY  OF  FRENCH  ART.  Ch.  XX. 

Faith  and  Religion,  or  in  heroic  and  transcendental  dreams 
of  humanity. 

Though  Corot — the  divine  Corot — was  requested,  civilly, 
by  the  extreme  realists  **  to  kill  once  and  for  all  the  njrmphs 
**  with  whom  he  peopled  his  woods,  and  replace  them  by 
**  peasants  " — yet  whether  he  painted  nymphs  or  peasants, 
matters  little  in  the  message  he  has  to  give  us.  And  the 
very  reason  that  makes  us  stand  dreaming  before  Corot's 
silvery  visions,  where  the  nymphs  dance  beside  the  waters  of 
Lac  Nemi  or  Ville  d'Avray,  is  the  same  that  makes  us  stand 
dreaming  before  Millet's  **  Bergere*'.  Both  speak  to  us  of 
the  au  deld — of  that  something  beyond  the  mere  outward 
seeming  of  nature,  that  satisfies  the  cravings  of  our  imagina- 
tion. And  in  France,  some  of  the  successors  of  Corot  the 
poet,  of  J.  F.  Millet  the  mystic,  moved  by  this  piteous  desire 
of  human  nature  for  some  refuge  in  the  arid  waste  of 
materialism,  by  this  cry  of  the  outraged  soul  for  some 
mystery,  for  something  to  worship,  have  given  themselves 
with  ever-growing  fervour  and  conviction  to  the  ideal,  to 
what  is  mystic  and  symbolic,  to  the  contemplation  of  pro- 
found and  exalted  abstractions. 

Through  all  the  worst  times  of  the  worship  of  actuaUty, 
French  Art  has  found  an  escape  into  regions  of  imaginative 
beauty  by  means  of  a  purely  national   form  of  expression. 
Decorative  painting  has   been   as   much  the  possession  of 
France  since  the  sixteenth  century,  as  it  was  the  possession 
of  Italy  until  that  period.     And  in  decorative  painting— ii^ 
vast  schemes  of  colour  and  form — the  artist's  imaginative 
faculty  has  always  found  salvation.    In  the  earlier  half  of  the 
nineteenth  century,  the  decorative  tradition,  dear  to  France, 
found  a  superb  exponent  in  Eugene  Delacroix.    But  he  stood 
alone.     And  for  a  while  decoration  fell  into  abeyance,  untii- 
Paul  Baudry  carried  us  into  the  gracious  land  of  fable  an^ 
faerie,  among  Gods  and  Muses,  and  a  race  of  himian  being^ 
created  by  his  own  love  of  the  beautiful,  who  died  with  him. 
But  about  1860  a  greater  than  Paul  Baudry  arose ;  and  the 
nobler  works  of  the  greatest  decorative  artist  of  the  century 
began  to  be  known— the  master,  who,  with  his  **  War  and 


1860-1898.  IMAGINATIVE  PAINTERS.  407 

Peace,"  with  his  **  Bois  Sacre/'  with  his  "  History  of  Ste. 
Genevieve,"  transports  us  into  regions  of  pure  thought,  of 
lofty  symboUsm,  of  serene  philosophy,  in  which  a  profound 
reverence  for  humanity  is  combined  with  a  profound  respect 
for  nature.  To  Puvis  de  Chavannes  the  highest  expression 
of  ideal  Art  in  France  owes  its  birth — an  expression  at  once 
so  exalted  in  thought,  so  simple  in  the  purity  of  its  manifesta- 
tion, as  to  satisfy  the  aspirations  of  the  sage  and  the  child. 

But  the  revolt  from  materiaUsm,  from   actuality,   from 
what  has  well  been  termed  **  a  brutal  realism,"  has  spread 
far  beyond  the  limits  of  decorative  painting.      It  has  mani- 
fested itself  in  many  ways  ;  for  in  the  last  thirty  years  many 
influences  have  been  at  work  in  Northern  Europe.     As  with 
the  Romantic  movement  of  the  twenties  and  thirties,  hterature 
has  led  the  way  in  the  new  development  ;  and  literature  and 
plastic  art  once  more  show  the  same  tendencies.     Literature 
has  become  introspective.     Art  also  turns  to  introspection. 
It  endeavours  to  suggest  ideas,  rather  than  represent  facts  ; 
to  reveal  hidden  subtleties  of  character ;  to  pourtray  the  in- 
tangible, the  spiritual,  the  poetic,  even  the  sublime.    Nothing 
is   too  obscure,  too  mysterious,  too  mystic,  for  the  brush. 
And  while  much  of  this  modem  art  is  decadent,  an  equiva- 
lent in  painting  or  sculpture  for  the  decadence  of  Baudelaire, 
of  Verlaine,  of  MaeterUnck,  of  Ibsen,  it  is  interesting  and 
Suggestive.    For  it  forms  part  of  the  great  revolt  from  realism 
tK)wards  idealism. 

Though  the  actual  work  of  the  Enghsh  Pre-Raphaelites 
is  but  little  known  in  France,  the  growing  appreciation  of 
CDur  two  great  English  idealists,  Mr.  Watts  and  Sir  E. 
^ume  Jones,  marks  the  strong  reaction  in  French  public 
ti^aste  against  a  tcrre  iv  terre  materialism.  The  influence 
CDf  the  painter-poet  Gustave  Moreau,  whose  death  in  April, 
1898,  is  one  of  the  most  serious  losses  French  Art  could 
E^ustain,  is  a  proof  of  this.  Almost  unknown  in  England, 
^nd  hitherto  rarely  seen  in  France,  Gustave  Moreau's  work 
^hows  singular  affinities  to  that  of  our  English  idealists. 
^V^orking  for  himself,  for  his  own  inner  satisfaction,  and 
for  a  very  few  enlightened  amateurs  who  have  been  able  to 


408  A  HISTORY  OF  FRENCH  ART.  Ch.  XX. 

appreciate  his  great  qualities,  some  small  part  of  his  work 
has  been  found  in  private  galleries,  difficult  of  access.  The 
rest,  his  later  work,  has  till  now  been  absolutely  unseen. 
But  as  Professor  of  Tfecole  des  Beaux  Arts  in  succession  to 
I'jlie  Delaunay,  Gustave  Moreau's  atelier  became  a  centre 
of  "  militant  originality,"  of  pupils  who  the  master  has 
inspired  with  a  sincere  enthusiasm  for  Axt  and  for  his  own 
views  on  Art,  with  an  admiration  and  reverence  without 
limit  for  the  great  masters  and  nature  herself.  Death  has 
unlocked  the  doors  of  that  inner  sanctuary,  to  which  even 
his  pupils  were  not  admitted.  And  the  generosity  of  M. 
Charles  Hay  em  has  enabled  the  public  to  gain  some  idea 
of  the  artist's  methods  and  aspirations,  by  a  splendid  gift  of 
his  pictures  to  the  Luxembourg. 

As  I  have  already  said  the  ideal,  the  mystic,  the  symbolic, 
are  questions  which  occupy  an  increasing  number  of  French 
artists.      This   pre-occupation,  this   desire  for  the  au  deld, 
manifests  itself   in   the   most   singular   ways,  in   the  most 
unexpected  places.     If  at  one  end  of  the  scale  we  find  the 
pure  and  lofty  conceptions  of  Puvis  de  Chavannes,  or  the 
symbolism  of   Gustave  Moreau's  colour   harmonies,  at  the 
other  end  we  get  such  examples  of  perversion  and  bad  taste 
as  '*  Le  Christ  chez   le   Pharisien  "   or  the  *'  Descente  de 
Croix  "  of  the  clever  artist  Jean  Beraud,  or   **  THdte  '*  of 
M.  Blanche.     Without  going  to  such  lengths  as  Jean  Ber- 
aud, some  artists,  followers  of  Von  Uhde  and  Skredswig, 
endeavour  to  modernize  the  sacred  story — to  express  with 
sincerity  and  reverence  the  '*  passion  of  pity,'*  by  representa- 
tions of  Christ  in  modern  surroundings,  such  as  **  L'Ami  des 
humbles  "  of  M.  Lhermitte,  or  "  Le  Christ  Consolateur  *'  of 
M,  Besson.     Or  place  the  '*  Flight  into  Egypt,"  and  **  Hagar 
and  Ishmael,"  among  the  sand  dunes  of  the  Pas  de  Calais, 
or  the  tulip  and  hyacinth  gardens  of  the  Low  Countries. 
Others  bring  all  the  resources  of  modem  art  to  the  painting 
of  sacred  pictures,  as  with  M.  Dagnan-Bouveret's  **  Last 
Supper,"  and  the  **  Disciples  at  Emmaus  ".     Or  use  all  that 
archaeological  research  and  local  colour  can  give,  in  such  a 
set   of  illustrations   of   the   New  Testament  as  M.  James 


60-1898.  IMAGINATIVE  PAINTERS.  409 

'issot's  now  famous  series.  Others  again,  prefer  merely  to 
idicate  their  poetic  thought,  leaving  it  to  the  divination  of 
liose  to  whom  it  speaks.  M.  Aman-Jean  is  haunted  by  the 
aystery  of  '*  Vetemel  feminin  ".  And  in  his  beautiful  and 
ecorative  panels  he  endeavours  as  (Edipus  before  the 
Iphinx  or  Leonardo  before  Mona  Lisa,  to  read  the  secret 
hat  hes  hidden  in  her  eyes  or  the  enigma  of  her  smile. 

But  the  greater  proportion  of  these  artists  are  not  con- 
ent  with  suggestion.  Their  thought  must  be  clothed  in 
ery  visible  shape.  Each  **  i "  must  be  carefully  dotted, 
f  they  do  not  aim  so  high  as  Divine  apparitions  or  even  as 
Lngels,  every  one  may  make  essay  of  Muses— Muses  who 
oo  often  do  not  float,  but  apparently  have  been  studied  from 
ery  solid  coryphees  securely  suspended  by  wires  from  the 
lies  of  a  theatre.  Such  are  the  **  Harmonies  de  la  Nature  " 
vho  inspire  M.  Collin's  composer  ;  or  Destrem's  *'  Stet 
Japitolium  fulgens  ".  And  even  (though  we  must  speak  of 
bis  artist  with  far  more  serious  respect)  M.  Henri  Martin's 
sraphic  beings  who  lead  the  Poet  through  the  mystic  wood, 
r  his  **  Apparition  de  C16mence  Isaure  aux  Troubadours," 
Bmind  one  a  little  too  much  of  a  pantomime. 

But  go  where  we  will  in  these  later  days,  the  same 
Bndency  is  manifested.  M.  Adrien  Demont  must  needs 
all  one  of  his  charming  landscapes  **  The  Annunciation  ". 
Jid  strangest  of  all,  the  painter  of  the  most  rigid  actualities 
f  Soldiers  and  soldiering,  M.  Detaille,  cannot  withstand  the 
3mptation;  and  in  **Le  E^ve"  he  has  endeavoured  to 
Dmbine  his  usual  methods  with  a  touch  of  the  au  deld.  But 
lis  has  already  been  better  done,  we  cannot  but  recollect,  in 
Laffet's  great  imaginative  work,  **  La  revue  nocturne''. 

Baudry,  Paul-Jacques-Aime,  C.*,  M.  de  l'Inst.  {b. 
ja-Koche-sur-Yon,  Vendue,  1828;  d,  Paris,  1886).— The  son 
t  a  Vend^an  Sabotier,  whose  only  recreation  was  his  violin 
vhich  he  played  to  the  stars  in  the  stillness  of  the  forest, 
Paul  Baudry  inherited  from  his  father  a  love  of  silence,  of 
lature,  and  of  music.  Indeed  so  strong  was  his  talent  for 
nusic  that  for  a  while  it  seemed  likely  that  he  would  become 
»lie  menetrier  or  violinist  of  his  native  place.     But  his  talent 


410  A  HISTORY  OF  FRENCH  ART.  Ch.  XX. 

for  drawing  was  yet  stronger.  And  he  had  the  rare  good 
fortune  of  finding  a  really  enlightened  artist,  Sartoris,  a 
pupil  of  Abel  de  Pujol,  in  the  drawing  master  of  the  little 
town  of  Bourbon- Vendee,  now  known  as  la-Roche-sur-Yon. 
Sartoris,  struck  with  the  child's  remarkable  gifts,  persuaded 
the  family  he  must  be  painter,  not  musician  ;  and  at  the  end 
of  three  years  declared  he  could  teach  him  no  more,  but  that 
he  must  go  to  Paris.  The  parents  were  poor.  But  Sartoris 
persuaded  the  municipal  council  of  the  little  town  to  give  the 
boy  a  pension  of  600  francs  a  year.  And  at  sixteen  young 
Paul  set  out  for  Paris ;  sad  at  bidding  adieu  to  his  home ;  but 
registering  a  vow,  as  he  passed  the  statue  of  General  Travot, 
that  he  too  would  become  famous  and  an  honour  to  his 
native  place. 

In  Paris  he  entered  Drolling's  studio  ;  and  from  that  hour 
he  lived  wholly  in  his  work,  allowing  no  pleasure  to  distract 
his  mind  for  a  moment.  He  was  the  model  pupil.  In  1847, 
the  first  time  he  competed  for  the  Prix  de  Rome  at  the  tcole 
des  Beaux  Arts,  he  carried  off  the  second  prize.  In  the  two 
following  years,  he  found  the  subjects  so  trivial — **  des  sujets 
**a  la  fleur  d'oranger" — that  he  felt  success  would  be  im- 
possible ;  for  already  his  personality  was  making  itself  felt ; 
and  his  love  of  colour,  brilliant,  flashing  colour,  while  the 
tradition  of  the  Ecole  was  cold  and  grey,  was  beginning  to 
give  him  the  reputation  of  a  revolutionist.  But  in  1850  the 
**  Zenobie  poignard^e  et  retrouvee  par  les  bergers'*  en- 
chanted him ;  and  he  carried  off  the  premier  Grand  Prix 
triumphantly.  In  Rome  he  threw  himself  straight  into  the 
anns  of  the  greatest  masters  of  the  Italian  renaissance— and 
henceforth  his  only  teachers  were  to  be  Raphael,  Michael- 
Angelo,  Leonardo  da  Vinci,  Andrea  del  Sarto,  Correggio, 
Titian,  and  Veronese,  especially  the  three  latter. 

His  envois  de  Rwm  were  treated  with  great  severity  by  the 
members  of  the  Institute  in  Paris;  even  the  beautiful  ** La 
Fortune  et  le  jeune  enfant,"  now  in  the  Luxembourg,  did 
not  find  favour  in  their  sight.  But  Baudry  had  come  to 
man's  estate,  and  dared  to  be  himself.  And  after  his  return 
to  Paris,  the  Salon  of  18o7  was  a  triumph  for  him,  with  this 


160.1898.  IMAGINATIVE  PAINTERS.  411 

icture,  four  other  compositions,  and  the  portrait  of  Beul6. 
1  a  moment  he  had  stepped  into  the  foremost  rank  of  the 
)unger  artists  in  the  estimation  of  the  public.  And  the 
don  of  1862  confirmed  his  triumphant  position  in  two 
anches  of  painting,  with  his  portrait  of  M.  Guizot,  and  the 
autiful  *'  Perle  et  la  Vague  ". 
But  Baudry  had  higher  ambitions  than  a  facile  success 
a  fashionable  portrait  or  genre  painter.  His  dream  was 
revive  the  great  traditions  of  Decorative  painting,  which 
3med  for  a  while  in  abeyance.  In  such  manifestations  of 
t  he  felt  that  his  love  for  colour,  his  desire  for  imaginative 
mpositions  in  which  he  might  realize  those  visions  of  grace 
d  beauty  which  haunted  him,  could  have  full  play.  Money 
ittered  little  to  him,  provided  he  could  but  realize  his  ideal. 
5  sought  and  found  his  first  opportunities  in  the  decorations 
the  Hotel  GaUiera,  the  Hotel  of  Mme.  de  Paiva,  and  that  of 
.  Fould  (these  latter  were  bought  by  the  due  d'Aumale  and 
noved  to  Chantilly).  But  his  greatest  work  was  yet  to 
tne  to  him.  His  old  comrade  and  friend  in  Rome,  M. 
larles  Garnier,  was  building  the  new  Opera  House  in 
jis.  And  he  offered  the  decoration  of  the  Foyer  to 
indry.  This  was  indeed  the  chance  he  had  longed  for. 
id  the  successful,  popular  artist,  who  might  have  become 
3  richest,  the  most  fashionable  painter  of  the  day,  made 
3  dehberate  choice  between  present  success  and  posterity. 
'ery  advantage  was  abandoned  for  the  perfecting  of  this 
»t  scheme.  The  master — sought  after,  praised,  and  ad- 
red — determined  to  leave  nothing  undone  that  could 
mre  the  success  of  his  work.  And  we  have  the  un- 
unpled  instance  of  an  artist  at  the  very  height  of  his 
•eer  going  back  to  school — back  to  Rome,  to  the  Villa 
^dicis,  where  the  master  of  thirty-five  becomes  the  student 
2e  more.  He  felt  he  needed  fresh  counsel  from  the  mighty 
inters  of  the  Renaissance.  And  for  a  year  he  worked 
rder  than  any  young  student — copying  Michael- Angelo  in 
3  Sixtine  Chapel  for  ten  hours  a  day ;  elaborating  his  great 
mpositions  at  night ;  shut  up  alone  with  his  idea  in  the 
ence  of  the  Chambre  Turque.     Then  came  a  journey  to 


412  A  HISTORY  OF  FRENCH  ART.  Ch.  XX 

England  to  copy  the  Raphael  Cartoons ;  another  to  Spain- 
but  Velasquez  had  little  to  say  to  him — before  setting  to 
work.  For  ten  years  Baudry  devoted  himself  to  the  Foyer 
of  the  Opera  House.  And  when  it  was  at  last  accomplished 
and  exhibited  in  the  Palais  des  Beaux  Arts  before  bein^ 
placed  in  position,  the  amazing  quality  of  the  work— tht 
Triumph  of  Music,  more  especially  music  of  the  theatre- 
was  realized — its  vast  extent,  its  extreme  beauty,  its  imagina- 
tive power  and  charm. 

Baudry's  portraits  form  a  most  remarkable  and  charac- 
teristic part  of  his  work.  So  also  do  his  easel  pictures.  But 
it  is  as  a  decorative  painter  that  he  desired  to  be  known ; 
and  as  one  of  the  great  D^coratifs  of  the  century  he  will  go 
down  to  posterity.  His  **  Glorification  de  la  Loi  '*  for  the 
Cour  de  Cassation,  is  his  other  most  important  decorative 
work.  And  the  beautiful  '*  Enlevement  de  Psyche  "  in  a 
cupola  of  the  gallery  at  Chantilly  is  another  example.  He 
was  preparing  a  scheme  of  decoration  for  the  walls  of  the 
Pantheon — the  history  of  Jeanne  d'Arc — and  had  made  notes 
and  sketches,  when  his  untimely  death  in  1886  cut  short 
this  brilUant  and  deservedly  successful  career.  In  lb97 
a  statue  to  the  master  was  erected  in  his  native  place ;  and 
thus  his  lx)yi8h  dream  was  realized. 

**  Historical  painter,  decorative  painter,  portrait  painter. 
**  Paul  Baudiy  to  the  very  end  was  a  faithful  artist, 
*'  enamoured  of  perfection,  severe  towards  himself,  as  much 
"  in  love  with  the  present  as  he  was  respectful  to  the  past"^ 

Examples  : — 

DecoratioJis. 

Triumph  of  Music,  Foyer  of  the  Opera,  Paris. 
Glorification  de  la  Loi,  Cour  de  Cassation,  Paris. 
Les  Heures,  Hotel  de  Paiva. 
Rome,     Florence,    Naples,    Genoa,    etc.,    Hotel  de 

Galliera. 
L 'enlevement  de  Psyche  ;  Saint  Hubert ;    and  three 

decorations  from  Hotel  de  M.  Fould,  Chantilly. 

^  M.  Lafenestre. 


1860-1898.  IMAGINATIVE  PAINTERS.  413 

Les  Noces  de  Psyche,  ceiling,  Mr.  Vanderbilt,  New 
York. 

Pictures. 

La  Fortune  et  le  jeune  enfant,  1857  ;  La  V6rit6, 1882  ; 
Portrait,    M.    Peyrat,    S^nateur,   1883,   Luxem- 
bourg. 
La  Vague  et  la  Perle,  lately  sold  in  Stewart  Collection^ 

New  York. 
Psyche  et  T Amour,  engraved  by  Waltner. 
And  many  portraits. 
Puvis  DE  Chavannes,  Pierre,  C*  (b.  Lyons,  1824 ;  d. 
October,  1898). — Since  these  pages  went  to  press,  not  only 
France  but  the  world  at  large  has  sustained  an  irreparable 
I068  in  the  death  of  M.  Puvis  de  Chavannes,  a  noble  man  as 
well  as  a  noble  artist,  whose  place  can  never  be  filled,  because 
be  was  absolutely  himself. 

"A    thinker  who    paints,   rather   than   a  painter  who 

** thinks."     Thus  M.  de  Fourcaud  describes  the  great  artist, 

who  stands  supreme  at  the  end  of  the  nineteenth  century. 

In  Couture's  studio,  which  Puvis  de  Chavannes  entered 

^^    Paris,   he    found    nothing   to    satisfy   him.      And   Ary 

Schefifer  to  whom  he  passed   on,  had   hardly  more  to  give 

^m.      At   that  moment  confusion  reigned  in  French  Art. 

'A.mong  the  militant   party   a  profound   disquiet   was   felt 

"■""■^orot  was  still  ignored — Millet  and  Courbet  ostracised — 

'tie  landscape  painters   feeling  their  way.      On  the  other 

*^^nd,  the  influence  of  Ingres  was  still  dominant  among  the 

^^nmants  of  the  dying  and  sterile  classic  school. 

From  1850  to  1859  the  doors  of  the  Salon  were  closed  to 

-t^uvis  de  Chavannes.     His  work  during  those  years  is  but 

"*'i"*tle  known.       But  in   1859,   the  decoration  of   a  dining- 

^^Dom  in  a  villa  for  his  brother  at  Lons-le-Saulnier,  revealed 

*^i8  true  vocation.     As  he  himself  expressed  it,  **  Je  sentis 

*  *  autour  de  moi  de  I'eau  pour  nager  ".     The  **  Eetour  de  la 

C^hasse,"  now  in  the  museum  of   Marseilles,  was  his   first 

siaccesB.      The  next  year,  the   municipality  of  Amiens — to 

"^fceir  everlasting  honour  be  it  spoken — furnished  him  with  a 

^f^ciagnificent  opportunity,  of  which   he  has  made  yet  more 


414  A  HISTORY  OF  FRENCH  ART.  Ch.  XX. 

magnificent  use.  The  museum  of  Amiens  was  being  rebuilt, 
and  Puvis  de  Chavannes  was  called  upon  to  decorate  it.  In 
the  Salon  of  1861  appeared  '*  Peace"  and  '*  War"— the  earliest 
of  these  decorations.  Th6ophile  Gautier  was  one  of  the  first 
to  acclaim  the  genius  of  the  new  master.  **  It  is  not  canvas, 
''  but  the  scaffolding  and  great  wall  spaces  that  this  artist 
**  needs,"  he  cried  with  enthusiasm.  To  these  two,  Puvis 
de  Chavannes  added  later  the  four  glorious  subjects  on  the 
great  staircase — **  Le  Labour,"  **Le  repos,"  "  Ludus  pro 
patria,"  and  **  Ave  Picardia  Nutrix  ".  Then  from  1876  to 
1878  came  the  **  Childhood  of  Ste.  Genevieve"  in  the 
Pantheon ;  followed  by  a  long  series  of  triumphs  of  which 
I  give  a  list  later  on. 

Until  Puvis   de   Chavannes   arose,   landscape   had  been 
banished  from  decorative  painting.     In  landscape,  in  nature 
herself,  he  has   found  a  new  method.     **  Inventer  dans  un 
*'  art,"    says    Poussin,    **  c'est   penser   dans   cet   art, — c'est 
'*  d^couvrir   des   harmonies   propre  k   cet   art."      Puvis  de 
Chavannes  has  discovered  some  of  those  harmonies.     He  has 
gone  straight  to  nature  for  some  of  his  loftiest  conceptions. 
It  is  the  familiar  country  of  the  Isle  de  France  which  is  used 
to  give  us  that  sense  of  exquisite  repose  and  purity  in  the 
*'  Childhood  of  Ste.  Genevieve  ".     It  is  the  plain  of  Picardy — 
that  delightful  land  through  which  thousands  rush  without 
so  much  as  a  glance,  as  they  hurry  from  Calais  to  Paris — 
which  we  recognise  in  the  noble  **  Ave  Picardia  Nutrix  ". 
And  what  is  the  setting  of  **  Pauvre  Pecheur,"  save  the  flats 
of  the  mouth  of  the  Seine  ? 

But  this  landscape,  this  inspiration  of  nature,  is  used 
with  a  lofty  reticence  to  enhance  the  intellectual  conception 
he  would  present.  And  his  human  beings  symbolise  types  of 
humanity  rather  than  actualities. 

In  his  **  Eepos  "  we  do  not  ask  where  is  that  country  of 
lofty  mountains,  and  cypress  groves,  and  oleanders  blossom- 
ing l)eside  the  river — we  do  not  ask  to  what  nation  those 
noble  and  beautiful  human  beings  belong  to.  We  are  con- 
tent— yes,  thankful — to  beheve  that  somewhere,  some  when, 
they  have  existed  or  vrill  exist,  even  if  it  should  but  be  in 


/      1860-1898.  IMAGINATIVE  PAINTERS.  415 

the  mind  of  the  poet.  In  his  '*  Labour,"  it  is  of  the  toil  of 
all  the  ages,  strong,  patient,  heroic,  that  those  calm  and 
splendid  forms  in  the  vast  landscape  tell  us — types  and 
sjrmbols  of  the  forces  that  have  built  up  the  world.  And 
why  **  Pauvre  Pfecheur  "  moves  us  far  more  than  any  brutaUty 
of  the  "imitator  of  nature,*'  of  the  terre  d  terre  realist,  is 
that  he  is  no  mere  half-starved  fisherman,  but  a  type  of  sad 
humanity  letting  down  his  net  beside  the  illimitable  ocean  of 
life. 

In  decorative  painting  it  is  not  enough  to  cover  an  im- 
mense canvas  with  paint  and  people.  The  building  for 
which  it  is  destined,  the  exigencies  of  position,  must  be  ever 
present  to  the  artist's  eye  in  his  vision  of  the  whole,  which 
is  to  enhance  the  beauty  of  architectural  line,  that  inflexible 
setting  in  which  his  conception  is  to  live. 

In  his  drawings  and  cartoons  we  may  follow  the  manner 
in  which  M.  Puvis  de  Chavannes  works  out  his  noble  com- 
positions. **  Nothing  is  less  complicated,"  says  M.  Andr6 
Michel;  **the  conception  springs  directly  and  frankly  from 
**  the  very  nature  of  the  subject.  The  claim  of  literary 
^*  invention  is  reduced  to  the  smallest  possible  limits.  From 
**the  first  moment,  plastic  invention  and  construction 
**  solicit  and  command  the  whole  effort  of  his  thought." 
Gradually  the  Unes  of  the  whole,  always  subordinated  to  the 
architectural  setting,  arrange  themselves.  The  masses  are 
balanced  with  a  view  to  this  setting ;  the  individual  parts 
take  more  precise  form  and  shape  ;  and  by  degrees  the  rhythm 
of  the  whole  appears — each  element  of  the  future  creation, 
with  its  own  character  and  value  in  the  synthesis  which  is 
being  evolved. 

It  has  been  the  fashion  among  certain  persons  to  say 
that  the  master  cannot  draw,  because  by  synthetic  abbrevia- 
tions— somewhat  excessive  at  times — he  has  sacrificed  and 
subordinated  forms  and  movements  to  the  exigencies  of  his 
general  conception.  But  in  decorative  painting,  sacrifice  is 
more  necessary  to  the  power  of  the  whole,  than  in  any  other 
branch  of  Art.  It  is  only  by  deliberate  sacrifices  in  form  and 
in  colour,  that  the  master  has  been  enabled  to  produce  works 


416  A  HISTORY  OF  FRENCH  ART.  Ch.  XX. 

of  a  truly  incomparable  greatness.  And  if  his  critics  will 
but  examine  some  of  his  drawings  in  charcoal,  in  sanguine, 
in  pencil  and  silver-point — such  as  those,  for  instance,  in  the 
Luxembourg — they  can  easily  satisfy  themselves.  He  not 
only  knows  how  to  draw,  but  it  is  not  possible  to  study 
nature  more  closely,  or  to  find  in  nature  herself  more  noble, 
more  truthful,  more  rhythmic  suggestions  than  those  which 
M.  Puvis  de  Chavannes  uses  to  express  his  great  conceptions 
:)f  life  and  poetic  thought.  His  Art  is  purely  French ;  we 
find  in  it  the  best  traditions  of  the  French  School — com- 
position, eloquence,  science,  united  to  an  unsurpassed  love 
and  reverence  for  nature.  For  this  great  artist  has  discovered 
how  to  ally  the  true  classic  sense  with  the  modem  spirit. 
Inter  Aries  et  Naturam !  He  is  not  afraid  to  seek  for  the 
purest  classic  feeling  in  his  vision  of  Rouen  of  to-day,  with 
its  factory  chimneys  and  gothic  spires ;  or  in  the  tranquil 
and  fertile  plain  of  Picardy.  '*And  over  the  heads  of 
**  Italianizers  or  Ultramontanes  he  joins  hands  with  the  old 
'*  masters,  founders  of  the  French  tradition — French,  not 
'*  Latin  or  Roman — those  who  invented  the  opiis  frarnvgc-- 


imm^  ^ 


Examples  : — 

Decorations. 

Retour  de  la  Chasse,  1859,  Mus^e  de  Marseille. 
Masilia,  Colonic  Grecque  ;  Marseille,  porte  de  TOrient, 

Hotel  de  Ville,  Marseille. 
Peace,    and    War ;     Labour ;    Rest ;     Ave    Picardia 

Nutrix  ;  Ludus  Pro  Patria,  Musee  d'Amiens. 
Doux  Pays,  1882,  Hotel  de  M.  Bonnat. 
Le  Bois  Sacre,  cher  aux  Arts  et  aux  Muses,  1884  ;  La 

Vision    antique ;    L 'Inspiration   chretienne  ;    Le 

Rhone  et  la  Sa6ne,  1886,  Mus^e  de  Lyon. 
Le  grand  Hemicycle  de  la  Sorbonne,  1887-89. 
Life  of  Sainte  Genevieve,  Pantheon,  Paris. 
Inter  Artes  et  Naturam,  Musee  de  Rouen. 
L'ete  ;  L'hiver ;  Victor  Hugo  remettant  sa  IjTe  k  1& 

Ville  de  Paris,  Hotel  de  Ville,  Paris. 

*  Andrt'  Michel. 


1860-1898.  IHAOINATIVE  PAINTERS.  417 

La  Lmuiere  inspiratenr  des  Muses,  Public  Library, 
Boston,  U.S. 

Ecisel  Picturea. 

Pauvre  P^heur,  Musee  du  Luxembourg. 
D^colation  de  St.  Jean  Baptiste,  M.  M.  Durand-Ruel. 
MoREAU,  GusTAVE,  O.*,  M.  DE  l'Inst.  (6.  Paris,  1826 ; 
d.  1898). — ^A  pupil  of  Picot,  M.  Gustave  Moreau  entered 
the    ficole    des    Beaux   Arts    in    1846.      Forty-five    years 
later  he  was  to  return  there  as  Professor.     But  meanwhile 
he  was  destined  to  encounter  that  bitter  or  disdainful  oppo- 
sition,  which  has  been   the  lot  of   nearly  all  the   greatest 
artists   of    the  century.     What   Sir    E.    Bume-Jones  has 
represented  in  English  Art,  that  Gustave  Moreau,  consider- 
ably his  senior,  had  already  foreshadowed  in  France.     For 
with  both  *'  the  richness  of  technical  beauty  yields  nothing 
"  to  the  splendour  of  the  sjTubol ".    A  poet  and  a  colourist  of 
most  singular  quahty,  M.  Gustave  Moreau  has  lived  in  and 
for  his  art.     Undisturbed  alike  by  the  mistrust  and  miscon- 
ception of  the  many,  or  by  the  unbounded  admiration  of  the 
few,   he   has   worked    silently,   steadfastly,    giving    himself 
^«^kolly  to  the  guidance  of  his  imagination.     Like  Puvis  de 
Ctavannes — like  all  the  greatest  painters — he  has  gone  to 
tHe  pure  and  ever  flowing  spring  of  classic  inspiration,  where 
^BiCh  may  find  what   he  needs.     As   did   his   real   master, 
Chass6riau,^  whose  death  at   thirty-seven    deprived  France 
of   one  of    her    most    exquisite    spirits,   Gustave    Moreau 
endeavoured  to  envelop  the  powerful  evocation  of   Dela- 
croix in  the  hieratic  form  of  Ingres  '*. 
ffis  career  may  be  divided  into  two  periods.     In  the  first 
he  exhibited — at  rare  intervals  it  is  true — in  the  Salons,  and 
took  part  in  other  public  exhibitions.     In  1852  and  1853  his 
"Pieta,"  and  his  **  Cantique  des  Cantiques,"  were  bought 
by  the  State.     He  received  medals  in  1864-5-9.     And  in  1875 
he  was  made  a  Chevalier  of  the  Legion  of  Honour.     To  this 
first  period  belong  **  Le  Minotaur,"  1855  ;    *'  OSdippe  et  le 
Sphinx,"  1864  ;  **  Le  Jeune  Homme  et  la  Mort,"  in  memory 

^  Theodore  Chasseriau  (6.  Panama,  1819 ;  d,  185C). 

27 


(c 


418  A  HISTORY  OF  FRENCH  ART.  Ch.  XX. 

of  Th6o.  Chass^riau,  1865 ;  *'  Diomfede  d^vor6  par  ses 
chevaux"  and  *' OrpWe,"  1866;  *' Hercule,"  "  Salorn^." 
and  **  L'Apparition,"  1876. 

But  after  1880  he  ceased  to  exhibit  at  all.  His  later 
works  have  never  been  seen.  The  door  of  his  studio  was 
kept  jealously  closed  against  all  comers.  Yet  it  is  interesting 
to  observe  that  as  he  withdrew  himself  more  completely 
from  the  world,  his  influence  on  the  world  of  art  grew  ever 
stronger.  Eound  about  the  Poet-Artist  —  the  recluse 
**  enferm^  dans  sa  tour  d*Ivoire  ** — a  legend  rose.  And  the 
desire  for  his  pictures  increased  as  the  possibility  of  seeing 
them  was  withheld.  The  few  rare  examples  of  his  paint- 
ings which  were  to  be  seen  might  be  counted  on  one  hand. 
The  rest  were  in  the  private  collections  of  amateurs 
sufficiently  enlightened  to  appreciate  their  rare  qualities,  or 
in  the  inviolable  sanctuary  of  that  closed  studio.  A  few— a 
very  few  comparatively — of  the  early  pictures  had  been 
photographed  or  engraved.  And  from  these  reproductions, 
the  pupils — disciples  perhaps  would  be  the  better  word — of 
M.  Gustave  Moreau  had  to  gain  their  impressions  of  the 
master's  work.  For  a  master  he  had  truly  become ;  and 
when  on  the  death  of  M.  felie  Delaunay  in  1891,  he 
succeeded  him  as  Professor  at  the  ficole  des  Beaux  Arts, 
his  atelier  on  the  Quai  Malaquais  became  a  centre  for 
militant  originaHty.^  The  young  and  daring  spirits  flocked 
to  him  for  counsel.  Those  who  yearned  for  escape  from  the 
actual,  turned  to  *'  the  inspired  initiator  and  the  artist 
"  predestined  to  be  the  link  between  the  Romantic  school 
**  and  the  new  symbolism  ".^ 

But  one  singular  result  of  the  lack  of  opportunity  to  his 
pupils  for  studying  his  colour,  may'be  observed  in  their  work. 
The  master's  colour  is  one  of  his  greatest  and  most  singular 
charms ;  at  once  delicate  and  intense.  His  methods  are 
almost  those  of  the  enameller.  His  manner  of  using  blue 
as  a  basis  to  work  upon  is  quite  original.  And  some  of  his 
water-colours — notably  **  L'Apparition,"  **  Le  Jeune  Homme 
et  la  Mort,"  and  the  wonderful  little  **  Crucifixion  " — all  in 

^  M.  Aim^  Morot  has  succeeded  Gustave  Moreau.  '  Roger  Marx. 


1860-1898.  IMAGINATIVE  PAINTERS.  419 

the  Loxemboorg — sparkle  like  jewels.  But  the  pupils  have 
only  been  able  to  study  his  form — his  intention — to  listen 
to  his  inspiring  views  on  Art.  And  while  endeavouring  to 
cultivate  that  form  and  intention,  their  colour,  with  few- 
exceptions,  is  remarkable  for  its  cold  sadness.  All  this  is 
now  changed.  The  doors  of  that  closed  studio  have  been 
thrown  open  by  death.  And  one  of  M.  Gustave  Moreau's 
most  profound  and  enhghtened  admirers,  M.  Charles  Hayem, 
has  given  the  public  an  opportunity  of  studying  some  of  the 
master's  choicest  works,  in  his  superb  gift  of  six  pictures  to 
the  Luxembourg. 

Such  work  as  that  of  M.  Gustave  Moreau  met  with  little 

sjrmpathy  during  the  reign  of  realistic  art.      Even  such  a 

distinguished  critic  as  M.  Paul  Mantz  expresses  himself  with 

a  certain  reserve  as  late  as  1889,  the  year  M.  Moreau  was 

made   a   Membre  de  Tlnstitut;   though  he  confesses  that 

**he  has  ended  by  interesting  us  '' !     And  after  speaking  of 

the  artistes  sympathy  with  the  late   fifteenth  century,  and 

suggesting  that  his  inspiration  was  drawn  from  Mantegna 

and  Crivelli,  he  says,  "  The  master's  sincerity  is  absolute ;  he 

"is  not  systematically  retrospective,  he  has  passed  through  the 

"  rose  garden  and  its  scent  has  clung  to  his  clothing  ;  but  he 

**  possesses  an  individual  caprice,  and  a  fantasy  all  his  own  ". 

But  such  a  judgment  would  seem  cold  beside  those  of  the 

critics  of  the  last  six  or  eight  years.     For  every  year  has 

added  to  the  rapid  growth  of  his  influence   on  artists  and 

critics  aUke.     And  his  death  in  April,  1898,  was  one  of  the 

most  serious  blows  French  Art  could  have  sustained. 

Examples  in  Luxembourg  : — 

Orph^e. 

L'Apparition,  1876. 
(Edippe  et  le  Sphinx,  1864. 
Le  Jeune  Homme  et  la  Mort,  1865. 
Venise. 
Crucifixion. 
L'Amour  et  les  Muses. 
These  six  last  are  the  gift  of  M.  Charles  Hayem,  1898. 
Cazin,   Jban-Chaeles,  O.*  (6.  Samer,  Pas   de   Calais, 


420  A  HISTORY  OF  FRENCH  ART.  Ch.  XX. 

1841). — Since  the  death  of  Corot  no  landscape  painter  has 
shown  better  right  than  M.  Cazin  to  be  regarded  as  his 
legitimate  successor.  The  harmonies  of  his  composition,  the 
values  which  give  them  birth,  the  truly  poetic  sense  of 
nature,  all  suggest  kinship  with  the  great  master.  Tbe 
difference,  however,  between  the  two  artists  is  more  than 
merely  a  difference  of  degree.  It  is  one  of  temperament. 
The  sunny,  happy  disposition  of  le  p^re  Corot  shows  itself  in 
the  least  of  his  sketches.  His  view  of  nature  is  tender, 
poetic,  but  always  gay.  M.  Cazin,  a  man  of  the  north, 
also  gives  us  a  dreamy,  poetic  view  of  nature.  But  it  is 
touched  with  the  welt-schmerz  of  the  age — the  intimate, 
reflective  sadness  of  the  pessimist.  **  The  veiled  serenity 
**  and  gentle  melancholy  "  of  his  pictures  render  them  in- 
finitely attractive  and  full  of  repose.  Some  artists,  as  M. 
Andre  Michel  has  delightfully  said,  call  upon  us  with  loud, 
authoritative  voices,  to  come  and  see  the  corner  of  the  world 
they  have  discovered.  **  One  might  say  that  every  stroke  of 
"  their  brush  attempts  to  explain  how  things  are  made,  and  to 
"  reveal  them  by  displaying  them.  ...  It  was  a  mistake  on 
**  the  part  of  the  Almighty  that  they  were  not  consulted  during 
**  the  seven  days  of  creation  !  Cazin  takes  you  gently  by  the 
"  arm — and  under  his  breath,  almost  without  a  word,  without 
"  a  gesture,  he  invites  you  to  contemplation.*' 

His  pictures  of  twilight,  of  the  smmner  night  when  the 
stars  come  out  in  the  blue-black  sky  over  Pisa,  or  a  single 
light   shines   through   the   chink   of   a   shutter   from   thos^ 
sleeping  houses  across  the  canal  of  some  French  provinci^*^' 
town,  have  a  penetrating  charm,  a  repose  all  their  own. 

But  what  is  specially  remarkable  about  M.  Cazin' ^ 
pictures  is  the  manner  in  which  he  treats  figures  in  land  ^ 
scape.  Though  he  had  already  exhibited  in  1865  and  186t5^ 
it  was  not  until  1876  that  he  appeared  as  an  artist — ar:^ 
artist  thoroughly  matured,  both  in  power  and  in  knowledge 
by  ten  long  years  of  silent  endeavour,  intellectual  cultivation^ 
and  foreign  travel.  From  1871  to  1875  he  hved  chiefly  ii^ 
England,  and  there  devoted  much  time  to  fascinating  ex 
periments  in  pottery.     He  also  painted  in  Holland,  Flanders 


1 


60-1898.  IMAGINATIVE  PAINTERS.  421 

aly  ;  was  a  Conservateur  de  Musee,  and  a  professor.  And 
L  the  Salons  of  1876-77-78  his  pictures  at  once  produced  a 
vid  impression  of  surprise.  They  struck  a  fresh  and  un- 
cpected  note.  Here  were  episodes  from  the  Bible  story 
eated  after  a  purely  modern  method,  with  a  familiar  land- 
jape  used  to  enhance  the  poetic  emotion  they  conveyed  to 
le  spectator.  For  M.  Cazin  was  one  of  the  very  first  to  be 
)uched  with  the  mystic  reaction  of  which  I  have  already 
Doken.  In  these  early  pictures,  "  La  fuite  en  Egypte,"  1877, 
Le  voyage  de  Tobie"  1878,  *'  Le  Depart,"  1879,  "Judith," 
Hagar  and  Ishmael,'*  1883,  etc.,  landscape  plays  a  con- 
derable  role.  The  figures  fonn  a  natural  and  harmonious 
art  of  the  whole,  as  in  the  noble  pictures  of  Poussin  or  of 
lembrandt,  who  treated  such  subjects  of  history  and  legend 
1  much  the  same  way. 

From  1883  to  1888  M.  Cazin  again  gave  himself  a  time 
)r  study  and  reflection,  spending  much  time  in  northern 
taly.  Since  then  landscapes  have  formed  the  chief  part 
f  his  exhibited  works.  And  in  his  figure  pictures,  legend 
nd  history  have  given  place  to  a  more  purely  modern 
2ntiment  of  the  aspects  of  humanity,  such  as  **La 
oumee  faite,''  "  Les  Voyageurs,'*  etc.  But  whether  he  paints 
'orking  men  and  women  of  to-day,  or  Judith  going  forth 
•om  the  deserted  ramparts,  or  Tobias  and  his  angelic  guide, 
r  Hagar  and  Ishmael  in  the  desert,  M.  Cazin  always  treats 
is  subjects  with  dignity  and  elevation,  and  a  profound 
oetic  sense. 

The  Luxembourg  contains  the  **  Hagar  and  Ishmael," 
883,  and  the  **  Chambre  Mortuaire  de  Gambetta  *\ 

Fantin-Latour,  Henri-Ignace-Theodore,*  (6.  Grenoble, 
836). — Pupil  of  his  father,  and  of  M.  Lecoq  de  Boisbaudran. 
rl.  Fantin-Latour  belongs  to  the  growing  school  of  Imagina- 
ive  painters.  Though  in  his  earlier  portraits  he  was  some- 
imes  accused  of  sacrificing  the  interest  which  should  be 
oncentrated  on  his  sitters  to  the  details  of  their  setting,  each 
resh  work  brings  him  nearer  to  those  purest  traditions  of 
French  Art,  in  which  expression  of  thought  has  come  before 
I  puerile  imitation   of  outward  appearance.      A  friend  of 


4-22  A  HISTORY  OF  FRENCH  ART.  Ch.  XX. 

Manet — a  passionate  admirer  of  Wagner's  music — every  year 
sees  M.  Fantin-Latour  making  a  fresh  step  onwards  towards 
the  ideal,  as  against  the  merely  photographic.  At  the  same 
time  he  never  permits  his  execution  to  be  sacrificed  to  his 
idea.  His  admiration  and  knowledge  bom  of  long  study 
of  the  Venetian  school  is  profound.  And  he  knows  ac- 
curately how  to  produce  unexpected  and  special  effects 
flashing  and  shimmering  in  rich  and  serious  harmonies, 
with  the  grain  of  his  canvas— with  the  stone — or  with 
pastel. 

In  his  scenes  from  Wagner's  operas  it  would  seem  as  if 
he  tried  to  rival  with  the  brush  the  glorious  harmonies  of 
the  master  he  worships.  And  in  such  grandiose  conceptions 
as  the  "Dernier  Theme  de  Schumann,'*  or  the  "Vision" 
from  Oberon,  he  transports  us  into  realms  of  purest  fantasy 
— pursuing  his  way  calmly,  unmoved  alike  by  fashion  or  by 
blame. 

Examples : — 

Un  atelier  aux  BatignoUes,  1879,  Luxembourg. 

Fleurs  Varies,  Mrs.  Edwards. 

These  are  flowers  of  Midsummer,  G.  Woodwiss,  Esq- 

The  bather,  C.  J.  Galloway,  Esq. 

Homage  a  Eugene  Delacroix,  1864 ;  Sctee  de  Tann-^ 
hauser,   1864;    Scenes   de   Rheingold,   1878-80  r 
Scenes  de  la  Walkure,  1879. 
Caeri^re,  Eugene,*  (6.  Goumay,  Seine  et  Oise). — M. 
Carriere,  a  pupil  of  Cabanel's,  is  among  the  most  interesting 
modem  representatives   of   French   Art.     His   system,   his 
point  of  view,  has  been  met  by  violent  attacks.    He  has  been 
accused  of  affectation,  of  pose.      But  no  clamour  has  turned 
him  aside  from  his  personal  vision,  in  which  life  and  nature 
appear  to  him  through  a  tender  haze. 

He  seeks  his  poem  and  his  drama,  in  the  fine  and 
tremulous  atmosphere  of  Parisian  interiors,  at  the  hour  when 
the  fading  light  gently  obliterates  all  strongly  marked  con- 
trasts, and  softens  colours  and  forms.  **  It  is  the  milieu  of 
**  his  dream,  the  choice  of  his  spirit,  this  veiled  harmony  in 
**  which    nothing   is   lost   but  all  is  refined,  this   soft   cosy 


1860-1898.  IMAGINATIVE  PAINTERS.  423 

'*  refuge,  where  far  from  all  brutal  contact  the  beloved  vision 
"  exists  in  the  heart  of  the  accustomed  ways.*' 

Each  of  M.  Carrifere's  pictures,  suggestive  and  intensely 
buman,  is  the  dream  of  a  personality.  We  perceive  the 
beads  of  his  personages,  modelled  with  exquisite  and  sugges- 
tive delicacy,  through  this  strangely  nebulous  atmosphere. 
Whether  in  his  portraits — or  in  the  lovely  *'  Matemite  " 
Df  the  Luxembourg — or  in  such  a  picture  as  the  **  Theatre 
Populaire,"  1895 — a  profound  human  sentiment,  tender  and 
sad,  is  always  present.  And  to  his  view  of  art  we  might  apply 
Baudelaire's  words,  **  What  can  be  seen  in  sunlight  is  always 
'  less  interesting  than  what  takes  plac^  ^behind  a  window 
*  pane.  In  this  dark  or  luminous  hole  life  lives,  life  dreams, 
'•  life  suifers/' 

In  the  Universal  Exhibition  of  1889  M.  Carrifere's  con- 
tribution of  three  portraits  and  two  subject  pictures  were 
rewarded  by  the  decoration  of  the  Legion  of  Honour. 
M.  Carriere's  contributions  to  the  Salon  of  1898  serve 
to  accentuate  his  peculiar  methods.  One,  a  portrait  group 
of  an  elderly  lady  and  her  grandchildren,  is  full  of  tender- 
ness, and  vague,  almost  melancholy  sentiment.  The  second, 
a  decorative  panel  for  the  Amphitheatre  of  Free  Instruction 
at  the  Sorbonne,  is  a  deeply  interesting  work — two  symbolic 
figures  just  waking  from  sleep,  above  Paris  wrapped  in  a 
mysterious  smoke-like  atmosphere,  with  long  lines  of  mist 
beginning  to  rise  from  the  dimly  seen  city. 

Examples  : — 

Matemite,  1892,  Luxembourg. 
A  Portrait  Group,  1897,  Luxembourg. 
L'Enfant  Malade,  1885,  Mus6e  de  Montargis. 
Portrait,  Louis  Henri  Devillez,  1887. 

Martin,  Henri-Jean-Guillaume  {b.  Toulouse),  pupil  o 
M.  Jean-Paul  Laurens,  received  a  first  class  medal  in  188 
tor  a  '*  Paolo  et  Francesca  ".  In  1885  he  was  given  a  bmirse 
ie  voyage — one  of  those  travelling  scholarships  which  are  of 
such  inestimable  value  to  the  young  artist.  And  at  the 
Universal  Exposition  of  1889,  where  he  exhibited  four 
pictures,  he  received  a  gold  medal. 


424  A  HISTORY  OF  FRENCH  ART.  Ch.  XX 

M.  Henri  Martin  is  a  bom  decoratif  and  symbolist. 
Perhaps,  if  that  is  a  title  to  fame,  he  is  one  of  the  most 
'*  discussed  *'  artists  of  the  day.  For  it  is  difficult  to  keep 
his  name  out  of  any  symposium  in  Paris  on  Modern  Art ; 
and  once  mentioned,  it  is  a  signal  for  the  most  unbridled  and 
unending  discussion. 

In  1895  his  picture  "L'Inspiration,"  destined  to  form 
part  of  a  great  scheme  of  decoration  for  the  Hotel  de  Ville  of  I 
his  native  city,  was  bought  for  the  Luxembourg  ;  which  also 
robbed  Toulouse  of  another  of  his  canvases.  The  city,  how- 
ever, has  gained  in  the  end.  For  the  picture  of  1898, 
"  L'Apparition  de  Cl^mence  Isaure  aux  Troubadours,"  is 
undoubtedly  the  best  of  the  three. 

In  both  "  L 'Inspiration  '*  and  **  Clemence  Isaure,"  M. 
Henri  Martin  chooses  the  edge  of  a  southern  pine  wood  for 
his  locality — the  late  sunset  for  his  hour  of  day.  In  both 
light  flashes  here  and  there  upon  the  tall,  red,  pillared  stems. 
In  one,  the  poet  wandering  through  the  mysterious  forest 
is  attended  by  gentle  and  seraphic  beings,  floating  like 
trails  of  evening  mist  behind  his  head,  who  reveal  to  him 
the  thought  for  which  he  seeks.  In  the  other,  the  amazed 
and  enraptured  troubadours  perceive  a  cloud-like  group  of 
mystic  forms,  from  the  midst  of  which  Clemence  Isaure,  pro- 
tectress of  the  Arts,  with  the  symbolic  "peiisee"  at  her  breast, 
delivers  to  her  well-beloved  poets  the  charter  of  their  Floral 
Games.  It  is  interesting  to  compare  the  two  pictures  ;  for  in 
three  years  M.  Henri  Martin  has  made  a  great  stride  forward. 

His  well-known  and  well-abused  method  of  producing  the 
play  of  light  he  loves,  is  by  little  dots  or  comma-shaped 
strokes,  which  at  a  short  distance  melt  into  a  whole.     This 
treatment   answers  its  purpose  in  his  hands  admirably  for 
decorative  work ;  though  it  is  somewhat  worrying  to  the  eye 
if  seen  too  close.    But  this  peculiar  touch  is  greatly  modified 
in  the  "  Clemence  Isaure  ".    Each  year  M.  Martin's  pigment 
grows   softer,   more   melting.     Each  year  the  presentment 
of  his  conception,  without   losing  distinction   or  strength, 
becomes  more  harmonious,  more  poetic  ;  for  each  year  shows 
a  decided  advance  upon  the  preceding  one. 


[    18601898.  IMAGINATIVE  PAINTERS.  425 

Examples : — 

Paolo  et  Francesca  aux  Enfers,  1883,  Mus^e  de  Car- 
cassonne. 

L'Inspiration,  1895,  Luxembourg. 

L'Apparition  de  Cl^mence  Isaure  aux  Troubadours, 
1898,  Hotel  de  Ville,  Toulouse. 

Decorative  Frieze,  Hotel  de  Ville,  Toulouse. 
Aman-Jean,  Edmond  (6.  Chevry-Cossigny,  Seine  et 
Mame). — Among  those  modem  painters  who  occupy  them- 
selves with  all  the  introspective,  psychologic  enigmas  of 
character  and  temperament  which  so  fascinate  writers  and 
artists  of  the  present  day,  M.  Aman-Jean  holds  a  prominent 
place.  "  L'^temel  feminin  '*  is  his  study.  And  he  analyses 
every  movement,  every  pose,  every  thought  of  those  subtle 
creatures,  who  appear  on  his  canvas,  reflective,  contem- 
plative, fragile,  graceful.  *'  The  gestures  are  half- weary,  the 
**  hands  with  tapering  fingers  drop  lazily,  the  unfathomable 
**  mystery  of  the  glance  and  the  vague  smile — irony,  in- 
^*  terrogation  or  regret — reveal  the  flight  of  unquiet 
"'thought."^ 

M.  Aman-Jean 's  work  is  distinctlv  decorative  —  even 
when  it  is  not  avowedly  so,  as  in  the  panel  of  1895,  "  La 
Jeune  fille  au  Paon  '\  The  beautiful  portrait  in  the  Luxem- 
bourg for  example,  with  its  grave  and  harmonious  colouring, 
is  almost  Japanese  in  its  decorative  qualities.  The  artist, 
whose  personality  as  well  as  whose  talent  has  in  the  last  few 
years  made  him  the  chief  of  a  very  considerable  school, 
believes  that  poetry  still  exists  in  our  modem  life.  And  to 
reveal  these  poetic  suggestions  is  the  task  he  has  set  himself 
— a  task  he  is  fulfilling  with  rare  distinction. 

Renan,  Art  (6.  Paris). — Son  of  the  famous  and  learned 
philosopher,  and  great-nephew  on  his  mother's  side  of  Ary 
Scheflfer  the  artist,  M.  Ary  Eenan  could  hardly  fail,  with 
such  parents  and  such  traditions,  to  distinguish  himself  by  a 
very  distinct  personality.  And  in  this  we  are  not  doomed  to 
disappointment.  His  work  shows  an  exquisite  distinction,  a 
symlx)lism  at  once  poetic  and  philosophic,  a  quality  both  as 

*  Roger  Marx. 


426  A  HISTORY  OF  FRENCH  ART.  Ch.  XX. 

to  colour,  draftsmanship,  technique,  and  imagination  which 
is  rare. 

A  pupil  of  Delaunay  and  Puvis  de  Chavannes,  a  follower 
of  M.  Gustave  Moreau — on  whose  work  he  has  written  an 
admirable  treatise — M.  Ary  Eenan  has  much  in  common 
with  this  master  in  his  sense  of  colour,  his  delight  in  what 
is  rich  and  precious  in  material,  what  is  beautiful  in  fonn 
and  colour.  Producing  little,  but  that  little  of  a  very  high 
order,  M.  Ary  Eenan's  work  is  hardly  known  in  England. 
And  his  small  and  exquisite  **  Plainte  d'Orph^e "  passed 
almost  unnoticed  at  the  Grafton  Galleries  in  1894.  But  in 
France  his  position  as  one  of  the  leaders  of  the  Jeuiie  Ecok 
is  a  recognised  one.  And  his  remarkable  picture,  "  La 
Phalene,*'  which  was  exhibited  in  the  Salon  of  1895,  was 
the  painting  chosen  by  acclamation  in  the  Quartier  Latin 
that  year. 

The  Luxembourg  possesses  his  **  Sappho".  His  first  Salon 
picture  in  1880  was  a  portrait.  His  second  in  1882,  **  Le 
Plongeur  '*. 

CoTTET,  Charles  (6.  Puy,  Haute  Loire),  is  undoubtedly 
one  of  the  most  interesting  of  the  younger  painters.     Each^- 
year  since  the  State  in  1893  purchased  his  **  Kayons  du  Soi^^ 
(port  de  Camaret)  "  for  the  Luxembourg,  the   strong   anc^ 
serious  personality  of  the  young  artist  has  developed  steadily- — 
Each  year  he   has   added   some   fresh    contribution,    som^ 
stronger  and  deeper  note  to  the  series  of  pictures  to  which^ 
he  gives  the  collective  title,  **  Au  pays  de  la  Mer  '\     As  with^ 
J.  F.  Millet*s  toilers  on  the  land,  these  toilers  of  the  sea — 
their  lives,  their  sorrows,  their  joys — belong  to  no  one  comer  ' 
of  France  or  any  other  country.    M.  Cottet  synthetises,  while 
others  analyse.     It  is  the  spiritual  vision  set  forth  by  the 
very  simplest   and   humblest   elements   that   suggests   this 
deeply   significant  work.      And   his  great  triptych  of  1898, 
which   has   been   bought   for   the   Luxembourg,   reaches   a 
height  that  he  has  not  yet  attained  of  pathos  and  power  both 
of  conception  and    execution.      The  central  panel  is  **  Le 
d'a4iea/'  while  right  and  left  are  **  Ceux  qui  s'en  vont '" 
loi  restent  *\    Before  the  subdued  emotion — the 


60-1898.  IMAGINATIVE  PAINTERS.  427 

rave  harmonious  colour  of  the  lamp-lighted  room — of  the 
roup  of  men  on  the  boat  as  she  steals  away  under  the  stars 
-of  the  women  watching  on  the  rugged  shore — it  is  im- 
)ossible  to  remain  unmoved ;  or  to  imagine  that  a  great 
nture  does  not  await  so  serious  and  self-respecting  an  artist. 
TissoT,  James,  *  (6.  Nantes,  1836). — A  pupil  of  Flandrin 
Mid  Lamothe,  M.  Tissot  entered  the  ficole  des  Beaux  Arts  in 
1857.  In  the  Salon  of  1859  he  exhibited  two  paintings  of 
saints,  a  la  cire,  two  portraits  of  women,  and  a  **  Promenade 
dans  la  Neige  ".  His  "  Faust  et  Marguerite  ''  of  1861  is  now 
in  the  Luxembourg.  From  that  time,  for  some  twenty  years 
he  constantly  contributed  to  the  Salons,  and  exhibited  in 
England  portraits  and  genre  pictures,  for  the  most  part  of 
an  extremely  exact  contemporary  realism,  such  for  instance 
18  "  The  Last  Evening,"  belonging  to  Mr.  Charles  Gassiot  ^ — 
i  scene  on  board  some  ocean  steamer. 

In  1886,  however,  M.  Tissot's  work  and  aims  underwent  a 

omplete  change.     As  he  himself  tells  us,  he  started  for  the 

last  in  the  autumn  of  that  year  to  study  the  scenes  of  the 

Tew  Testament,  and  render  them  from  his  own  point  of  view. 

IVhile  some,"  he  says,  **  like  the  schools  of  the  Kenaissance, 

liave  been  occupied  only  with  the  mise  en  scene,  and  others, 

like  the  mystic  schools,  with  sentiment  alone,  they  have 

with  one  accord   abandoned  the  ground  of  historical  and 

topographical  accuracy  .  .  .  This   is   why,  attracted  as  I 

was  by  the  divine  figure  of  Jesus,  and  by  the  entrancing 

scenes  of  the  Gospel  story,  and  desiring  to  represent  them, 

as  faithfully  as   I   could  do,  in  their  different  aspects,  I 

determined   to   start  for  Palestine,  and   to   visit  it  as   a 

devout  pilgrim." 

The  results  of  that  visit  are  well  known.  For  ten  years 
I.  Tissot  devoted  himself  wholly  to  the  series  of  365  small 
crater-colour  pictures,  "  The  Life  of  our  Lord  Jesus  Christ," 
vhich  have  been  exhibited  since  1896  in  the  Lemercier 
jallery  in  London.  When  in  1894  they  were  first  shown  in 
Paris  they  created,  and  justly,  a  profound  sensation.  For 
"by  its  decision,  its  evident  sincerity,  and  an  obstinate  and 

» Exhibited  Guildhall,  1898. 


428  A  HISTORY  OF  FRENCH  ART.  Ch.  XX. 

*'  pathetic  insistence,  the  work  commands  and  retains  our 
sympathy  '*.^  In  some  degree  it  reminds  us  of  the  naturalist 
work  of  the  French  miniaturist  masters  of  the  fifteenth 
century.  We  have  their  preciseness  and  minuteness  of 
detail.  But  if  Jehan  Fouquet  had  been  to  the  East,  he 
would  have  given  us  what  unhappily  is  wanting  in  M. 
Tissot's  rendering — colour,  light,  and  warmth.  For  though 
he  has  seen  Egypt  and  Palestine  as  the  devout  pilgrim,  he 
has  not  seen  them  as  the  colourist. 

The  work,  otherwise,  is  an  amazing  example  of  illustra- 
tion, exact  in  every  possible  detail;  though  wanting  in 
imaginative  or  really  religious  quality. 

DuBUFE,  GuiLLAUME,  *  (6.  Paris,  1853),  is  the  son  of 
Edouard  Debufe  (1819-1883),  and  grandson  of  Claude-Marie 
Dubufe  (1790-1864),  two  of  the  best  known  portrait  painters 
of  the  early  half  of  the  century.     A  pupil  of  his  father  and  of 
MazeroUe,  M.  Dubufe  seldom  paints  portraits,  though  had  he 
given  himself  to  that  hne  of  work,  his  own  talent  as  well  as 
the  tradition  of  two  generations  would  have  ensured  him  a 
speedy  success.     M.  Dubufe  is  however  of  too  independent  a» 
character  to  care  to  reap  where  others  have  sown.     And  hi® 
painting  is  distinctly  decorative,  with  a  grace  and  lightnes- 
of  its  own.     As  an  instance  of  his  graceful  decorative  trea*^ 
ment  of  sacred  subjects,  we  may  cite  his  triptych  of  **!>  ■ 
Salutation  Angelique,"  or,  again,  the  very  charming  series  C^ 
water-colour  drawings,  illustrating  the  Life  of  the  Virgir^ 
which  have  been  reproduced  by  Boussod  and  Valadon. 

M.  Dubufe,  with  M.  M.  Carolus-Duran  and  Duez,  wai^ 
one  of  the  chief  organisers  of  the  Soci6t(^  Nationale  de=' 
Beaux  Arts,  founded  in  1890  under  the  presidency 
Meissonier,  and  familiarly  known  as  the  '*  Salon  of  th 
Champ  de  Mars  ". 

*  Andre  Michel. 


CHAPTER  XXI. 

THE  IMPRESSIONISTS. 

Impressionism — one  of  those  clever  but  somewhat  misleading 
terms  to  which  the  French  language  lends  itself  with  such 
readiness — is  almost  the  latest  development  of  French  Art. 
None  of  the  successive  artistic  movements  of  the  nineteenth 
century  have  been  subjected  to  more  opposition,  ridicule, 
abuse,  and  misrepresentation.  And  with  some  reason.  For 
of  late  **  Impressionism  "  has  too  often  signified  the  daubings 
of  some  young  person  ignorant  of  the  very  first  principles  of 
drawing  or  painting,  who  dares  to  call  himself  an  **  Im- 
pressionist," because  he  is  too  lazy  or  impatient  to  submit 
to  the  ceaseless  training  and  study  that  are  necessary  for  the 
artist ;  too  ignorant  to  use  his  brush  or  his  pencil,  and  takes 
to  a  palette  knife  instead.  It  is  such  as  these  who  bring 
discredit  on  the  really  fine  artists  who  they  pretend  to 
admire. 

A  certain  kind  of  Impressionism  in  painting  is  no  new 
thing.  We  find  artists  of  every  period,  in  every  school,  in 
every  country,  whose  work  at  times  has  been  Impressionist 
— if  by  Impressionism  we  mean  the  vivid,  personal  impression 
of  a  fugitive  effect  whether  in  landscape  or  figure — an  im- 
pression of  colour,  of  light,  of  movement,  of  emotion — the 
sudden  revelation,  gone  in  a  moment,  as  the  breath  of  the 
wind  across  the  grass. 

The  Impression  is  something  more  than  the  sketch. 
There  is  no  finality  about  the  sketch.  It  is  the  suggestion, 
the  step  on  the  way  that  leads  up  to  some  more  permanent 
record  ;  a  delightful  step,  it  is  true,  which  we  often  find 
more  attractive  than  the  laboriously  finished  composition,  in 
which  the  vigour  and  freshness  of  the  first  intention  is  some- 
times lost.     The  Lnpression  in  a  way  is  final.     It  is  the 

(429) 


430  A  HISTORY  OF  FRENCH  ART.  Ch.  XXI. 

permanent  record  of  the  fugitive  effect.  And  to  produce  that 
permanent  record  of  the  effect,  the  emotion,  the  movement, 
which  may  only  last  for  five  minutes — nay,  for  five  seconds 
— requires  far  more  technical  skill,  far  more  sound  know- 
ledge, far  more  lively  imagination,  than  is  needed  for  many 
a  highly  finished  and  perfectly  academic  composition,  studied 
day  after  day  from  the  model. 

If  the  Impressionist — I  do  not  of  course  speak  of  the 
ignorant  and   impertinent  dauber — if  the   Impressionist  is 
able  to  produce  this  effect,  he   must   be   master  of  every 
available  means  in  order  to  attain  such  an  end.     And  it  is     i 
only  when  he  possesses  absolute  knowledge  of  the  laws  of 
colour,  absolute   technical   dexterity  in   both  drawing  and 
painting,  that  he  can  afford  to  be  an  Impressionist — to  play 
with  his  subject,  so  to  speak,  because  he  is  certain  of  himself 
and  of  his  own  powers.     The  ignorant  and  lazy  painter  con- 
siders Impressionism  to  be  a  short  cut.     Not  so  the  real 
artist,    with   whom   it   is   the   deliberate   choice   of   certain 
methods  by  which  to  record  certain  phases  of  nature  which. 
are  usually  considered  too  delicate,  too  evanescent,  for  the- 
brush.     And  light  and  fleeting  as  the  effect  of  the  picture 
may  appear,  it  is  often  the  result  of  the  most  patient,  solid- 
work.    For  instance,  the  actual  p&te  of  Mr.  Whistler  s  famous^ 
**  Wave  '*  is  of  extraordinary  thickness — solid  as  the  four — 

mile-deep  Atlantic — one  colour  superposed  on  another  with 

unlimited  skill  and  knowledge  of  the  result  to  be  produced.  - 
And  the  excellent  M.  Belot,  an  engraver,  gave  Manet  eighty^ 
sittings  as  his  model  for  "  Le  Bon  Bock  '*. 

Modern  Impressionism  has  not  come  into  being  in  a 
night  hke  some  unhealthy  toad-stool  growth.  It  is  the 
result  of  a  regular  evolution  in  the  heart  of  the  French 
school  of  the  nineteenth  century.  The  Impressionists  of 
to-day,  if  they  can  trace  their  ancestry  back  to  some  of  the 
giants  of  the  earher  times,  are  the  sons  of  those  great  artists 
of  the  thirties  and  forties  who  dared  to  go  straight  to  nature 
and  paint  her  as  they  saw  her,  each  from  his  own  personal 
standpoint,  discarding  once  for  all  the  bondage  of  false 
formulas  both  in  subject  and  treatment.     Millet  was  one  of 


1861-1899.  THE  IMPRESSIONISTS.  431 

their  forerunners — Constable  and  Bonnington  have  had  their 
share  in  the  evolution — Corot,Cour bet,  Manet  are  their  parents 
— those  who  dared  in  a  period  of  narrow,  academic  dogmatism 
to  use  the  absolutely  simple  methods,  that  direct  touch,  that 
breadth  and  mass,  that  we  find  in  Rembrandt  and  Velasquez. 
Those  who  dared  to  study  in  the  open  air ;  who  dared  to 
banish  for  ever  from  their  palettes  the  bitumens  and  other 
abominations  which  were  the  curse  of  the  French  school  of 
the  day ;  and  to  give  us  in  their  place  the  sensation  of  every 
delicate,  subtle  nuance  of  clear,  light,  transparent  colour,  of 
tone,  of  the  true  '*  relations  between  the  state  of  the  atmos- 
"  phere  which  illumines  the  picture,  and  the  general  tonality 
***  of  the  objects  painted  in   it ".      These  are  some  of  the 
principles  which  the  Impressionists  learned  from  their  im- 
mediate forerunners — principles  known  to  the  great  masters 
of   the  past :   but  lost  sight  of  for  many  years  under  the 
deadening  influence  of  the  Classic  decadence. 

But  another  factor  has  had  much  to  do  in  developing 
^Modern  Impressionism.     This  is  the  influence  of  Japanese 
-Art.      The    more    complete    and    scientific    knowledge    of 
Japanese  Art  which   has   spread  throughout   the  Western 
^World  in  the  last  twenty-five  years  of  the  nineteenth  cen- 
'afcury,  has  been  of  incalculable  importance  in  its  bearings  on 
^Modern  Art,  whether  plastic  or  textile.     By  its  very  limita- 
tions, Japanese  Art  has  grown  to  be  purely  impressionist,  as 
^well  as  intensely  naturalistic.     And  when  it  became  known 
«t  its  best,  artists  perceived  that  certain  effects  which  here- 
tofore had  been   overlooked   altogether,  or  considered   im- 
^Kjssible  in  Art  by  reason  of  their  elusive  nature,  were  not 
-only  possible,  but  contained  elements  of  beauty  which  re- 
paid both  study  and  endeavour.      Whether  consciously  or 
^unconsciously,  this  Japanese  Art  has  largely  influenced  the 
Impressionist  school.     In  no  artist's  work  is  it  more  evident 
than  in  that  of  M.  Degas,  whose  very  perspective  has  been 
effected  by  that  of  Japan.      While  many  of  the  landscape 
"painters,  since  the  methods  of  their  Japanese  brethren  have 
become  known,  see  that  it  is  possible  to  paint  a  red  roof,  a 
white  wall,  a  green  tree,  a  blue  river,  a  yellow  road,  frankly, 


432  A  HISTORY  OF  FRENCH  ART.  Ch.  XXI.    F  "^ 

boldly,  without  attenuations,  or  false  shadows,  in  the  fall 
blaze  of  the  midday  sun — and  yet  to  produce  a  work  of  art. 

It  is  novel,  it  is  daring,  it  is  full  of  dazzling,  palpitating   ^-^ 
light  this  Impressionist  painting.     It  often  exasperates  and 
confuses   the  public,   because   the    Impressionist    has   en-    l"^" 
deavoured  to  find  a  language  of  his  own,  absolutely  suitable   "^-^ 
to  the  expression  of  his  thought.     **  The  indolent  eye  of  the 
**  public,   etccustomed    to    conventional    forms,   to   writings    1^ 
**  consecrated  by  the  whole  of  a  glorious  past,  is  slow  to    |^ 
**  make  the  effort  necessary  to  decipher  this  language,  which 
**  the  unprejudiced  read  with  ease."  ^    And  because  the  Im- 
pressionist puts  on  his  canvas  what  he  sees,  not  what  he  is 
expected  to  see,  the  public  shouts  with  derisive  laughter,  or 
grows  stupidly  angry.     But  Impressionist  painting  neverthe- 
less is  perfectly  sincere.     And  in  the  hands  of  such  masters 
as  M.  Claude  Monet,  as  M.  Besnard,  as  M.  Renoir,  it  is  full 
of  poetry,  of  emotion,  of  beauty,  of  intense  truth  to  nature 
and  to  life  in  their  most  subtle  and  often  most  charming 
phases. 

The  Impressionist  doctrine  has  been  summed  up  by  theic 
latest  historian  as  **  the  study  of  luminous  phenomena  and  o^ 
**  social  phenomena  ".     These  artists  are  not  occupied  witJ^ 
the  past  in  history  or  in  tradition.     They  desire  to  represeni-  ^ 
modern  life,  and  the  world  in  which  they  find  themselves  a^"^ 
the   present   moment.      Light    is   what   they   have  sough  '■' 
beyond  all  besides.     And  while  the  more  lyric  Romantic^^ 
chose  the  sunset  as  their  favourite  effect  in  nature,  the  Im- — 
pressionists  in  their  preoccupation  with  close  analysis  tak^ 
the   light  of  full  midday.      **  In  this  ardent  and  exclusive 
**  contemplation  of  atmosphere  made  visible,"  says  M.  Andr& 
Michel,  .   .   .  '*  and  the  better  to  express  its   splendour,  or^ 
**  its  more  fugitive  nuances,  they  have  made  use  of  all  that> 
**  science  has  been  able  to  teach  about  colours  ;  they  hav^ 
**  decomposed  the  elements  of  each  tone,  and  placed  them 
**  side  by  side  upon  the  canvas,  in  order  to  obtain  by  this- 
**  '  milamje   optiqn^  '  more   transparent  lights,  more   dehcate 
"  vibrations."     These  little  blots  of  pure  colour,  which,  when 

'  LeoDce  Benedite. 


18614899.  THE  IMPRESSIONISTS.  433 

seen  close,  are  a  fraitful  source  of  rude  and  imbecile  merri- 
ment to  the  ignorant  public,  resolve  themselves  at  a  little 
distance — the  right  distance — into  flaming  skies,  shivering 
trembUng  leaves,  luminous  dancing  shadows,  reflected  in 
liquid,  rippling  waters.  Such  effects  as  these  were  worth 
recording.  They  do  not  sum  up  the  whole  of  Art.  They 
are  not  the  ultimate  end  and  attainment  of  the  painter's 
craft.  But  they  form  a  hnk,  a  very  solid  and  brilliant  link, 
in  the  ever-lengthening  chain.  And  such  as  they  are,  they 
are  worthy  of  serious  and  intelligent  consideration. 

To  Edouard  Manet  we  must  look  as  the  real  leader  of 
the  Impressionist  movement.      His  influence   has  been  of 
deeper  import  than  has,  I  think,  been  fully  grasped  as  yet. 
For  although  the  chiefs  of  the  Impressionist  School  were 
not  his  pupils  in  the  strict  sense  of  the  word — he  seldom 
even  criticised  their  work — yet   they  instinctively  gathered 
about  him  ;  and  his  influence  had  much  to  do  with  the  de- 
velopment of  their  methods  and  their  aims.     Manet  opened 
the  eyes  of  many  men  ;  and  taught  them  to  look  about  them, 
to  see  for  themselves,  and  to  paint  what  they  saw.     It  was 
ttiainly  owing  to  him  that  his  contemporary,  M.  Degas,  left 
i^is  portraits,  and  turned  to  those  scenes  of  the  Theatre  or 
^lie  Bacecourse,  which  have  made  his  name  famous. 

Claude  Monet — the   modem  heir  of  much  of  the  great 
^t^umer's  passionate  and  fantastic  love  of  passing,  fleeting, 
^^ivid  dreams  of  colour,  light,  and  atmosphere — was  one  of 
^ke   first   to  recognise   the  power   and    truth    of    Manet's 
doctrine.     Pissarro,  who  began  as  the  **  classique  raisonable,'* 
ic^ined  the  camp  of  revolt.    Cezanne  gave  himself  to  his  bathers 
^oid  boaters.     Sisley  to  landscapes.     Benoir  to  those  rainbow 
Reflections  in  portrait   and   figure   paintings,  dazzling,  and 
<iehghtful.      Mme.    Berthe   Morizot   to   her  luminous   sea- 
pieces,  or  her  genre  pictures,  at  once  strong  and  feminine. 
And  Caillebotte,  whose  legacy  of  forty  Impressionist  pictures 
to  the  Luxembourg  in  1896  made  so  profound  a  sensation  in 
the  art  world,  soon  joined  the  group.     Some  of  them,  dis- 
daining the  ridicule  with  which  their  work  was  greeted,  still 

exhibited;      Manet   gained   his  medals  and  his  cross.     M. 

28 


434  A  HISTORY  OF  FRENCH  ART.  Ch.  XXL 

Renoir  in  spite  of  the  miserable  positions  assigned  to  his 
pictures,  persevered  for  a  considerable  time  in  sending  them 
to  the  Palais  de  I'lndustrie.  M.  Sisley  has  till  quite  recently 
exhibited  at  the  Champ  de  Mars.  M.M.  Claude  Monet, 
Renoir  and  Sisley  were  already  known  in  the  atelier  of  Gleyre, 
Mr.  Whistler's  master.  And  Claude  Monet  was  in  fact  the 
godfather  of  the  movement.  For  it  was  the  title  of  a  picture 
of  his — *'  Impression  " — which  was  taken  up  ironically  by 
the  adversaries,  and  used  to  designate  the  whole  group. 

To  this  first  group  others  must  be  added,  who  exhibited 
with  them  in  1874  at  Nadar's  on  the  Boulevard  des  Capu- 
ciues — Bracquemond,  Boudin,  Lepic,  Lupine,  de  Nittis, 
Legros,  Millet,  Desboutin.  A  little  later  they  were  joined 
by  Raffaelli,  Lebourg,  Forain,  etc.,  who  were  soon  taken  up 
by  the  public,  and  whose  names  appeared  in  the  annual 
catalogues  of  the  Salons.  M.  Besnard,  though  considerably 
their  junior,  now  ranks  as  one  of  the  most  brilliant  of  the 
school.  While  numbers  of  other  artists  w^hose  talent  has 
developed  on  quite  other  lines,  **  though  they  have  not 
"borrowed  Manet's  paint  brush,  have  looked  through  his 
"  glasses '\  And  the  spirit  and  genius  of  Manet  have  been 
with  Roll,  with  Gervex,  Bastien-Lepage,  Cazin,  Lhermitte, 
and  many  more ;  though  their  strong  and  vigorous  personality 
has  led  them  into  paths  of  their  own. 

But  Art  in  France  is  never  absolutely  stationary.  It  is 
always  searching,  reaching  forward  to  some  fresh  revelation. 
And  already  signs  are  to  be  seen  of  a  new  movement  among 
the  younger  artists,  of  which  it  is  too  soon  to  speak  with  any 
authority.  Certain  among  them  **  while  they  profit  by  the 
*'  acquisitions  of  the  school  of  the  open-air,  while  they 
"  remain  attentive  to  the  play  of  reflections  and  deUcate 
'*  harmonies  of  the  envelope,  are  returning  to  a  closer  study 
**  of  form,  and  a  relatively  sombre  and  'ancient'  mode  of 
*' painting,  which  reposes  us  from  the  excesses  of  impres- 
**  sionism  ".^  These  artists  would  seem  to  consider  that 
the  preoccupation  of  the  Impressionists  with  light — some- 
times   with    violent,    unmitigated   light — has   been   carried 

•  Andre  Michel. 


1861-1899.  THE  IMPRESSIONISTS.  435 

far  enough.  They  prefer  the  crepuscule.  And  they  choose 
the  mysterious  light  of  plain  or  forest,  or  the  dimness  of  an 
interior,  at  the  lovely  hour  when  daylight  dies  on  the  earth, 
but  still  Ungers  on  tree-tops  and  cloud  and  hill.  Such  men 
as  M.  Ren6  Minard,  M.  Lucien  Simon,  MM.  Prinet,  Griveau, 
Boulard,  Dauchez,  etc.,  will  have  to  be  counted  with  in  the 
twentieth  century. 

PAINTERS. 

Manet,  Edouard,*  (6.  Paris,  1833 ;  d,  1883).— The  fate  of 
all  the  most  original  artists  of  the  nineteenth  century — 
Delacroix,  Gericault,  Rousseau,  Corot,  Millet,  Courbet — has 
been  opposition,  abuse,  neglect,  and  at  last,  often  too  late,  a 
tardy  recognition.  But  the  abuse  which  was  meted  out  so 
unsparingly  to  his  predecessors,  was  as  nothing  compared 
with  that  lavished  upon  Edouard  Manet. 

The  eldest  of  three  brothers  in  a  well-connected  family 
belonging  to  the  magistracy,  Edouard  Manet  was  destined 
for  the  bar  or  the  army.  As  a  child  his  education  was  carried 
on  by  the  abb^  Poiloup.  He  then  entered  the  College  RoUin, 
where  his  life-long  friendship  began  with  M.  Antonin  Proust. 
But  the  boy's  passion  for  Art  already  displayed  itself.  From 
an  uncle  in  the  Artillery,  an  enthusiastic  sketcher  in  pen  and 
ink,  the  nephew  soon  caught  the  fever ;  covering  his  exercise 
books  with  portraits,  landscapes,  and  fanciful  drawings.  And 
when  at  sixteen  his  studies  at  the  College  were  ended,  he 
declared  that  he  preferred  Art  to  the  Code,  and  that  a  lawyer 
he  would  not  be.  His  family  were  of  a  different  opinion. 
They  promptly  sent  the  youth  to  sea  in  a  merchant  vessel. 
And  he  had  an  uneventful  voyage  to  Rio  Janiero,  making 
pencil  sketches  of  all  he  saw — a  picturesque  corner  of  the  deck 
of  the  Gtuideloupe — an  amusing  face  or  scene  in  South  America,. 
In  the  later  days  he  often  laughed  over  his  first  essay  in 
painting.  As  the  vessel  neared  the  coast  it  was  discovered 
that  the  cargo  of  Dutch  cheeses  had  been  damaged  by  salt 

water.      Edouard   Manet   offered    to    repair    the    disaster. 

*'  Consciencieusement,  avec  un  blaireau,  je  refis  la  toilette  des 

"tetes  de  mort,  qui  reprirent  leur  belle  teinte  lie  de  vin. 

"  — Ce  fut  mon  premier  morceau  de  peinture.** 


436  A  HISTORY  OF  FRENCH  ART.  Ch.  XXI. 

Upon  his  return,  Manet,  in  spite  of  his  family's  protests, 
entered  Couture's  studio.  Couture,  a  disappointed  man, 
whose  temper  was  irritable  and  whose  tongue  was  bitter, 
was  specially  severe  on  any  student  who  showed  signs  of 
originality.  His  pupils  were  to  perpetuate  his  own  methods. 
They  were  to  learn  the  lessons  he  taught  them,  and  nothing 
else.  Manet's  personality  and  audacity  were  evident  in 
every  line  he  drew.  And  his  method  of  work  from  the  model 
— taking  here  an  ear,  there  a  turn  of  the  neck,  there  a 
shoulder,  and  treating  it  independently  of  the  rest — in- 
furiated the  teacher.  Manet's  principle,  both  then  and  for 
the  rest  of  his  Hfe,  was  to  make  use  of  all  technical  in- 
struction :  but  to  observe  nature  closely,  and  reproduce  it 
according  to  his  own  feeling  ;  neither  borrowing  from  his 
predecessors,  or  his  memory,  but  boldly  facing  reality. 

The  scenes  of  the  terrible  days  of  December,  1851,  made 
a  profound  impression  on  the  young  artist.  And  the  story 
of  his  adventures  and  hairbreadth  'scapes  have  been  vividly 
told  by  M.  Proust  who  shared  in  them,  and  by  Bazire  in  his 
Life  of  Manet.  Unsettled  and  distracted  by  national  events, 
unsatisfied  by  Couture's  teaching,  Manet  while  ostensibly 
remaining  a  pupil  in  the  studio,  made  several  joumejrs  to 
study  the  foreign  galleries.  He  first  went  to  Germany  and 
Austria  ;  and  later  on  to  Italy.  His  sketch  books  in 
Florence  are  crowded  with  notes  of  extreme  interest.  He 
merely  glanced  at  Rome  :  but  Venice  and  its  collections 
enchanted  him.  He  spent  some  time  there  ;  and  we  are 
told  that  a  rapid  copy  of  a  Tintoret  was  **  a  marvel  of  clever 
reproduction  ".  This  journey  left  a  certain  mark  upon  his 
work  for  some  time. 

But  Manet  was  still  unsatisfied — groping,  seeking  for 
light  and  truth.  Couture's  studio  offered  little  that  suited 
either  his  taste  or  his  temperament.  He  and  M.  Proust 
took  counsel  with  the  great  masters  of  the  Louvre  ;  and  it 
was  in  the  Louvre,  with  Velasquez  and  Goya,  that  Manet 
found  the  answer  to  all  his  questionings  and  aspirations  for 
light  and  for  truth.  Spain  alone  could  satisfy  him  ;  and  to 
revive   and  respect   the   teaching  of   Spain   under   modern 


1861-1899.  THE  IMPRESSIONISTS.  437 

^pects,  by  modern  methods,  became  his  ambition.  Disgusted 
by  the  brutalities  of  Couture's  criticism,  or  rather  abuse, 
Manet  finally  left  his  studio,  and  gave  himself  up  with 
increasing  ardour  to  work  according  to  his  own  convictions. 
From  early  dawn  till  twilight  in  his  simple  studio  of  the  rue 
Lavoisier,  he  was  to  be  found  at  his  easel.  A  few,  a  very 
tew  friends  in  art  and  letters  recognised  his  talent.  And 
Mr.  Whistler,  M.M.  Legros,  Fantin-Latour,  Zola  and 
Baudelaire,  were  from  the  first  his  most  faithful,  most 
valiant  exponents  and  defenders. 

In  1861  he  made  his  first  appearance  at  the  Salon  with  a 
portrait  of  himself  and  his  young  wife,  and  **  The  Spanish 
Guitar  Player  '\  Over  both  the  cry  of  **  reaUsm  "  was  raised. 
**  Bealism  '*  was  the  bete-noir  of  the  moment.  But  still  the 
delightful  "  Guitar  player  "  was  less  maltreated  than  might 
have  been  expected.  Theophile  Gautier,  with  his  generous, 
honest  recognition  of  what  was  fine,  no  matter  whence  it 
came,  was  enthusiastic.  *'  Caramba,'*  he  cries,  **  there  is  a 
**  guitarero  who  does  not  hail  from  the  Op6ra-Comique, 
**  .  .  .  but  Velasquez  would  greet  him  with  a  friendly  little 
**wink,  and  Goya  would  hand  him  down  a  light  for  his 
*' papelito/'  And  more  than  this.  The  Jury  of  the  Salon, 
inspired  by  Delacroix,  actually  gave  Manet  a  mention  honorable. 
It  was  his  first  success.     And  his  last  for  many  a  year. 

In  the  two  next  years  the  partisans  of  tradition  were  too 
strong.  Manet  was  excluded  from  the  Salon.  In  the 
famous — or  infamous — Salon  of  1863,  such  was  the  enmity 
displayed  by  the  Jury  to  all  but  received  and  well-authenti- 
cated talent,  that  the  Exposition  des  Refuses  was  opened  in  the 
same  building  as  the  Salon  des  Acceptes.  In  this  **  den  of 
Kevolution,*'  as  it  was  supposed  to  be,  Manet  was  one  of  the 
artists  whose  works  attracted  most  attention.  But  a  sur- 
prising list  of  names  were  grouped  about  him.  Legros, 
Bracquemond,  Jongkind,  Harpignies,  Whistler,  Saint-Marcel, 
Sutter,  Lavielle,  etc.  Manet's  **  Dejeuner  sur  Therbe,"  **  le 
Bain,"  **  Le  Fifre  de  la  Garde,"  made  a  profound  impression. 
The  Emperor  and  Empress  scandalized  the  official  world  by 
adventuring  themselves   into   the  dangers  of  the  den,  and 


438  A  HISTORY  OF  FRENCH  ART.  Ch.  XXI. 

Still  more  by  a^diniring  what  they  found  there.  And  the 
obedient  public  followed  their  example.  It  was  a  heavy 
blow  to  officialdom  ;  and  it  had  its  efifect.  In  the  next  year 
Manet  appeared  again  at  the  Salon  in  company  with  many 
of  the  other  refuses ;  though  the  critics  atta.cked  him  with 
ferocity. 

His  **  Olympia  "  of  1865,  now  in  the  Luxembourg,  which 
in  some  of  its  treatment,  especially  in  the  brevity  of  the 
shadows,  and  the  delicate  modelling  of  the  contours  in  the 
lights,  has  much  in  common  with  the  work  of  Ingres, 
created  a  perfect  scandal.  It  is  curious  to  read  over  some  of 
the  criticisms  of  the  day. 

The  next  year,  however,  the  **  Joueur  de  Fifre  "  and  the 
**  Acteur  tragique  "  were  refused  by  the  Jury.  And  in  1867 
both  Manet  and  Courbet  were  excluded  from  the  Universal 
Exposition.  They  replied  by  opening  independent  exhibitions 
of  their  own  works,  to  let  the  public  judge  whether  they 
were  indeed  the  ruffians  and  criminals  they  were  supposed 
to  be.  Manet  exhibited  fifty  pictures.  It  was  a  grand 
record  of  work  of  the  most  varied  kind.  With  the  beauti- 
ful **  Enfant  a  ri5:p6e,"  might  be  seen  **  le  Buveur  d'Ab- 
sinthe,*'  "  le  Guitarero,"  **Lola  de  Valence,"  "  le  Christ  mort 
et  les  Anges  "  ;  besides  sea-pieces,  portraits,  still-life,  flowers, 
animals,  eaux  fortes,  and  three  fine  copies.  As  he  said 
in  the  quiet  and  dignified  introduction  to  the  catalogue, 
*'  The  Artist  does  not  say  to  you  to-day.  Come  and  see 
**  faultless  works  :  but,  Come  and  see  sincere  works  *'.  The 
protest  had  its  effect.  If  his  pictures  were  still  laughed 
at,  they  were  for  nine  years  admitted  to  the  Salons.  And  an 
increasing  number  of  persons  saw  that  Manet  must  be 
counted  with  seriously.  M.  Zola,  in  1867,  had  pubhshed  a 
study  upon  the  artist,  which  is  a  chef  d'oeuvre  of  artistic 
criticism.     And  other  writers  now  followed  his  example. 

The  year  1870  marks  a  most  important  stage  in  the 
artist's  career.  It  was  just  before  the  war  that  a  mere 
accident — the  visit  to  a  friend  near  Paris,  in  whose  park  he 
began  painting — revealed  to  Manet  a  new  method — painting 
in  the  open-air.     And  after  he  had  served  throughout  the 


561-1899.  THE  IMPRESSIONISTS.  489 

iege  of  Paris  in  the  artists*  battalion  of  the  Garde  Nationale, 
dth  Meisonnier  as  Colonel,  he  once  more  took  up  his  brush 
-but  as  a  new  man.  No  longer  an  exclusive  follower  of 
ae  Spaniards,  Manet  had  found  the  full  use  of  his  powers. 
Jid  henceforth  he  was  the  pioneer,  opening  the  way  for 
lose  who  have  come  after  him  in  the  school  of  plein-air. 

Then  the  recognition  waited  for  so  long,  so  courageously, 
egan  to  come  to  him.  M.  Theodore  Duret,  whose  Critique 
Avani  Garde  is  the  most  valuable  work  on  the  Impressionists, 
ad  long  been  one  of  his  devoted  defenders,  and  had  already 
ought  an  example  of  the  master's  second  manner.  And 
ow  M.  Durand-Ruel  came  forward.  Recognising  the 
nmense  importance  of  the  artist's  work,  he  bought  50,000 
rancs-worth  of  these  despised  pictures  ;  thus  beginning  his 
slebrated  collections  of  Impressionist  paintings.  Others 
X)n  followed  such  a  lead.  M.M.  Ephrussi,  Bernstein, 
lay,  and  many  other  enlightened  amateurs,  possessed  them- 
slves  of  Manet*s  pictures.  M.  Faure,  the  celebrated  singer, 
wns  a  collection  of  thirty-five. 

The  **  School  of  the  Batignolles,"  as  it  was  called, 
athered  new  converts  to  itself.  And  the  fine  sea-piece  in 
872,  the  fight  between  **  The  Kearsage  and  Alabama,"  so 
riginal  in  treatment,  so  true  to  nature,  won  the  artist  many 
dmirers.  But  it  was  **  Le  Bon  Bock  "  which  brought  him 
really  popular  success.  And  until  1876  unkind  fortune 
3emed  to  have  relented  in  some  degree.  But  in  this  year 
Le  Linge,"  and  "  Desboutin  "  the  engraver's  portrait,  were 
oth  refused  admission  to  the  Salon.  This  time  the  Jury 
as  gone  a  step  too  far.  Manet  was  an  artist  of  recognised 
ower.  The  press,  with  hardly  an  exception,  cried  out  with 
idignation  at  such  treatment.  For,  as  one  distinguished 
erson,  since  well-known  in  public  life,  said  truly  in  a  letter 
3  the  artist,  *'  The  Jury  is  at  liberty  to  say,  I  do  not  hke 
Manet.  But  not  to  cry,  Down  with  Manet — A  la  porte, 
Manet,'* 

The  artist  had  only  one  more  insult  to  endure.  The 
Iniversal  Exhibition  of  1878  followed  the  example  of  that 
f  1867.     Manet's  pictures  were  excluded.     But  now  the 


440  A  HISTORY  OF  FRENCH  ART.  Ch.  XXI. 

Jury  of  the  Salon  was  transformed  by  the  introduction  pf 
new  blood.  After  1878  Manet,  if  not  welcomed  by  all,  'WWW 
received  with  courtesy  at  the  Palais  de  Tlndustrie.  In  1880 
his  magnificent  portrait  of  M.  Antonin  Proust  conquered  all 
prejudices.  In  1881  seventeen  members  of  the  Jxiiy 
triumphed  over  an  adverse  minority  ;  and  Manet  was  given 
a  second  medal.  Among  the  valiant  seventeen  we  find  the 
names  of  Carolus-Duran,  Cazin,  Duez,  Gervex,  Guillaumet, 
Henner,  Lalanne,  de  Neuville,  Roll,  Vuillefroy. — It  is 
pleasant  to  record  them.  And  in  December  of  the  same 
year,  M.  Antonin  Proust,  then  Directeur  des  Beaux  Arts, 
had  the  happiness  and  satisfaction  of  giving  his  friend  the 
Legion  of  Honour.  It  was  an  act  of  courage.  But  it  was 
also  one  of  justice.  And  happily  it  came  just  not  too  late. 
For  in  little  more  than  twelve  months  the  artist,  who  had 
led  the  way  so  bravely  for  so  many  years,  despite  opposition, 
ridicule,  and  persecution,  died  painfully,  just  as  success  and 
recognition  as  a  master  among  the  masters  had  come  to 
him. 

Examples — Luxembourg  : — 

Olympia,  1865  ;  Le  Balcon,  1869,  etc. 

Portrait,  M.  Antonin   Proust,    1880;   Jeanne,   1882, 
Collection  M.  A.  Proust. 

Le  Guitarero,  1861  ;  Le  Fifre  ;  Le  Bon  Bock,  1873 : 
Hamlet ;  and  many  others.  Collection  M.  Faure. 

L'enfant  a  I'^^p^e,  Metropolitan  Art  Museum,  New 
York. 
Degas,  Hilaire-Germain-Edgar  (6.  Paris,  1834). — A 
pupil  of  Lamothe,  M.  Degas  entered  the  6cole  des  Beaux 
Arts  in  1855.  Ten  years  later  he  exhibited  a  pastel,  "  Scfene 
de  guerre  au  moyen  age,*'  in  the  Salon ;  the  next  year  a 
**  Steeple  Chase  ** ;  and  in  1867-8  various  portraits.  But  two 
influences  were  destined  to  have  a  profound  effect  on  the 
artist's  work  and  career.  First  the  friendship  and  principles 
of  Manet.     Secondly  the  Art  of  Japan. 

M.  Degas  has  always  been  distinguished  by  the  science 
and  precision  of  his  drawing.  He  in  fact  prefers  the  point  to 
the  brush.     And  hence  to  some  extent  his  predeliction  for 


1861-1899.  THE  IMPRESSIONISTS.  441 

pastel,  with  which  he  can  obtain  at  the  same  time  an  ex- 
quisite and  harmonious  colour  effect  with  scrupulously  exact 
draftsmanship.  But  while  Manet^s  example  induced  him  to 
leave  his  portraits  and  devote  himself  to  modem  life — to 
grace  in  motion,  to  scenes  of  the  racecourse  and  the  theatre 
— Japanese  Art  completely  transformed  his  outlook  on  Art. 
He  not  only  became  a  decorative  painter,  as  is  every  Japanese 
artist.  But  he  even  adopted  in  some  cases  the  very  methods 
and  perspective  of  Japan — thereby  producing  effects  so  un- 
usual as  to  cause  confusion  and  dismay  to  the  spectator — who 
while  willing  enough  to  think  such  effects  perfectly  legitimate 
and  even  admirable  in  the  hands  of  a  Japanese,  considered 
them  but  little  short  of  criminal  in  those  of  a  European. 

Examples  of  M.  Degas's  work  are  to  be  seen  in  the 
Luxembourg,  the  collections  of  M.M.  Durand-Ruel,  and  of 
many  amateurs  in  Paris,  the  United  States,  and  in  London. 

Monet,  Claude  (6.  Paris,  1840), — pupil  of  Gleyre,  stands 
at  the  head  of  the  Impressionist  School.  A  great  artist,  with 
a  profound  knowledge  of  ways  and  means,  he  endeavours  to 
render  the  purest  poetry  of  nature,  her  most  exquisite,  most 
elusive  aspects,  with  the  brush.  A  legitimate  heir  in  his 
passionate  sense  of  colour  of  the  great  Turner,  M.  Claude 
Monet  has  gone  further  in  his  analysis  of  colour,  of  Hght,  of 
atmosphere,  than  any  other  member  of  the  Impressionist 
School.  He  paints  straight  from  nature ;  and  seeing  nature 
with  the  eye  of  the  colourist  as  well  as  the  poet,  he  is  not 
afraid  to  find  in  nature  colour  hannonies  hitherto  hardly 
noticed. 

As  soon  as  artists  such  as  Corot,  Courbet,  and  Manet 
began  to  paint  straight  from  nature,  they  saw  that  painting 
must  no  longer  be  black,  but  light ;  that  nature  was  full  of 
light ;  and  that  only  the  clearest,  purest,  lightest  tones 
should  be  used  to  reproduce  on  canvas  **  I'^ther  ardent  et 
**  sublime,  manteau  brillant,  emanation  souveraine  de  Z6us  "  ! 
Delacroix,  the  first  colourist  of  the  nineteenth  century  in 
France,  led  the  way.  Then  came  Corot  and  Courbet ;  and 
Manet  completed  the  revolution  which  was  to  open  the  eyes 
of  artists  and  public  to  the  enchantment  of  light  and  colour. 


442  A  HISTORY  OF  FRENCH  ART.  Ch.  XXI. 

That  the  exclusive  worship  of  light  and  colour  has  led  luany 
of  its  devotees  into  noisy,  and  sometimes  absurd  excesses  is 
but  to  be  expected.  But  M.  Claude  Monet  has  already  won 
a  place  wholly  his  own ;  and  made  a  contribution  of  the 
very  highest  value,  as  well  as  of  exquisite  beauty,  to  the  study 
of  colour  and  of  nature  in  her  most  fugitive  and  most  poetic 
aspects. 

The  Luxembourg  now  contains  two  admirable  examples 
of  the  artist's  work.  **  Jardin  des  Tuileries  "  and  **  A  snow 
scene  ". 

The  doors  of  M.  Durand-Euel's  appartement  in  Paris  have 
been  decorated  with  fruit  and  flowers  by  M.  Claude  Monet ; 
and  some  of  these  decorations,  notably  a  branch  of  oranges, 
are  of  striking  beauty.  M.  Durand-Euel  also  possesses  a 
large  collection  of  his  finest  pictures.  A  number  of  his 
pictures  are  in  America,  where  they  are  greatly  appreciated. 
Mr.  Desmond  FitzGerald,  of  Brookline,  Mass.,  ovnis  perhaps 
six  of  the  finest  landscapes  Monet  has  ever  painted.  And  the 
**  Champ  d'Avoines,"  belonging  to  Mr.  John  Nicholas  Brown, 
of  Providence,  RL,  is  also  among  his  best.  Mr.  Potter 
Palmer,  Chicago;  Mr.  Frank  Thomson,  Philadelphia ;  Mr.  H. 
0.  Havemeyer,  New  York ;  Mr.  A  A.  Pope,  Cleveland  ;  Mr.  C. 
Lambert,  Paterson,  are  also  among  the  principal  collectors  of 
Monet's  works  in  the  United  States. 

While  in  France  the  chief  collectors  are  the  Couite  de 
Camodo,  M.  Faure,  the  well-known  singer,  M.  Durand-Ruel, 
whose  private  collection  in  the  rue  de  Rome  comprises  many 
of  the  finest  Monets,  M.M.  Decap,  Pellerin,  Gallimard  and 
Berard,  in  Paris  ;  and  M.  Depeaux  in  Rouen. 

In  1891  M.M.  Durand-Ruel  organised  an  Exhibition  in 
their  galeries  of  the  rue  Laffite  of  fifteen  of  Monet's  celebrated 
series  of  "  Haystacks  ".  In  1895  they  exhibited  the  twenty 
views  of  "  Rouen  Cathedral ".  And  some  of  them  were  again 
exhibited  at  the  Petit  Galleries  in  1898,  with  Views  of 
Vernon,  and  Norwegian  Landscapes. 

Renoir,  Pierre  Auguste  (b.  Limoges,  1841). — A  pupil 
of  G  ley  re,  where  he  was  associated  with  M.M.  Claude  Monet 
and  Sisley,  M.  Renoir  first  appeared  at  the  Salon  in  1864 


861-1899.  THE  IMPRESSIONISTS.  443 

svith  "  La  Esmeralda  *\  In  spite  of  his  pictures  being 
"  skied,"  or  put  out  of  the  way  in  comers,  he  persevered  for 
many  years  in  sending  to  the  Salons.  In  1879,  with  three 
other  pictures,  he  exhibited  his  amazing  portrait  of  **  Mile. 
Jeanne  Samary  of  the  Com6die  Fran9aise  " — a  superb  ex- 
ample of  his  art.  M.  Eenoir  excels  in  portraiture  of  women 
and  children.  His  light  and  rapid  brush  gives  their  supple 
and  subtle  grace.  He  is  the  figure-painter  par  excellence  of 
the  earlier  Impressionists.  On  his  canvas  he  groups  life-size 
igures,  generally  half-lengths — a  sort  of  magnified  genre 
3ainting.  But  all  are  plunged  in  a  rainbow  atmosphere,  in 
>vhich  the  play  of  multi-coloured,  reflected  Hghts  produces 
%n  eflfect  at  once  novel  and  charming. 

M.  Eenoir  was  one  of  the  first  of  that  little  group  known 
IS  rifecole  des  Batignolles  who  gathered  round  Edouard 
Vianet.  And  although,  as  I  have  said,  Manet  did  not  pre- 
;end  to  tea.ch,  or  even  to  criticise  the  work  of  those  w^ho  met 
together  twice  a  week  at  the  Caf6  Guerbois,  he  was  always 
3ager  to  help  them  on  by  pointing  out  the  merits  of  their 
work  to  critics  or  amateurs.  Fantin-Latour  in  his  **  Ateher 
mx  Batignolles  **  (Luxembourg)  has  immortalized  some  of 
bhe  group.  Manet  sitting  at  his  easel,  M.M.  Eenoir,  Claude 
Monet,  Zola,  Maitre,  Astruc,  and  Bazile,  gathered  about  him, 
3LS  he  paints  M.  Otto  Schoederer*s  portrait. 

M.  Eenoir  was  one  of  the  original  members  of  that 
Impressionist  Exhibition  in  1877,  which  made  such  a  stir 
md  first  showed  the  public  that  the  Impressionists  were  a 
body  who  had  to  be  taken  into  account  in  future.  The 
majority  of  those  who  visited  the  rue  Le  Peletier  seemed  to 
fchink  *'  that  the  artists  who  exhibited  were  not  perhaps  devoid 
**  of  talent,  and  that  they  could  perhaps  have  produced  good 
"pictures  if  they  had  chosen  to  paint  like  the  rest  of  the 
''world,  but  that  their  first  object  was  to  make  a  row  to 
*' enrage  the  public  ".^  While  the  amateurs  or  critics  who 
ventured  to  admire  these  works  were  treated  as  amiable 
lunatics. 

A  recent  exhibition  of  the  works  of  the  four  chief  Impres- 

^  Tht'-odore  Duret. 


I 


444  A  HISTORY  OF  FRENCH  ART.  Ch.  XXL 

sionists  Q898),  at  Monsieur  Durand-Ruers  galeries  in  the 
rue  Laffite,  has  proved  how  public  taste  has  changed.  And 
the  larcre  room  filled  only  with  M.  Renoir's  works  showed 
the  solid  worth,  as  well  as  briUiancy  and  vivid  charm  of 
colour  and  treatment  in  the  artist's  work.  Most  of  the  same 
amateurs  who  I  have  mentioned  as  collectors  of  Monet's 
pictures,  pay  great  attention  to  the  works  of  Renoir,  Sisley, 
and  Pissarro. 

Exhibitions  of  Renoir's  works  were  held  in  the  Durand- 
Ruel  Galleries  in  1892  and  1898. 

Among  the  finest  examples  by  Renoir  are : — 

La   Fenune   au   chat.  Collection   Durand-Ruel;    La 

Terrasse  ;  La  Femme  a  T^ventail ;  P^heurs  an 

bord  de  la  mer  ;  Dejedner  k  Bougival ;  La  Loge ; 

Portrait  de  Mademoiselle  Samary  ;  Jardin  a  Fon- 

tenay  aux  Roses ;  La  Tasse  de  Th6  ;  La  Bouque- 

tiere ;  La  Source ;  etc.,  etc. 

PissARRo,  Camille  (b.  Saint-Thomas,  West  Indies,  1830), 

was  a  pupil  of  M.M.  A.  Melbye  and  Corot.     His  first  Salon 

picture,  **  Paysage  k  Montmorency,"  was  exhibited  in  1859. 

And   it   is   curious  in  reading  over  the  "  Salons  "  most  in 

sjTnpathy  with  the  aims  of  the  newer  school,  to  find  that  for 

several  years  such  critics  even  as  M.  Theodore  Duret,  chide 

him  gently  for  a  certain  want  of  light  in  his  pictures  !    He 

is  certainly  the  one  of  the  Impressionists  whose  methods  are 

most  in  keeping  with  those  of  the  earlier  naturalist  school. 

And  it  was  not  until  he  came  under  the  all-powerful  influence 

of  Manet  that  he  left  the  manner  of  a ''  classique  raisonable/' 

and  joined  the  band  of  the  BatignoUes. 

M.  Pissarro  chose  for  his  earlier  pictures  the  landscape  of 
the  pure  country  districts,  plough  lands  and  harvest  fields, 
leafless  or  full-flowered  trees,  the  country  road,  the  fanu 
yard,  the  village  street.  But  with  his  second  manner  his 
subjects  too  have  changed.  And  the  boulevards  with  all  their 
sense  of  movement,  of  haste,  of  clear,  bright  atmosphere, 
have  become  his  favourite  theme.  He  treats  such  subject 
with  a  never-failing  freshness,  variety,  and  charm,  with  an 
intense  appreciation  of  the  light  and  colour  and  life  of  the 


1861-1899.  THE  IMPRESSIONISTS.  445 

great  city,  preserving  in  all  a  breadth  and  harmony  of  con- 
ception and  execution  which  is  most  impressive. 
Among  the  chief  examples  of  his  work  are : — 

Sydenham ;  La  veill6e  ;  Retour  des  champs  ;  Vne  de 
Rouen — all  reproduced  in  L'Art  Impressionniste 
by  G.  Lecomte,  1892 — L'fighse  d^Eragny ;  Le 
Printemps  ;   Paysanne    gardant    ses    Oies  ;    Le 
Pont  de  Charing  Cross  ;  Vue  de  Pontoise ;  La 
r^colte  des   pommes  de  terre ;  Vue  de   Knocke, 
Flandre  occidentale ;  Vue  de  Louveciennes. 
Exhibitions  of  the  works  of  M.  Pissarro  were  organised 
by  M.M.  Durand-Ruel  in  1892-94-96.     In  1897  an   exhi- 
bition of  Views  of  Rouen  took  place.     And  in  1898  a  very 
remarkable  one  of  views  of  Paris,  taken  from  the  Boulevard 
des  ItaUens,  during  the  Carnival  or  in  winter,  and  the  place 
du  Th^&tre  Fran9ais,  near  the  Avenue  de  Top^ra. 

Besnard,  Paul  Albert,  0.*  (6.  Paris). — Pupil  of  J. 
Br^mond  and  Cabanel,  M.  Besnard  gained  the  Grand  Prix 
de  Rome  in  1874.     But  this  vigorous  and  original  artist  very 
soon  broke  loose  from  the  bonds  of  academic  system,  and 
began  to  see  light  and  colour  for  himself.     Having  exhibited 
pretty  regularly  since   1864,   in   1882   M.  Antonin  Proust 
called  attention  to  his  sincerity  of  expression,  "which  has 
"  not   been    sufficiently  remarked  "   in   **  L'abondance   en- 
courageant  le   travail  '*.      And  the  vigour   and  life  of  his 
portraits  in  1884  of  M.  Legros,  Mr.  J.  Johnston,  London 
correspondent  of  the  Figaro,  and  M.  Magnard  its  editor,  were 
most  striking.      Then  came  the  grand  decorations  of  the 
ficole  de  Pharmacie,  which  confirmed   M.  Besnard's  repu- 
tation as  a  thoroughly  original  artist,  and  a  great  decorator. 
"  With   Besnard,"   says   M.   de   Lostalot,    **  we    enter  the 
"  domain  of  fantasy  :  but  fantasy  regulated  by  science.    The 
"  artist  went  to  Rome,  as  we  know.     But  should  we  reproach 
**  him  if  he  has  not  stayed  there  ?    The  lilcole  des  Beaux  Arts 
"  admirably  fulfils  its  use  as  a  nursery  garden  for  ordinary 
"talent.     If  it  helps  on  the  growth  of  a  wild  plant  is  that  a 
'*  reason  to  cry  that  it  is  profaned  ?     M.  Besnard,  brought 
**  up,  instructed  by  the  School,  owes  it  great  gratitude,  but 


446  A  HISTORY  OF  FRENCH  ART.  Ch.  XXI. 

*'  not  to  the  extent  of  renouncing  his  artistic  being  in  which 
** the  desire  for  novelty,  for  a  fresh  departure,  is   surging.' 

M.  Besnard,  though  he  did  not  strictly  belong  to  the 
earlier  group  of  Impressionists,  has  more  and  more  given 
himself  over  to  the  aims  and  objects,  the  studies,  the  en- 
thusiasms which  move  them.  His  chief  preoccupation  also, 
is  with  light,  colour,  and  atmosphere.  On  these  points  he  is 
a  great  theorist.  '*  He  does  not  consider  that  light  is  a  thing 
'*by  itself,  intended  to  illumine  objects:  but  that  it  is 
**  already  a  colour,  or  rather  a  mixture  of  diluted  colours  * — 
absorbing  all  reflections  from  the  surfaces  it  touches  on 
reaching  the  earth,  and  renewing  and  increasing  their 
luminous   vibrations. 

Even  when  he  startles  us,  M.  Besnard  is  always  interest- 
ing. There  is  a  rhythmic  amplitude  about  his  figures— 
especially  his  women — which  is  suggestive  of  true  **  style," 
in  these  days  when  style  is  rare.  That  h^  chooses  excep- 
tional effects  is  true — as  in  the  **  Flamenco,"  1898,  or  the 
'*  March6  aux  chevaux  Arabes,"  1898,  or  *'  La  Femme  qui  se 
chauffe,'*  in  the  Luxembourg,  which  is  a  marvel  of  reflected 
lights.  But  as  M.  Paul  Mantz,  that  most  severe  and  fear- 
less of  critics,  said  in  1889,  **this  study  of  artificial  light 
**  would  not  have  displeased  Rubens  '\  And  in  his  amazing 
''Portrait  de  Theatre'*  of  1898,  with  the  sweep  of  its  mira- 
culous pink  satin  gown,  and  the  delicious  tone  of  the  set 
scene  behind,  he  has  created  an  enchanting  masterpiece 
from  a  flash  of  colour,  of  light,  of  a  laugh,  as  Mme.  R^jane 
raps  out  some  delightful  impertinence. 

M.  Besnard  like  so  many  seekers  for  light,  has  been  led 
to  the  East.  And  during  a  winter  and  spring  in  Algiers  he 
found  the  light  and  colour  that  responded  to  those  visions 
that  had  haunted  him.  But  Algeria  as  seen  by  M.  Besnard 
contrasts  curiously  with  the  Algeria  of  many  of  the  earlier 
orientahsts.  **  It  is  an  Algeria,  seen  through  a  transparent 
*'mist  of  reflections,  and  exquisite,  vaporous  tints.''  And  over 
it  all  seems 

••  Courir  un  frisson  d*or,  de  nacre  et  d'emeraude  ". 

In  M.  Besnard's  decorative  paintings — such  as  those  of 


1861-1899.  THE  IMPRESSIONISTS.  447 

the  Hotel  de  Ville,  the  Mairie  of  St.  Germain  TAuxerrois,' 
etc. — this  preoccupation  with  light  and  colour  produces  a 
brilliant  and  happy  result.  While  in  the  celebrated  frescoes 
of  the  6cole  de  la  Pharmacie,  to  the  beauty  of.  decoration  is 
added  the  beauty  of  original  and  poetic  sentiment. 

SiSLEY,  Alfred  {b.  Paris,  1840^),  another  pupil  of  Gleyre, 
and  a  true  lover  of  the  country,  delights  to  render  its  gayest 
aspects.  In  his  methods  of  colour  he  belongs  to  the  Impres- 
sionist school ;  he  has  indeed  been  often  called  a  '*  pointiliste,'' 
which  seems  to  be — whatever  it  may  mean — a  serious  ac- 
cusation, one  almost  capable  of  leading  the  miscreant  to  the 
cour  d'Assises  in  time.  If,  however,  his  pictures  were  looked 
at  without  prejudice,  it  is  probable  that  such  a  delightful 
work  as  the  **  Boat  Race  at  Henley,"  now  in  the  Luxem- 
bourg, would  disarm  criticism,  and  be  found  to  be  a  most 
vi\nd  and  artistic  rendering  of  the  scene,  with  its  brilliant 
colour,  light,  and  atmosphere.  M.  Sisley  is  well-known  for 
his  views  of  Moret,  near  Fontainebleau,  and  landscapes 
about  that  town. 

Among  his  best  works  are  : — 

Les  bords  du  Loing ;  Effet  d'automne ;  La  Seine  k 
St  Mammas ;  La  riviere  **  La  Serpentine "  k 
Londres ;  Le  pont  de  Moret ;  La  Seine  k  Marly  ; 
Paysage  a  Louveciennes. 

BouDiN,  Eugene,*  (b.  Honfleur,  1825  ;  d.  1898),  must  be 
classed  among  the  Impressionists ;  though  for  some  reason 
he  has  never  been  subjected  to  the  same  distrust  and  per- 
secution as  the  rest  of  the  school.  He  received  a  third  class 
medal  in  1881 ;  a  second  class  in  1883 ;  and  was  made  a 
chevalier  of  the  Legion  of  Honour  in  1889.  His  two  admir- 
able pictures,  *'  Corvette  Russe  dans  le  bassin  de  TEure  " 
<1887)  and  "  Villefranche— la  rade"  (1893),  are  in  the 
Luxembourg. 

M.  Boudin  exhibited  with  the  Impressionists  in  their 
early  exhibitions.  And  his  methods,  and  appreciation  of 
colour  and  light,  show  that  his  aims  are  the  same  as 
theirs. 

^  M.  Sisley  died  January,  1899,  at  Moret,  after  a  long  and  painful  illness. 


448  A  HISTORY  OF  FRENCH  ART.  Ch.  XXI. 

Among  the  members  of  the  Impressionist  group  wp  may 
also  mention : — 

GcKNEUTTE,  NoRBKRT  (1854-1894),  who  died  at  the  ajje 
of  forty,  just  as  his  fine  etchings  and  his  singular  and 
interesting  paintings  were  giving  him  a  distinct  position. 
MoNTiCELLi,  Adolphe  (b,  Marseilles,  1824 ;  d.  1886),  who, 
though  belonging  to  a  much  older  generation,  had  a  great 
deal  in  common  with  the  later  school  in  his  methods  of 
colour,  and  his  most  curious  and  fantastic  scenes.  Bracque- 
MOND,  Fi&Lix,  O.*  (6.  Paris),  the  celebrated  engraver. 
MoRisoT,  Mme.  Berthe,  the  pupil  and  friend  of  Manet,  of 
whose  delicate,  yet  vigorous  work  the  Luxembourg  contains 
an  admirable  example. 


CHAPTEE  XXII. 

ARCHITECTURE  OF  THE  NINETEENTH  CENTURY. 

Unity  of  purpose — so  remarkable  an  attribute  of  the  French 
artistic  genius,  which  finds  its  highest  enjoyment,  its  most 
natural  and  national  expression,  in   the   well-ordered  lines 
of  Architecture — is  nowhere  seen  to  greater  advantage  than 
in  the  relations  of  Architecture  and  the  State.     The  State 
in  France  has  always  recognized  its  duty  to  Art,  although 
perhaps  it  has  not  been  uniformly  successful  in  fulfilling 
that  duty.     But  as  a  Builder,  the  State  has  given  evidence 
of  a  lively  artistic  conscience  ;  and  this  has  produced  results 
of  extreme  grandeur  and  importance.     The  evils  of  excessive 
centralization   and   State   aid   may   be   great.      They   may 
encourage  a  condition  of  tutelage,  and  check  private  initia- 
tive and  enterprise.     But  on  the  other  hand,  with  regard 
to  public  works,  the  gain  of  a  certain  unity  of  purpose  is 
immense.     A  Haussman  may  not  be  an  unmixed  blessing. 
But  **  it  must  be  acknowledged  that  if  Paris  were  divided 
into  a  number  of  vestries  or  other  local  organizations,  with 
a  Corporation  in  the  He  Saint  Louis,  and  a  County  Council 
**on  the  Boulevards,  it  would  not  be  the  very  beautiful  city 
**  that  every  one  owns  it  to  be."  ^ 

What  is  termed  in  France  '*  The  Administration  of  Fine 
Arts  "  is  no  new  invention.  Art,  as  I  have  endeavoured  to 
show,  was  at  first  wholly  dependent  upon  the  Church  ;  then 
with  the  full  development  of  the  Feudal  system,  on  the  King 
and  the  great  nobles ;  and  was  found  grouped  in  independent 
provincial  schools.  Later  on,  as  the  kingdom  and  body 
politic  became  organized  and  centralized,  Art  followed  the 
same   impulse.     It   became   ordered   and  organized   in  the 

^  A.  Barth^lemy. 

(449)  29 


450  A  HISTORY  OF  FRENCH  ART.  Ch.  XXIL 

Guilds,  and  centred  more  and  more  round  the  King  and  his 
Court,  wherever  that  might  happen  to  be  fixed — in  Touraine 
or  in  Paris.  Till,  with  the  founding  of  the  Academy,  Art 
became  official,  almost  exclusively  dependent  on  the  King 
and  the  State. 

The  official  department  of  Art  has  seen  many  vicissitudes. 
Up  to  the  Eevolution  of  1789,  the  **  Direction  des  Beaux 
Arts "   was   included   in   the   administration   of  the  Eoyal 
Buildings  and  Eoyal  Demesne.     The  first  Eepubhc  made  it 
a   part  of  the  Ministry  of   the  Interior.      In  1830  Louis 
Philippe  transferred  it  to  the  Ministry  of  Commerce  and 
Public  Works.    In  1833  it  was  divided  between  the  Ministry 
of  the  Interior  and  that  of  Public  Instruction.     In  1848  it 
was  attached — with  some  show  of  reason — to  the  Museums. 
With  the  third  Empire  it  was  first  joined  to  the  Ministry  of 
State  ;  then  to  the  Imperial  Household.     And  when  in  1870 
a  separate  Ministry  of  Fine  Arts  was  formed,  it  was  given 
the  direction  of  the  State  Stud  Farms  !    After  the  fall  of  the 
Empire,  the  Direction  of  Art  was  tossed  about  from  one 
department  to  another — always,  let  it  be  remembered,  doing 
good  work  for  the  State  in  spite  of  these  many  administra- 
tive changes — till  in  1881,  Gambetta  during  his  brief  term 
of  office  created  a  **  Ministry  of  Art  *' — not  of  Fine  Arts— a 
step  of   great  importance.     This,  however,  was  only  for  a 
time.     And   the   Administration   of   Fine  Arts   now  forms 
part  of  one  of  the  eleven  ministries  of  the  French  Govern- 
ment— the    **  Ministfere   de   Tlnstruction    Publique   et   des 
Beaux  Arts  ".    But  though  it  is  under  the  Minister  charged 
with   that   department.    Art   has   a   separate   head    in   the 
Director  of   Fine   Arts,  who   enjoys  a   position   of   almost 
imlimited   independence ;    and,  happily  for  the  interests   of 
French  Art,  is  not  changed  with  changes  of   Government. 
Many  distinguished  men  have  filled  this  unique  position. 
And  it  is  now  occupied  by  M.  Eoujon,  under  whose  wise 
and  able  conduct  French  Art  has  entered  upon  a  period  of 
imprecedented  liberty. 

Besides  being  the  chief  patron  of  Art,  in  whose  hands  are 
vested  the  powers  of  reward  and  encouragement,  the  State 


1800-1900.  ARCHITECTURE  OF  THE  NINETEENTH  CENTURY.    451 

in  France  exercises  three  distinct  functions  in  regard  to  Art. 
First,  as  an  Educator.  Secondly,  as  a  Curator.  Thirdly,  as  a 
Builder.  And  in  this  last — in  its  relations  to  Architecture — 
the  State  is  enabled  to  encourage  all  other  branches  of  Art, 
in  the  embellishment  of  the  buildings  it  erects. 

The  State  acts  as  an  Educator  by  three  means.  By  the 
Ecole  des  Beaux  Arts  in  Paris.  By  the  Academy  of  France 
in  Kome.  And  by  the  travelling  Scholarships  granted  to 
young  artists  whose  works  in  the  two  Salons  show  such 
talent  as  would  be  benefited  by  a  sojourn  in  foreign  countries. 
The  scope  of  these  Scholarships  has  been  greatly  extended 
of  late.  Italy,  Sicily,  and  Greece  are  no  longer  considered 
the  only  field  for  study.  And  the  Boursiers  now  go  to  Spain. 
Algiers,  Egypt,  and  even  to  the  far  East  to  study  the  monu- 
ments  of  India,  China  and  Japan. 

The  importance  of  the  Educational  function  of  the  State 
with  regard  to  Architecture  has  been  admirably  pointed  out 
by  Mr.  W.  H.  White,  late  Secretary  of  the  R.I.B.A.  *'  Any 
one,**  he  says,  '*  with  knowledge  sufficient  of  France  and  its 
architects  .  .  .  cannot  fail  to  admit  the  direct  influence  of 
organization  or  system  upon  the  national  Architecture  of 
that  country.  It  has  not  only  men  enough  to  design  and 
**  superintend  the  erection  of  public  buildings,  but  the  talents 
"  of  those  men  are  uniformly  good,  some  are  exceptionally 
"  good.  This  result  is  largely  due  to  systematic  training. 
'*  A  student  of  the  School  in  Paris  and  in  the  Academy  at 
'*  Rome,  who  for  a  time  works  in  a  subordinate  quality  on 

*  important  public  buildings,  in  due  course  endows  the 
'*  capital  with  a  Bibliothfeque  de  Ste.  Genevieve,  or  a  Palais 

*  de  Justice ;  and  though  I  am  treating  of  Paris  alone,  the 

*  system  holds  good   for  all  France.      Years  pass  and  he 

*  is  elected  by  the  Academy  to  fill  a  vacant  chair  in  the 

*  National  Institute ;  he  is  chosen  by  the  State  to  fill  per- 

*  haps  one  of  the  important  offices  of  Inspecteur-G6n6ral 

*  des  Monuments  Nationaux  des  Edifices  Diocesains,  or  des 

*  Batiments  Civils,  whereby  he  becomes  one  of  the  profes- 
'  sional  advisers  of  the  Minister  entrusted  with  the  charge 
'  of   a    public   department.     Thus   Schools,  Academy,  and 


452  A  HISTORY  OF  FRENCH  ART.  Ch.  XXIL 

"  State  work  together  for  the  general  good.  The  State 
**  moreover,  recognizes  and  supports  the  Acad^mie  des  Beaux 
**  Arts  as  the  domain  of  the  living  chiefs  of  painting,  sculp- 
*'  ture,  architecture, — the  acknowledged  arbiters  in  questions 
**  arising  out  of  the  theory  and  pra.ctice  of  the  Fine  Arts, 
**  and  men,  who  in  early  life  have  won  the  honours  that 
**  School  or  Academy  ofifer  to  merit,  whom  the  State,  eco- 
"  nomically  careful  of  its  investments,  assists  in  their  unequal 
**  struggle  with  the  sordid  interests  of  the  community  at 
**  large,  and  who,  figuratively  and  substantially,  reimburse 
**  the  country  a  hundred  times  for  the  cost  of  their  training 
**  in  Paris,  Rome,  Athens,  and  among  the  master  edifices  of 
'*  France." 

As  a  Curator,  the  State  has  done  work  of  incalculable 
importance  to  the  whole  civilized  world.  It  has  recognized 
that  it  is  the  trustee  of  the  treasures  of  Art  which  belong  to 
the  Nation ;  and  therefore  that  it  has  a  plain  duty  in  regard 
to  Museums,  and  in  the  protection  of  artistic  and  historic 
buildings.  French  museums  are  of  comparatively  recent 
date.  In  fact  they  nearly  all  date  from  the  Revolution,  before 
which  event  Art  treasures  were  in  private  collections.  The 
Revolution,  as  I  have  already  shown,  created  provincial 
museums,  as  well  as  the  national  ones  of  the  Louvre  and 
Lenoir's  Museum  of  Comparative  Sculpture  and  Architecture. 
Now  every  provincial  city  has  its  museum,  which  is  aided 
by  the  State  as  well  as  supported  by  the  local  Municipality. 
And  the  four  National  Museums  of  France  are  the  Louvre, 
the  Luxembourg,  Versailles,  and  Saint-Germain.  While  two 
other  museums  of  very  recent  date  have  been  instituted  with 
regard  to  their  direct  educational  effect  on  the  artists  of 
France.  These  are  the  Museum  of  Decorative  Art,  and  the 
Museum  of  Comparative  Sculpture  of  the  Trocadero. 

This  last,  which  originated  in  the  excellent  Lenoir's 
'*Musee  des  Monuments  Fran^ais '*  of  1795,  "is,  from  an 
'*  educational  point  of  view,  one  of  the  greatest  achievements 
"of  the  present  Government  in  France".  It  was  revived 
and  reconstituted  through  the  exertions  of  VioUet-Le-Due 
and  the  "Commission  des  Monuments  historiques  ". 


300.1900.  ARCHITECTURE  OF  THE  NINETEENTH  CENTURY.    453 

And  this  brings  us  to  one  of  the  most  important  move- 

aents  of  the  century.     "Founded  in  1837  the  Committee 

have  slowly  but   steadily  made  their  way,  thanks  to  the 

energy    and    talent    of    such    men    as    Merimee,    Vitet, 

Lenormant,  de  Laborde,  Lamartine,  Vaudoyer,  Labrouste, 

Questel,   Victor  Hugo,   Lasteyrie,   VioUet-Le-Duc,  Beul6, 

Quicherat,   Abadie,    Kuprich-Kobert,   M.M.   Boeswillwald, 

Antonin  Proust,  and  many  more.     The  Committee  enjoy 

an     almost    complete     independence,     disposing    as    the 

members  think  fit  of   the   money — more  than  a  million 

francs — put  every  year  in  their  hands  by  the  State.     It 

'  may  be  that  their  restauratiofis  have  not  always  been  fault- 

'  less.     But  they  have  done  great  service.     They  had  from 

*  the  first  three  objects  in  view :  a  classification  of  the 
'monuments  of  France;  the  constitution  of  a  museum  of 
'arts,    reproducing    the    different     specimens    of     French 

*  architecture  and  sculpture  from  the  time  when  those  arts 

*  first  had  conscience  of  themselves ;  and  the  passing  of  a 

*  bill  empowering  the  Government  to  oppose  the  destruction 
*of  a  classified  building,  when  such  a  destruction  is  con- 
''templated  by  the  owner,  whether  private  individual  or 
'  pubhc  body.  The  classification  has  been  made,  and  is  still 
"carried  on  as  far  as  the  movable  objects  of  art  are  con- 
'*  cerned ;  the  Trocadero  Museum  has  been  established  ;  and 
'*  since  1887  France  has  had  a  law  protecting  her  historical 
"buildings,  such  as  Sweden,  Norway,  and  Denmark 
"possessed  long  ago,  Italy  in  1872,  and  other  countries  at 

*  different  times."  ^ 

Lastly  the  State  is  a  great  public  builder.  And  if  it  fully 
recognizes  its  duty  and  its  power,  it  may  in  itself  become  a 
^eat  artist.  For  its  duty  in  this  department  is  to  promote 
lihat  perfect  artistic  collaboration  between  architects,  painters, 
md  sculptors,  which  alone  has  given  and  will  give  the  world 
aoble  and  complete  monuments.  This  artistic  completeness 
is  often  lost  sight  of.  But  we  may  safely  say,  that  in  spite 
3f  many  failures,  in  no  country  is  its  importance  so  fully 
recognized  as  in  France.     The  revival  of  Decorative  Art  is 

^Antoniu  Barthelemy. 


454  A  HISTORY  OF  FRENCH  ART.  .      Ch.  XXU. 

bringing  to  the  architect's  aid  the  talents  of  the  best  artists 
in  all  departments,  who  with  the  splendid  spirit  of  the 
sculptors  and  painters  of  the  past,  are  ready  to  serve  together, 
if  thereby  they  can  produce  a  whole  which  shall  be  worthy 
of  the  highest  civilization. 

The  work  done  by  the  State  in  France  as  a  builder  is 
of  prodigious  importance  in  the  nineteenth  century.     It  has 
left  a  mark  on  Paris — to  say  nothing  of  the  provinces — un- 
equalled since  the  days  of  Louis  XIV.     It  has  given  Paris 
some  of  its  noblest  monuments ;  while  it  has  preserved  and 
restored  those  which  otherwise  would  have  been  lost.    To 
the  architects  of  the  nineteenth  century  are  due  the  com- 
pletion of  the  Louvre  and  the  Madeleine.     The  building  of 
the  Arc-de-Triomphe.     The  Bourse.     The  Bibliothfeque  Ste. 
Genevieve.  The  Ecole  des  Beaux  Arts.  The  Palais  de  Justice. 
The  New    Sorbonne.     And   the   New  Opera — "one  of  the 
"  monuments  of  the  century  which  represent  progress  in 
**  Architectural  design,  and  the  most  typical  creation  of  the 
**  Style  Napoleon  III.".^    The  nineteenth  century  has  also  wit- 
nessed the  opening  of  that  superb  street,  the  rue  de  Eivoli. 
Begun  by  Napoleon  I.,  it  was  carried  from  the  Place  de  la  Con- 
corde beyond  the  Tuileries.     Napoleon  III.  cut  through  the 
thick  mass  of  buildings  about  the  Palais  Royal,  and  it  was 
pushed  on  to  the  Hotel  de  Ville.     It  has  now  been  carried 
right  on  by  the  rue  St.  Antoine  to  the  Place  de  la  Bastile— 
a   magnificent   artery  from  West   to   East.      Besides  this, 
under  Baron  Haussman  and  the  Empire,  and  of  late  under 
the  Republic,  new  Boulevards  and  Avenues,  streets,  squares 
and  public  gardens,  have  been  opened  out  in  all  directions. 
And  while  they  have  undoubtedly  destroyed  many  buildings 
of  historic  interest,  they  have  helped  to  produce  a  general 
effect  of  extreme  magnificence. 

The  temporary  buildings  of  the  great  Exhibitions — 
especially  that  of  1889— must  not  be  forgotten.  They  have 
displayed  architectural  quahties  of  a  very  high  order. 
While  the  magnificent  permanent  Palace  of  Art  which  is 
to  form  so  large  a  part  of  the  Universal  Exposition  of  1900, 

'  Fergusson. 


1800-1900.  ARCHITECTURE  OF  THE  NINETEENTH  CENTURY.    455 

will  endow  Paris  with  a  fresh  evidence  of  the  high  archi- 
tectural attainments  of  her  artists,  and  the  importance  of  the 
State  as  a  Builder. 

ARCHITECTS. 

Brongniart,  Alexandre-Th^iodore  {b.  Paris,  1739 ;  d. 
1813),  will  always  be  remembered  as  the  author  of  the 
Bourse,  in  Paris.  It  was  begun  in  1808,  in  the  full  tide  of 
the  Classic  revival.  And  whether  such  a  building  be  suitable 
or  no  for  such  a  purpose,  it  is  a  stately  and  magnificent 
object,  surrounded  by  a  colonnade  of  sixty-six  Corinthian 
pillars ;  and  is  one  of  the  purest  specimens  of  classical  archi- 
tecture in  Paris.  It  was  finished  by  Labarre  in  1826.  To 
Brongniart,  who  was  received  as  a  member  of  the  Boyal 
Academy  of  Architecture  in  1781,  were  also  due  the  TheMre 
Lou  vols ;  the  Hotels  de  Bondy,  Montessor,  and  Monaco  ;  the 
Bains  Antiques  in  M.  de  Bessenval's  Hotel,  decorated  by 
Clodion ;  ^  the  chapel  in  the  cemetery  of  Mont  St.  Louis, 
etc.,  etc. 

Baltard,  Louis-Pierre  {b.  Paris,  1764;  d,  1846),  owed 
his  success  to  no  master  but  himself.  He  was  both  architect 
and  painter,  as  well  as  a  prolific  writer  on  architectural 
subjects,  from  the  monuments  of  Rome,  to  prisons  and 
fortifications.  Government  architect.  Professor  of  Archi- 
tecture at  the  ficole  des  Beaux  Arts,  and  honorary  president 
of  the  Society  of  Architecture  at  Lyons,  he  exhibited  draw- 
ings, paintings  and  plans  in  most  of  the  Salons  from  1791  to 
1835.  In  the  city  of  Lyons  he  built  the  Magazin  a  Sel,  the 
prison  de  la  Perrache,  and  the  Palais  de  Justice — his  last 
work.  He  succeeded  Dufourny  as  architect  to  the  prisons 
of  Paris,  of  Bicetre,  and  of  les  Halles  et  Marches  ;  and  built 
the  chapels  of  Ste.  Pelagic  and  Saint  Lazare;  and  the 
magnificent  Abattoirs  of  La  Villette. 

Huvi;,  Jean-Jacques-Marie  (6.  Versailles,  1783  ;  d.  1852), 
the  son  of  another  J.  J.  Huve,  also  an  architect,  was  pupil 
of  his  father  and  Percier.  Under  Vignon  he  was  appointed 
Manager  of  Works  in  1808  for  the  **  Temple  de  la  Gloire,*' 

*  See  Clodion,  chap.  xi. 


456  A  HISTORY  OF  FRENCH  ART.  Ch.  XXH. 

which  in  1817  was  transformed  into  the  Church  of  La 
Madeleine.  And  on  Vignon*s  death  in  1828  Huv6  was 
appointed  architect,  and  completed  the  work  in  1842.  Its 
cost  amounted  to  £520,000. 

Percier,  Charles  {b.  Paris,  1764 ;  d.  1838). 

Fontaine,   Pierre  -  Francois  -  Li&onard  (6.  Pontoise, 
1762  ;  d.  1853). 

The  names  of  these  two  artists  are  so  indissolubly  con- 
nected that  it  is  not  possible  to  treat  them  separately.     In 
work  as  in  friendship,  they  were  associated.    Percier,  the  son 
of  an  old  soldier  who  was  Conciferge  at  the  Tuileries,  gained 
the  premier  prix  d* Architecture  in  1786  on  a,  projet  de  Paiais 
pour  la  vPAinion  de  toutes  les  Academies.     In  Rome  he  found  his 
friend  Fontaine  who  he  had  known  at  the  ficole,  and  who, 
only  receiving  a  second  prize,  had  come  to  Italy  at  his  own 
expense.    The  two  young  men  began  to  work  together.    And 
from  this  moment  no  influence  could  weaken  their  generous 
and  devoted  union.     Returning  to  France  in  1793,  the  two 
friends  found  themselves  penniless ;   and  were  glad  to  fur- 
nish  designs   to   the   famous   cabinet-maker,   Jacob.^     But 
at  last  Percier  was  appointed  architect  to  Malmaison.     He 
of  course  shared  his  good  fortune  with  Fontaine.     And  their 
future  was  assured  when  Napoleon  entrusted  the  two  friends 
with  the  completion  of  the  Louvre. 

Perrault's  building  was  ruinate,  and  had  to  be  finished 
before  anything  else.  Napoleon  then  (1802)  demanded  a 
scheme  for  uniting  the  Louvre  with  the  Tuileries  on  the 
north  of  the  Carousel.  Percier  and  Fontaine  submitted  no 
less  than  eleven  plans.  But  before  any  decision  was  arrived 
at,  the  rue  de  Eivoli  was  opened  ;  and  on  the  Emperor's 
return  from  Austerlitz,  the  vast  space  of  the  place  du 
Carousel  was  swept  free  of  the  buildings  and  houses  which 
encumbered  it.  In  1807  the  Arc  de  Triomphe  du  Carousel 
was  erected  between  the  two  palaces,  winning  the  grand  prix 
d 'architecture  for  Fontaine  in  1810.  They  then  set  about 
the  northern  gallery  from  the  Tuileries.  This  they  carried 
as  far  as  the  pavilion  de  Eohan.    But  happily  the  fall  of  the 

>  See  David,  p.  259. 


18001900.  ABCHITECTURE  OF  THE  NINETEENTH  CENTURY.     457 

Empire  put  an  end  to  their  scheme  for  cutting  the  huge 
j)lace  in  two,  by  a  transverse  Une  of  building  from  the  Pavilion 
Lesdiguiferes  to  the  Pavilion  de  Rohan  ;  and  the  magnificent 
open  space  was  saved  from  fresh  disfigurement.  After 
Napoleon's  fall  their  position  as  architects  to  the  Louvre 
was  continued  ;  and  they  completed  the  decoration  of  the 
Musee  Charles  X.,  etc.  They  had  already  (1807)  built  the 
two  great  staircases  at  each  end  of  the  Colonnade  of  the 
Louvre  ;  and  re-arranged  the  interior  of  the  Grande-Galerie. 
The  nine  bays,  the  columns  of  precious  marbles  which 
divide  them,  and  the  lighting  of  this  magnificent  gallery, 
are  due  to  Percier  and  Fontaine.  It  was  finished  just  before 
the  marriage  of  Napoleon  and  Marie-Louise,  2nd  April,  1810. 

After  1830  Fontaine  alone  continued  architect  to  Louis 
Philippe  ;  and  Percier  spent  the  last  years  of  his  life  in  his 
friend's  appartement  in  the  Louvre.  With  the  third  Empire, 
Fontaine  hoped  that  at  last  he  would  be  able  to  carry  out 
his  projects  for  the  completion  of  the  Louvre.  But  he  died 
in  1853.  And  it  was  left  to  Visconti  and  Lefuel  to  accomplish 
the  great  work. 

Visconti,  Louis-Tullius-Joachin  (b.  Eome,  1791 ;  d. 
1853). — Though  he  was  the  son  of  an  Italian — Ennius 
Visconti,  the  celebrated  archaeologist,  who  Napoleon  I.  em- 
ployed to  organize  the  museum  of  antiques  and  pictures  at 
the  Louvre — yet  Visconti  must  be  included  among  French 
architects.  He  was  naturalized  at  the  age  of  eight ;  brought 
up  in  the  Louvre  by  his  father;  as  a  pupil  of  Percier  he 
entered  the  Iiicole  des  Beaux  Arts  in  1808 ;  and  gained  the 
second  prize  in  1814.  He  was  made  an  Oflicier  of  the  Legion 
d'Honneur  in  1846 ;  and  a  Membre  de  I'lnstitut  in  1853. 

In  spite  of  his  father's  high  position,  Visconti  began 
humbly  as  manager  of  works  at  the  Entrepot  des  Vins  in 
1820.  He  then  became  sub-inspector  to  the  Ministere  des 
Finances  ;  inspector  in  1822 ;  and  a  little  later  architecte-voyer 
to  the  third  and  eighth  arrondissements— a  post  he  kept  for 
twenty-two  years.  In  1824  he  built  the  Fontaine  Gaillon. 
And  the  next  year,  as  architect  to  the  Bibliotheque  Nationals 
he  prepared  twenty-nine  different  plans  for  the  restoration 


458  A  HISTORY  OF  FRENCH  ART.  Ch.  XXIL 

and  arrangement  of  this  vast  building.     But  it  proved  a  dream 
that  he  was  unable  to  realize.     Under  Louis  Philippe  he 
executed  many  works — among  them  the  Fontaine  Moliere; 
the   Hotel   Collot,  quai   d*Orsay ;    Hotel  Pontalba  ;    many 
tombs,  etc.     And  as  architect  to  the  Minister  of  the  Interior 
for  Fetes  PiMiqms — undertakings  in  which  the  imaginative 
faculty  bears  so  large  a  part — his  success  was  very  great.    It 
was  Visconti  who  arranged  the  funeral  of  Napoleon  I.,  in 
1840,  of  which  Victor  Hugo  gives  so  moving  a  picture  in 
Choses  Vues ;  and  the  F6te  of  15th  August,  1853.     Visconti 
also  gained  the  competition  in  1842  for  Napoleon's  tomb. 

But  his  greatest  work  was  the  completion  of  the  Louvre,, 
for  which  he  furnished  the  general  plan.  The  difficulties 
were  immense,  because  the  lines  were  not  parallel.  But  he 
cleverly  managed  to  disguise,  not  to  destroy,  this  defect ; 
and  by  means  of  a  double  lateral  gallery,  succeeded  in 
harmonizing  the  apparently  insurmountable  dilBferences  of 
parallelism  between  the  buildings  along  the  river  face,  and 
those  along  the  rue  de  Eivoli.  The  first  stone  was  laid  in 
July,  1852.  In  July,  1853,  the  walls  were  half  way  up  of  the 
buildings  joining  the  old  Louvre — i.e.,  the  Cours  Visconti  and 
Lefuel,  and  the  pa\'illons  Daru,  Denon,  and  Molien,  with 
which  every  one  who  has  visited  Paris  is  familiar  as  the  part 
of  the  palace  by  which  we  enter  the  picture  galleries.  Those 
of  the  rue  de  Eivoli  were  finished  as  far  as  the  roof  line. 
But  on  29th  November,  1853 — fifteen  months  after  this  im- 
mense work  was  begun — Visconti  died  suddenly  of  apoplexy. 
And  his  superb  scheme  had  to  be  carried  out  by  Lefuel. 

Lefuel,  Hector  Martin  (b.  Versailles,  1810 ;  d.  Paris,. 
1880),  entered  the  Ecole  des  Beaux  Arts  in  1829.  He  gained 
the  grand  Prix  de  Eome  in  1839.  Became  architect  of  the 
Palace  of  Meudon ;  then  of  that  of  Fontainebleau ;  and  in 
1854  succeeded  Visconti  on  the  works  of  the  Louvre  and 
Tuileries. 

On  succeeding  Visconti,  Lefuel  made  various  alterations 
and  additions  with  regard  to  the  decorations :  but  he  adhered 
to  the  general  plan  of  his  predecessor.  He  arranged  the 
interiors,  designed  the  rich  ornamentation  on   the  rue  de 


1800-1900.  ARCHITECTURE  OF  THE  NINETEENTH  CENTURY.    459 

Eivoli,  and  decorated  the  facades,  directing  the  work  of  154 
sculptors  and  an  army  of  decorators.  And  on  14th  August, 
1867,  the  **  New  Louvre ''  which  we  all  know,  was  solemnly 
inaugurated  by  the  Emperor. 

Blouet,  Guillaume  Abel  (b,  Paris,  1795;  d.  1853), 
**un  veritable  artiste,  une  intelligence  d 'elite,  un  homme 
**  plein  de  decision  et  de  jugement,*'  gained  the  prix  de  Borne 
in  1821.  Ten  years  later  we  find  him  chief  of  the  French 
scientific  expedition  to  the  Morea.  And  in  1832  he  replaced 
Huyot  as  the  architect  chosen  to  complete  the  Arc  de 
Triomphe  de  Tfitoile.  This  magnificent  monument  was 
begun  in  1806  by  Chalgrin.  But  the  work  had  progressed 
slowly  ;  architects  and  plans  ahke  had  been  frequently 
changed ;  and  it  was  not  until  Blouet  succeeded  Huyot,  that 
the  work  was  vigorously  pushed  on  to  its  completion. 
Thoroughly  convinced  of  the  high  merit  of  Chalgrin's  original 
conception,  BloueVs  only  endeavour  was  to  carry  this  to  its 
logical  conclusion.  He  returned  to  Chalgrin's  plan  of  monu- 
mental trophies  on  the  four  piles  of  the  Arch.  And  M. 
Thiers  suggested  that  Rude  should  furnish  the  scheme  of 
decoration.^  To  Blouet  therefore  France  owes  the  **  definite 
"  realization  of  the  finest  architectural  idea  of  the  century  ".'- 

Besides  this  great  work,  Blouet  was  one  of  the  chief 
authorities  on  penitentiaries  upon  the  cellular  system.  He 
constructed  the  buildings  for  the  well-known  Agricultural 
Colony  of  Mettray ;  and  wrote  many  valuable  reports  and 
suggestions  on  prisons.  He  also  restored  and  embellished 
the  gardens  and  palace  of  Fontainebleau  ;  and  erected  the 
tombs  of  Bellini  and  Casimir  Delavigne. 

DuBAN,  F6lix  (b.  Paris,  1797  ;  d.  1870),  was  for  the  last 
twenty  years  of  his  life  one  of  the  best  known  personalities 
in  Paris.  "  As  he  walked  along  the  Quai  Voltaire,  on  his 
"  way  to  the  ficole  des  Beaux  Arts  or  the  Institute,  even 
*'  those  who  were  not  personally  acquainted  with  him 
**  were  tempted  to  bow  to  him,  because  they  felt  themselves 
"in  the  presence  of  a  man  of  note."^  Dignified  and  im- 
posing, yet  with  the  eye  of  the  dreamer,  Felix  Duban  might 

^  See  Rude,  chap,  xxiii.  *  jjouis  Gonse.  •*  Charles  Blanc. 


460  A  HISTORY  OF  FRENCH  ART.  Ch.  XXII. 

have  been  mistaken  for  a  speculative  philosopher — a  retired 
Minister  of  State — a  subtle  writer — for  anything  rather  than 
the  professor  of  such  a  positive  science  as  Architecture. 
Indeed — as  his  friend  M.  Charles  Blanc  has  pointed  out— 
the  strong  dose  of  poetry  which  he  brought  to  bear  on  archi- 
tecture might  have  upset  the  absolutely  essential  balance 
between  sentiment  and  reason,  without  that  first  quality  of 
a  builder  —  the  firm,  steady  good  sense  which  Duban 
possessed  in  so  high  a  degree. 

It  was  this  poetic  and  imaginative  faculty  which  not  only 
enabled   Duban   in   his   admirable   drawings   and   plans  to 
reconstitute  the  buildings  of  ancient  Rome  and  Pompei — the 
spot   where   first   he   experienced  the  enchantment   of  the 
Greco-Eoman  genius — but  later  on  helped  him  to  complete 
the  Galerie   d'Apollon,  and  to  build  the  iicole  des  Beaux 
Arts.     This  last  was  a  most  complicated  work.     Its  require- 
ments were  many  and  varied,  with  its  studios  for  work  from 
the  model,  for  the  teaching  of  all  the  arts  ;  assembly  rooms 
for  the  professors ;  cells  for  the  competitors  for  the  Prix  de 
Rome  ;  a  Library  ;  a  Museum  for  the  diploma  works  ;  vast 
spaces  for  casts  from  the  antique ;  one  hall  for  competitions, 
another  for  prize  works  ;  a  great  gallery  for  the  Envois  de 
Bovie  ;  and  a  theatre  for  the  distribution  of  prizes.    Added  to 
this,   the  remains   of   the   ancient    Convent   of    the    Petits 
Augustins,  their  cloister,  their  garden,  their  church,  had  all 
to  be  turned  to  some  use.     And  it  was  necessary  also  to  incor- 
porate  those   exquisite   specimens   of   French   Architecture 
already  on   the   spot,   which   Lenoir  had   collected   during 
the   revolution  —  the   gateway   of   Anet,   the   fragments  of 
Gaillon,  etc.     Duban  s  perfect  taste  enabled  him  to  succeed 
in  this  most  diflicult  task ;  evolving  a  building  which  was 
mainly  in  the  style  of  the  Italian  renaissance,  **  but  with  a 
"  more  lively  sentiment  of  the  spirit  of  antiquity  ".     And  to 
those  who   much  frequent   the  Ecole  des  Beaux  Arts,  the 
whole   building   is   invested  with   the  charm   of   unity  and 
repose. 

But  Duban's  success  did  not  stop  with  the  Beaux  Arts. 
To  hun  we  owe  the  restorations  of   the  Sainte-Chapelle ; 


1800-1900.  ARCHITECTURE  OP  THE  NINETEENTH  CENTURY.    461 

the  fa9ade  of  the  Old  Louvre  facing  the  river ;  the  Galerie 
d'Apollon  which  had  remained  untouched  since  the  great  fire 
of  1661 ;  and  the  Chateau  de  Blois,  that  most  marvellous  of 
Renaissance  buildings.  In  all  these,  Duban's  extraordinary 
intuition  as  well  as  his  profound  archsBologic  knowledge^ 
enabled  him  to  reconstitute  each  building  by  an  effort  of 
imagination ;  and  to  work  from  the  vision  which  his  in- 
telhgence  and  his  poetic  instinct  had  conjured  up. 

Needless  to  add  he  was  a  most  active  member  of  the 
Commission  des  Monuments  historiques. 

Labrouste,  Henri  {b.  Paris,  1801 ;  d.  1875), — ^pupil  of 
Vaudoyer  and  Lebas,  won  the  grand  prix  de  Eome  in  1824 
with  a  Cour  de  Cassation.  His  fine  drawings  of  the  Temple  of 
Neptune  at  PsBstum  are  preserved  in  the  Archives  of  the 
Institute.  They  were  a  revelation  of  the  true  import  of 
Doric  architecture  in  all  its  magnificence ;  and  Labrouste 
was  the  first  to  discover  traces  of  the  use  on  the  exterior 
of  polychromatic  work,  which  made  a  considerable  stir  at 
the  Institute. 

His  great  work  was  the  Bibliothfeque  Ste.  Genevieve 
(1843-49).  And  he  succeeded  Visconti  as  director  of  the 
works  of  the  Bibliotheque  Nationale.  Besides  this  M. 
Labrouste  built  the  Hospice  at  Lausanne.  La  Prison  cellulaire 
d'Alexandrie.  Le  petit  college  de  Sainte-Barbe  at  Fontenay- 
aux-Eoses.  And  with  M.  Due,  his  fellow- worker  at  Paestum, 
he  organized  the  ceremonie  des  funerailles  des  victinies  de  Juin^ 
1848. 

Diocesan  Architect  of  Ile-et-Vilaine ;  Vice-president  of 
the  Soci^t6  Centrale  des  Architectes ;  Member  of  the  Com- 
mission des  Monuments  historiques,  of  the  Conseil  des 
batiments  civils,  and  of  the  Jury  des  beaux-arts,  M.  Labrouste 
was  one  of  the  most  influential  architects  of  the  century. 

Vaudoyer,  Leon  {b,  Paris,  1803;  d.  1872),  gained  the 
premier  prix  de  Eome  in  1826  with  a  projet  de  Palais  pcnir 
VAcademie  de  France  a  Rome.  In  1845  he  was  appointed 
architect  to  the  Abbaye  Saint-Martin  des  Champs,  whose 
buildings  were  appropriated  to  the  Conservatoire  des  Arts  et 
Metiers.     Vaudoyer  restored  the  church  and  refectory  of  the 


462  A  HISTORY  OF  FRENCH  ART.  Ce.  XXII. 

famous  monastery;  and  added  the  new  portions  of  the 
building,  which  harmonize  admirably  with  the  fine  remains 
of  the  original  edifice.  To  Vaudoyer  also,  is  due  the  monu- 
ment to  General  Foy  in  Pere  Lachaise,  of  which  David 
d'Angers  executed  the  sculpture.  But  his  greatest  work  is 
the  new  Cathedral  of  Marseilles.  He  laid  the  foundations  in 
1855,  and  devoted  the  whole  of  the  remaining  years  of  his 
life  to  this  magnificent  work,  though  he  was  not  destined  to 
see  its  completion. 

His  son,  M.  Alfred  Vaudoyer,  is  also  a  distinguished 
architect. 

QuESTEL,  Charles  Auguste  (b.  Paris,  1807 ;  d.  1888), 
a  pupil  of  Vincent,  Blouet,  and  Duban,  was  one  of  the  most 
active  of  the  architects  of  the  third  Empire. 

The  Amphitheatre  of  Aries,  and  the  Pont  du  Gard  were  re- 
stored by  him.  While  among  his  original  buildings  are  the 
Church  of  Saint-Paul,  Nlmes,  1838 ;  Fountain  of  Nlmes 
1846 ;  Prefecture,  1862,  and  Mus6e,  1864,  Grenoble  ;  Hospice 
de  Gisors,  1862  ;  Asile  des  Ali^nes,  Paris,  1863  ;  etc.,  etc. 

Lassus,  J.  B.  Antoine  {b.  Paris,  1807 ;  d.  1857),  one  of 
the  greatest  Gothic  architects  of  the  century,  was  charged 
with  the  restoration  of  the  Palais  de  Justice,  and  the  Sainte 
Chapelle — that  gem  of  early  pointed  architecture.  He  also 
began  the  restorations  of  Notre  Dame,  and  of  Saint  Denis, 
in  conjunction  with  Viollet-Le-Duc.  He  built  the  ilglise 
Saint  Nicholas,  Moulins ;  the  Eglise  Saint  Nicholas,  Nantes. 
And  was  the  author  of  many  and  learned  works  upon  the 
history  of  Gothic  Architecture — among  others  the  valuable 
monograph  on  the  Cathedral  of  Chartres,  written  in  collabora- 
tion with  M.  Amaury-Duval. 

Viollet-Le-Duc,  EuGfeNE,  C*  (b.  Paris,  1814 ;  d,  Lau- 
sanne, 1879). — Few  men  have  had  so  great  an  influence  on 
the  Art  of  their  own  time,  few  have  made  so  valuable  a 
contribution  to  the  history  and  science  of  architecture  as 
Viollet-Le-Duc.  His  writings  alone  would  have  formed  a 
life's  work  for  most  men.  The  famous  Dictiomiaire  raisonne 
de  rArchitecture  Fran^aise,  in  ten  volumes,  is  the  standard 
work  on  its  subject.    So  is  the  Dictionnaire  du  MobUierfrangais, 


1800-1900.  ARCHITECTURE  OF  THE  NINETEENTH  CENTURY.     463 

Not  to  mention  essays  and  books  innumerable  on  kindred 
subjects.  But  it  is  as  a  restorer  of  some  of  the  most  precious 
buildings  of  France  that  we  must  study  VioUet-Le-Duc's 
career.  For  from  1840  he  worked  continually  for  and  with  the 
Commission  des  Monuments  historiques,  and  helped  to  found 
that  most  valuable  institution  the  Museum  of  Comparative 
Architecture  of  the  Trocadero.  It  is  indeed  impossible  to 
over-estimate  the  debt  which  France  and  the  world  at  large 
owes  to  this  distinguished  and  learned  man. 

A  pupil  of  Leclere,  young  Viollet-Le-Duc  on  leaving  his 
studio  in  1831,  travelled  for  eight  years  in  France,  Italy,  and 
Sicily,  closely  studying  the  buildings  of  these  countries.  On 
his  return  in  1839  he  was  appointed  auditor  to  the  C<ynsdl 
des  hatiments  civils  and  inspector  of  works  at  the  Sainte- 
Chapelle  with  Lassus. 

In  1840  the  Commission  des  Monuments  historiques 
entrusted  him  with  the  restoration  of  the  Abbey  Church  of 
V6zelay ;  ^  and  of  the  churches  of  Montreal ;  Saint  Pierre- 
sous-V^zelay  ;  Semur ;  Saint-Nazaire  ;  Carcassonne ;  and  the 
Hotels  de  Ville  of  Saint-Antonin  and  Narbonne.  A  com- 
petition for  the  restoration  of  Notre  Dame  de  Paris  was  opened 
in  1843.  The  plans  of  Viollet-Le-Duc  and  Lassus  were  chosen : 
but  it  was  several  years  before  the  works  began.  Meanwhile 
in  1846  he  was  appointed  Architect  to  the  Abbey  Church 
of  Saint-Denis,  and  Inspector-general  of  diocesan  edifices  in 
1853.  Besides  these  important  functions  he  carried  on  the 
restorations  of  Amiens  and  Eeims.  And  his  colossal  Diction- 
aries were  published  between  1853  and  1858.  After  the 
death  of  Lassus  in  1857,  Viollet-Le-Duc  remained  sole  archi- 
tect of  Notre  Dame.  The  beauty  of  his  restoration  of  that 
incomparable  cathedral  is  known  to  every  one  who  has  visited 
Paris.  He  built  the  fleche  which  crowns  the  transept,  and 
completed  the  work  as  we  see  it  to-day. 

But  in  spite  of  these  prodigious  tasks,  Viollet-Le- 
Duc  found  time  from  1851  to  1854  to  travel  in  Germany, 
England,  Spain,  and  Algeria,  for  the  purpose  of  study. 
And  in  1858  he  undertook  the  rebuilding  of  the  Chateau  de 

^  See  chap.  ii. 


464  A  HISTORY  OF  FRENCH  ART.  Ch.  XXH. 

Pierrefonds — a  work  of  extreme  interest  and  magnificence, 
which  was  not  completed  till  1875. 

Among  his  other  restorations  and  constructions  are  the 
Churches  of  Saint- Andr6,  Autun ;  Notre  Dame  k  Beaune ; 
Notre  Dame  at  S^mur-en-Auxois ;  Neuvy- Saint -S^pulcre 
(Indre) ;  Saint  Sernin,  and  Le  Convent  des  Jacobins, 
Toulouse ;  Le  Chateau  de  Montbard  (C6te  d'Or) ;  Salle 
Syndicale,  Sens ;  Church  and  Cloister  of  Moissac  ;  Bamparts 
of  Carcassonne ;  Palais  des  Papes  and  ramparts,  Avignon ; 
Church  of  Eu. 

Bailly,  Antoine-Nicholas,  M.  de  lInst.  (b.  Paris. 
1810),  a  pupil  of  Debret,  was  chief  divisional  architect  to  the 
City  of  Paris,  and  diocesan  architect  to  the  departments  of  le 
Cher,  rindre,  les  Basses- Alpes,  and  la  Drome.  He  built  the 
Tribunal  de  Commerce,  a  fine  work  in  the  Renaissance  style, 
in  Paris,  1860-65  ;  the  fa9ade  of  the  Lyc^e  St.  Louis,  1861- 
65  ;  and  the  Mairie  of  the  fourth  Arrondissement,  1866. 

As  Diocesan  architect  at  Bourges  his  work  was  of  great 
importance  ;  as  to  him  is  due  the  restoration  of  parts  of  the 
Cathedral,  and  of  the  justly  celebrated  Hotel  Jacques  Coeur — 
one  of  the  most  delightful  of  mediaeval  buildings.  Bailly 
also  rebuilt  the  Cathedral  of  Digne  ;  and  the  tower  of  that 
of  Valence  ;  besides  many  private  hotels  and  chateaux. 

Magne,  Auguste  (b.  Etampes,  1816 ;  d.  1885),  pupil  of 
Debret  and  Gu^nepin,  is  the  author  of  the  restorations  of 
the  Palais  de  ITnstitut,  and  the  Mont  Saint-Michel.  While 
in  Paris  he  built  the  Eglise  Saint  Bernard,  1862 ;  the 
Theatre  du  Vaudeville,  1872 ;  the  March^  des  Martyrs ; 
and  the  Marche  de  I'Ave-Maria. 

BcESWiLLWALD,  Emile,  C*  (6.  Strasbourg,  1815),  a  pupil 
of  Labrouste,  entered  the  i^cole  des  Beaux  Arts  in  1837. 
An  architect  of  much  distinction  and  learning,  he  has  been 
one  of  the  most  active  members  of  the  Commission  des 
Monuments  historiques.  The  Commission  appointed  him 
their  Inspector-General ;  besides  which  important  office  he 
has  been  architect  to  the  Sainte-Chapelle,  and  diocesan- 
inspector  of  the  Basses-Pyrenees,  Eure-et-Loir,  wad  la 
Sarthe.     To   M.    Boeswillwald   are   due   the   plans   for  the 


1800-1900.  ARCHITECTURE  OF  THE  NINETEENTH  CENTURY.     465 

restoration  of  the  Cathedral  of  Laon,  which  were  exhibited 
in  1844,  and  again  in  1855.  He  also  built  the  churches  of 
Niederhaslach,  Neuwiller,  and  Guebwiller,  in  Alsace-Lorraine, 
etc.,  etc. 

Denuelle,  Alexandre  {b,  Paris,  1818  ;  d.  1879),  though 
not  strictly  speaking  an  architect,  was  an  architectural 
painter,  whose  work  as  painter  to  the  Commission  des 
Monuments  historiques  was  of  great  value.  To  M.  Denuelle 
is  due  the  decoration  of  Saint-Germain-des-Prfes,  Paris ;  of 
the  Grande  Galerie  of  the  Louvre ;  of  the  Cathedrals  of 
Limoges,  Bayonne,  Toulouse,  Carcassone,  Grenoble,  Orleans, 
Beauvais,  Amiens,  S6ez,  Fr^jus ;  the  Abbey  of  St.  Denis  ; 
the  Oratory  at  Birmingham  ;  and  numberless  other  buildings 
in  France. 

Ballu,  Theodore  {b.  Paris,  1817  ;  d,  1885),  who  com- 
pleted the  modem  Gothic  Church  of  Ste.  Clotilde,  begun  by 
Gau,  rebuilt  the  Hotel  de  Ville,  after  its  destruction  during 
the  Commune  of  1871. 

Millet,  Eugene  (6.  Paris,  1819;  d.  1879),  a  pupil  of 
Labrouste  and  Viollet-Le-Duc,  was  in  turn  the  master  of 
many  of  the  most  distinguished  architects  of  to-day.  He 
designed  the  well-known  Church  of  Paray-le-Monial ;  the 
Chapelle  Saint-Gilles  at  Troyes  ;  the  Churches  of  Ch^teau- 
neuf ;  Chatel-Montagne,  etc.  But  his  greatest  work  was 
the  restoration  of  Saint-Germain-en-Laye — a  gigantic  under- 
taking which  he  did  not  live  to  carry  out.  It  has  been  in 
hand  for  twenty-five  years,  and  it  is  not  yet  finished  :  but 
the  old  palace,  which  has  undergone  so  many  changes  and 
such  cruel  usage,  has  been  admirably  reconstituted. 

EuPRiCH-EoBERT,  Victor-Marie-Charles  (b.  Paris, 
1820 ;  d.  1887),  was  one  of  the  most  active  and  valuable 
members  of  the  Commission  des  Monuments  Historiques, 
which,  as  I  have  said,  has  conferred  such  inestimable  benefits 
not  only  on  France  but  on  all  who  are  interested  in  the 
architecture  of  the  past.  To  his  learning  and  care  we  owe 
the  restoration  of  some  of  the  most  magnificent  monuments 
of  the  Middle  Ages  and  the  Eenaissance. — The  Abbaye-aux- 

Dames,  Caen;  the  Chateau  d*Amboise,  which  is  still  going  on; 

80 


J 


466  A  HISTORY  OF  FRENCH  ART.  Ch.  XXII. 

Saint-Sauveur,  Dinan  ;  Saint-Luc,  Calvados ;  The  Cathedral 
of  Seez,  Orne  ;  and  many  others. 

From  1851  M.  Euprich-Eobert  lectured  on  the  history  and 
composition  of  ornament  at  the  Imperial  school  of  design 
and  mathematics.  And  besides  his  innumerable  drawings 
and  plans  which  appeared  every  year  in  the  salons,  and 
most  of  which  are  now  in  the  Archives  of  the  Monuments 
Historiques,  he  wrote  many  valuable  pamphlets  on  archi- 
tectural subjects. 

Garnier,  Charles,  G.  0.*,  M.  de  lInst.  (b.  Paris,  1825 ; 
d,  Paris,  1898). — The  death  of  M.  Charles  Garnier,  in 
August,  1898,  removes  a  distinguished  and  well-known 
personality  from  French  Art.  A  pupil  of  Leveil  and  Lebas, 
Charles  Gamier  entered  the  ficole  des  Beaux  Arts  at  the  age 
of  seventeen.  In  1848  he  carried  ofif  the  grand  prix  d'archi- 
tecture.  And  his  friendship  with  Baudry,  which  had  begun 
at  the  Ecole,  was  strengthened  when  the  painter  arrived  at 
the  Villa  Medicis,  two  years  later. 

After  Charles  Garnier's  course  of  study  in  Eome  w^as  over, 
he  travelled  with  Th^ophile  Gautier  and  Edmond  About  in 
Italy,  Greece,  and  Turkey;  returning  to  Paris  in  1854. 
Eight  drawings  of  the  actual  condition  and  a  restoration  of 
the  **  Temple  de  Jupiter-Pan-hellenien,"  at  Egina — made  in 
1852 — w^ere  exhibited  in  the  Salon  of  1855.  Meanwhile, 
Garnier  was  appointed  sub-inspector  of  works  for  the  re- 
storation of  the  Tour-St.-Jacques,  a  small  and  ill-paid  post ; 
and  in  1860  he  became  architect  to  the  city  of  Paris. 

But  his  great  talent  was  not  recognized  until  M.  Walew- 
ski.  Minister  of   State,  opened  a  competition   for   the  con- 
struction of  the  New  Opera  House.     His  project  was  one  of 
170  which  were  sent  in  by  all  the  best  architects  in  France. 
It  was  unanimously  chosen.     A  plaster  plan,  executed  at  the 
artist's  expense,  was  exhibited  by  a  special  decree  without 
appearing   in  the  catalogue,  at  the  Salon  of  1863,  and  the 
works  of  the  New  Opera  House  were  begun  at  once.     With 
unlimited  money  at  his  disposal,  M.  Garnier  was  able  to 
give  full  scope  to  his  vivid  imaginative  faculty.     The  mag- 
nificent building  was  not  finished  until  1875 — during  the  War 


1800-1900.  ARCHITECTURE  OF  THE  NINETEENTH  CENTURY.     467 

of  1870-71  it  was  used  as  a  granary.  The  architect  called  to 
his  aid  the  talent  of  all  the  best  sculptors  and  painters  of  the 
day.  Carpeaux's  "Danse"  on  the  exterior,  and  Paul  Baudry's 
decoration  of  the  Foyer,  give  some  idea  of  the  superb  scale 
on  which  M.  Garnier  carried  on  his  Hfe's-work — for  such  in 
fact  it  was.  With  a  few  exceptions  since  1875,  he  has  been 
almost  exclusively  occupied  with  his  duties  as  permanent 
architect  to  the  Opera.  Among  the  exceptions  are :  The 
Casino  of  Monte  Carlo,  1879.  The  House,  No.  195  Boule- 
vard Saint-Germain,  Paris,  1880.  The  Observatory,  Nice. 
Panorama  Marigny,  Champs  Elysees,  Paris,  1883.  And  the 
extremely  interesting  historic  series  of  dwellings,  L'histoire  dc 
Vhahitation,  at  the  Universal  Exposition  of  1889. 

Paul  Baudry's  portrait  and  Chaplain's  medal  have  made 
us  familiar  with  the  personal  appearance  of  this  great 
artist,  who  was  also  a  distinguished  writer  upon  his  pro- 
fession. 

Vaudremer,  ^mile-Joseph-Auguste,  O.*,  M.  de 
l'Inst.  (6.  Paris,  1829). — A  pupil  of  Blouet,  M.  Vaudremer 
gained  the  grand  prix  de  Eome  in  1854.  His  most  important 
works  are  the  Prison  de  la  Sant6.  The  restoration  of  the 
lateral  fa9ade  of  the  church  of  Saint  Germain  I'Auxerrois. 
And  the  Bishop's  Palace,  Beauvais. 

The  most  important  works  of  M.  Sauvageot,  Louis- 
Charles,  *  {h.  Santenay,  C6te  d'Or,  1842),  a  pupil  of  M. 
Emile  Millet  and  VioUet-Le-Duc,  are  to  be  found  at  Kouen, 
where  he  is  Government  and  City  Architect.  Among  these 
are  the  Theatre  des  Arts,  the  Mus^e-Bibliothfeque,  the  Church 
of  St.  Hilaire,  and  many  other  buildings  and  monuments. 

Ni:N0T  Paul,  0.*,  M.  de  l'Inst.  (6.  Paris),  who  gained 

the  Prix  de  Eome  in  1877,  has  had  a  rapid  success  in  life ; 

for  eighteen  years  later  he  was  elected  a  membre  de  I'lnstitut, 

\    in  recognition  of  his  great  work,  the  building  of  the  New 

Sorbonne. 

Formig6,  J.  Camille,  0.*  {h,  au  Bouscat,  Gironde,  1845), 
a  pupil  of  Laisne,  was  the  architect  of  what  were  familiarly 
known  as  the  two  "  Bltie  Palaces  "  at  the  Universal  Exposition 
of  1889,  or  to  give  them  their  official  names,  the  Palais  des 


M 


468  A  HISTORY  OF  FRENCH  ART.  Ch.  XXD. 

Arts-LiWraux,  and  the  Palais  des  Beaux-Arts.  To  M. 
Formig^  was  also  due  the  plan  of  the  great  central  fountain 
in  the  gardens,  of  which  M.  Coutan  was  the  sculptor. 

M.  Formig6  has  for  many  years  been  employed  by  the 
Commission  des  Monuments  historiques. 

BouvARD,  Joseph- Antoine,  0.*  (6.  St.  Jean  de  Bournay, 
Isfere), — a  pupil  of  Dufeux,  is  closely  connected  with  the 
Exhibitions  of  1889  and  1900.  For  he  was  the  author  of 
the  Palais  des  Expositions  Diverses  at  the  first — that  charm- 
ing central  dome,  which  we  cannot  but  regret,  now  that  it 
has  been  demolished  to  make  way  for  the  gigantic  Exhibition 
of  1900,  to  which  M.  Bouvard  is  the  Director  of  Works. 

Among  his  other  works  are  the  building  for  the  Archives 
de  la  Seine,  and  the  completion  of  the  Hotel  Camavalet. 

DuTERT,  Ch.  L.  F.,  0.*  (6.  Douai,  1845).— M.  Dutert  who 
carried  ofiF  the  Prix  de  Kome  in  1869,  was  a  pupil  of  Lebas 
and  Ginain.  An  artist  of  bold  and  original  genius,  he  con- 
structed the  Galerie  des  Machines  of  the  Exhibition  of  1889, 
showing  therein  what  admirable  use  modern  architecture 
might  make  of  novel  materials,  *' and  how  utilitarian  iron 
'*  work,  honestly  confessed  without  deception  or  falsehood, 
'*  might  possess  its  role  and  its  own  beauty  in  decoration". 
For  the  whole  eifect  of  those  great  arches  was  grandiose  in 
the  extreme.  And  M.  Dutert's  last  work — the  New  Museum 
of  Natural  Histor}^  adjoining  the  Jardin  des  Plantes,  has  more 
than  confirmed  the  reputation  he  gained  in  1889. 

In   this  great   red  brick  and  white  stone  building,  M. 
Dutert  has  given  proof  once  more   and  in  an  even   more 
impressive  manner,   of  his   originality,    while  preserving  a 
proper  architectural  dignity  in  the  whole  conception.     It  is 
in  the  decoration  of  this  great  building  that  M.  Dutert  has 
shown  his  power  of  dealing  with  novel  elements.      **  His 
*'  primordial,  essential  idea  is  this ;  to  give  up  at  all  hazards 
"  those   bmial,   classic,   worn-out   elements,    that   arsenal  of 
"  mouldmgs,  profiles,  capitals,  consoles,  and  cornices,  with 
"  which  our  architects'  brains  have  been  so  stufifed  that  they 
"  come  into  being  beneath  their  pencil  of  themselves,   so  to 
*'  speak,  naturally — as  the  commonplace  epithets  from  the  pen 


1800-1900.  ARCHITECTURE  OF  THE  NINETEENTH  CENTURY.    469 

"  of  a  society  chronicler,  or  the  '  flowers  of  rhetoric  *  from 
'*  that  of  a  bygone  latinist/* 

M.  Dutert  has  had  the  courage  to  return  to  the  methods 
of  the  Gothic  architects  ;  and  to  seek  his  suggestions  for  deco- 
ration in  the  natural  world.  Therefore,  as  he  has  built  a 
Museum  of  Natural  History,  his  capitals  are  no  longer 
Doric,  Ionic,  or  Corinthian,  but  formed  of  gigantic  lions  and 
lionesses.  The  round-headed  arcade  of  the  principal  door  is 
composed  of  great  palm  leaves  ;  the  band  above  of  cockle 
shells.  Along  the  band  of  shells  in  very  faint  relief  which 
separates  the  two  storeys,  huge  birds  of  prey  spread  their 
wings  at  intervals,  each  the  work  of  sculptors  such  as  M.M. 
Gardet,  Valton,  Boutry,  Louis  Noel,  etc. ;  and  each  forms 
a  crown  of  the  arcade  of  the  ground  floor.  It  is  one  of  the 
best  and  most  striking  portions  of  the  building.  Saurians 
and  crustaceans  are  used  as  consoles  to  some  of  the  upper 
windows ;  and  while  they  represent  rare  or  extinct  species, 
they  are  always  so  interpreted  as  to  lend  themselves  to  the 
strict  architectural  necessity  of  their  position.  Lines  of  shells 
replace  the  usual  dentils  beneath  the  windows.  And 
insects  decorate  the  gutter  below  the  roof.  While  in  the 
interior  the  beautiful  balusters  and  balconies  of  stairs  and 
galleries  are  composed  of  iris,  ferns,  chrysanthemums,  and 
laurels,  absolutely  true  to  the  nature  of  each  plant,  and  yet 
subordinated  to  the  exigencies  of  architectural  harmony. 


CHAPTER  XXni. 
sculpture  of  the  nineteenth  century. 

1.  The  Pioneers. 

From  the  First  to  the  Third  Empire. 

**  The  finest  sculpture  is  still  the  product  of  France.  And 
*'  why?  Because  sculpture  is  a  formal  art,  which  lives  by 
"  tradition,  and  which  can  only  flourish  where  it  is  well 
**  taught.  .  .  .  The  superiority  of  France  in  this  great  art— 
**  I  speak  of  the  superiority  of  the  moment — is  derived  no 
**  doubt  from  various  causes,  for  instance  that  exquisite 
'*  sense  of  measure  which  is  natural  to  the  French  spirit. 
**  But  it  is  derived  also  from  the  uninterrupted  sequence  of 
**  vigorous  study,  which  has  produced  an  uninterrupted 
'*  succession  of  illustrious  masters.*'  These  words  were 
written  by  the  eminent  critic,  M.  Charles  Blanc,  nearly  forty 
years  ago.  They  demonstrate  admirably  the  secret  of  that 
impulse,  which  during  this  century  has  been  given  to  Sculp- 
ture, and  has  once  again  helped  to  place  France  in  the  proud 
position  of  leader  in  Modem  Art. 

The  glory  of  French  Sculpture  has  always  been  its  inherent 
personality — its  strong  national  note.  What  produced  its 
decadence  at  the  beginning  of  the  century  was  no  leick  of 
talent — no  lack  of  training,  so  absolutely  essential  to  art— 
but  the  chilling  of  the  warm,  generous,  fearless  national 
genius  by  the  powerful,  the  dominating  pedagogy  of  Louis 
David's  false  ideal  of  Classic  beauty,  aided  and  abetted  by 
the  Italianizing  influence  of  the  delightful  and  seductive 
Canova. 

It  has  been   suggested  that  a  sort  of   self-mistrust  in- 

matters  of  Art,  led  the  men  of  the  revolution  and  the  first> 

(470) 


1800-1855.  NINETEENTH  CENTURY  SCULPTURE.  471 

Empire  to  turn  eagerly  to  the  traditions  of  a  ready-made 
art — that  it  was  a  sense  of  their  own  ignorance — the  need  of 
something  stamped  by  the  hall-mark  of  centuries  of  cultivation 
as  stable  and  settled — that  led  them  to  seize  on  the  art  of 
Greece  and  Rome,  as  it  was  then  known,  and  take  it  as  their 
model  and  ideal.  I  cannot  agree  with  this  ingenious  and 
amusing  theory.  As  I  have  endeavoured  to  demonstrate, 
the  Classic  revival  of  David  and  the  Empire  had  its  origin 
far  bfiwjk  in  the  eighteenth  century.  But  be  the  causes  what 
they  may,  it  is  undeniable  that  the  living,  personal  French 
Art  of  the  eighteenth  century,  had  at  the  beginning  of  the 
nineteenth  given  place  to  a  debased  Classic  ideal.  And  the 
all-powerful  influence  of  David,  and  of  Canova  —  twice 
summoned  to  Paris  by  the  Emperor,  whose  taste  for  all 
things  Italian  was  manifested  both  in  Architecture  and 
Sculpture— had  a  profound  eflfect  on  the  sculptors  of  the 
day.  While  these  classic  tendencies  were  fostered — at  all 
events  in  decorative  sculpture — by  the  nco-pompeiian  tastes 
of  the  architect  Percier. 

We  have  but  to  glance  at  the  early  nineteenth  century 

sculpture  in  the  Louvre  to  see  evidences  of  these  tendencies 

on  all  sides.     We  find  an  amazing  amount  of  talent.     Some 

artists  display  much  grace.     All  show  facility.     While  here 

and  there  in  portraiture,  face  to  face  with  the  human  being. 

we  get  a  certain  sense  of  life.     But  for  the  most  part,  if  not 

frigidly  classic,  all  are  correct  and  elegant  to  the  point  of 

positive  irritation.     In  such  works  for  instance  as  those  of 

Pradier — the  author  of  the  **  Style  Louis  Philippe,"  and  the 

most  popular  artist  of   his  day — we  find  nothing  noble  or 

moving.     The  soft,  smooth  touch  has  no  word  to  say  to  us. 

The  works   are   at  once   faultless   and   exasperating.     But 

while  even  the  older  men — KoUand,  Lemire,  Dumont,  are 

affected  in  some  degree  by  this   overwhelming  current  of 

classicism ;    while  the  younger  men — Chaudet,  and   Cortot, 

Cartellier,  Bosio,  and  many  another,  are  unable  to  resist  it ; 

to  say  nothing  of  the  High  priests  of  a  close  "  imitation  of  the 

Ancients,"  such  as  Kamey,  Moitte,  etc. — yet  help  is  at  hand. 

The   regeneration   which  G^ricault,  Delacroix,  and   the 


472  A  HISTORY  OF  FRENCH  ART.  Ch.  XXHI. 

landscape  painters  wrought  in  painting,  was  brought  about  in 
Sculpture  by  three  great  artists — David  d'Angers,  Rude,  and 
Barye. 

It   is   no   exaggeration   to   say  that   Modem  Sculpture, 
whether  in  France,  in  England,  or  in  America,  owes  its 
being  to  the  impulse  given  to  the  Art  by  the  lofty  and  mag- 
nificent conceptions  of  these  three  masters.      The   desires, 
the  ambitions,  the  questionings  and  searchings  for  a  nobler, 
a  more  true  and  living  art,  that  were  at  once  the  glory  and 
the  torment  of  the  leaders  in  letters  and  in  painting  of  the 
Romantic  movement,  haunted  the  three  great  sculptors  like- 
wise— the  two  fii*st  brought  up  in  the  strictest  sect  of  artistic 
Pharisees.     For  David  d'Angers  was  a  pupil  of  David  the 
painter  and  Roland  the  sculptor.    And  Rude,  with  his  premier 
prix,   was    only  prevented   going  to    the  School    of   Rome 
by  lack  of  public  funds ;  and  while  in  exile  in  Brussels  was 
under  the  direct  influence  of  David.     Out  of  the  heart  of  the 
Classic  school  they  came — these  Pioneers,  who  swept  away 
the  deadening,  cramping  formulas  of  a  false  classic  ideal,  by 
the  profoundest  respect  for  the  higher  ideals  of  pure  Greek 
Art ;  and  brought  Hfe,  truth,  imagination,  and  patriotism  to 
the  renaissance  of  the  art  of  Sculpture. 

Before  studying  the  history  of  the  modern  school,  and  its 
three  great  founders,  David  d'Angers,  Rude,  and  Barye, 
certain  artists  of  the  first  Empire  and  the  Restoration  must 
be  mentioned.  In  a  few  of  them  we  find  germs  of  that 
honest  love  of  nature  and  sense  of  life,  which  has  so  dis- 
tinguished modern  French  sculpture.  But  most  of  them, 
although  their  talent  is  undeniable,  yield  to  the  overwhelm- 
ing pressure  of  the  Classic  revival  under  Louis  David,  or  the 
insipid  sentimentality  of  the  Restoration  ;  to  the  deadening 
influence  of  academic  or  oflicial  art. 

Chinard,  Joseph  {b.  Lyons,  1756 ;  d.  1813),  the  sculptor 
of  the  Directoire  and  the  Consulate,  is  now  well-nigh  for- 
gotten. But  all  his  works  bear  the  stamp  of  truth,  and  of  a 
vigorous  if  somewhat  naif  personality.  Not  one  person  in  a 
thousand  looks  at  his  "Carabinier"  of  the  Arc  de  Triomphe  du 
Carrousel.    Nevertheless  it  is  a  most  living  figure.    The  bust 


300-1855.  NINETEENTH  CENTURY  SCULPTURE.  473 

f  Mme.  R^camier,  copied  and  so  widely  distributed  by 
/hifflet,  which  has  been  sometimes  attributed  to  Houdon, 
7as  by  Chinard.  And  some  of  his  terra-cotta  medallions 
re  of  great  value.  His  life  was  chiefly  spent  at  Lyons, 
rhere  he  was  Professor  at  the  School  of  Fine  Arts. 

Chaudet,  Antoine  Denis  {b,  Paris,  1763 ;  d.  Paris,  1810), 
hared  the  Imperial  favours  so  lavishly  bestowed  on  Canova. 
nspired  by  the  immortal  sculptures  of  Jean  Goujon,  Chaudet 
nth  Moitte  and  Rolland  decorated  the  ceils  de  boeuf  of  the 
ez-de-chausee  and  the  upper  storeys  of  the  Louvre  in  1808, 
irhen  Percier  and  Fontaine  completed  Perrault*s  building, 
lis  statue  of  Napoleon  as  Caesar  adorned  the  Venddme 
'olumn  until  1814.  And  his  well-known  bust  of  the 
Cmperor  (now  at  Arras)  has  become  classic. 

In  spite  of  a  certain  conventionality,  his  '*  Amour  *'  (534, 
jouvre)  is  graceful,  with  a  charming  set  of  conceits  in  low 
elief  on  the  plinth.  And  '*Le  Berger  Phorbas  et  CEdipe** 
533)  is  a  statue  of  considerable  merit. 

Dupaty,  Louis  (b.  Bordeaux,  1771 ;  d.  Paris,  1825),  took 
p  sculpture  somewhat  late.  He  had  been  intended  for  the 
magistracy,  but  renounced  it  for  Art,  trying  landscape  paint- 
ig  under  Valenciennes,  and  historical  painting  with  Vincent, 
efore  he  settled  upon  sculpture.  He  gained  the  prix  de 
iome  in  1799,  staying  in  Italy  for  eight  years.  For  his 
3vely  '*Biblis  chang^e  en  Fontaine"  (667,  Louvre)  alone  he 
p-ould  deserve  mention ;  not  to  speak  of  many  statues  and 
usts  in  public  gardens  and  galleries. 

Cahtellier,  Pierre  {b.  Paris,  1757;  d.  Paris,  1831),  the 
»upil  of  Bridan  and  master  of  Eude,^  had  a  true  sense  of 
ife,  strong  convictions,  and  an  honest  nature.  This  was 
[lade  evident  in  the  excellent  teaching  his  pupils  received  in 
is  justly  popular  atelier  ;  and  in  the  fine  bas  relief  of  the 
Capitulation  of  Ulm  "  on  the  Arc  du  Carrousel,  and  that 
f  the  "  Char  de  la  Gloire  "  above  the  Colonnade  of  the 
jouvre.  At  Versailles  we  find  a  bust  and  statue  of  Louis 
$onaparte,  King  of  Holland  ;  and  a  fine  statue  of  Pichegru, 
V  Cartellier. 

'  See  Rude,  p.  480. 


474  A  HISTORY  OF  FRENCH  ART.  Ch.  XXIII.    . 

Bosio,  Francois-Joseph  (b.  Monaco,  1773 ;  d.  1845).— 
"  The  abundant  and  facile  Bosio " — chevalier  of  Saint- 
Michel,  Baron,  Premier  Sculpteur  du  Roi,  Professor  of  the 
^^cole  des  Beaux  Arts,  and  Member  of  the  Institute  from  the 
founding  of  the  seventh  chair — was  equally  in  favour  under 
the  Empire  and  the  Eestoration.  All  the  Court,  under  both 
regimes,  posed  for  him.  The  bronze  chariot  of  the  Arc  du 
Carrousel  is  his ;  so  are  some  of  the  has  rehefs  of  the 
Venddme  Column ;  the  Louis  XIV.  of  the  Place  des 
Victoires  ;  the  Henri  IV.  enfant,  of  Pau  ;  and  the  silver 
replica  at  Versailles  ;  where  we  also  find  a  bust  of  Napoleon 
and  one  of  Charles  X. 

GiRAUD,    Pierre  -  Francois  -  Gregoire   (6.    Luc.  pres 
Draguignan,    1783 ;    d.   Paris,    1836),   is   another   of   those 
artists  who  has  not  deserved  the  neglect  he  has  met  with. 
A  fine  classical  scholar,  and  pupil  of  his  compatriot,  J.  B. 
Giraud,  he   developed   a  thoroughly  original   and   personal 
talent.      His   stately  **  Projet   de  Tombeau "   (697)    of   the 
Louvre  is  in  wax,  a  substance  Giraud  always  preferred  to 
clay ;    and  its  effect  in  this  case  is  that  of  finely  polished 
bronze.     The  conception  is  full  of  real  feeling;  for  it  was 
the  result  of  a  profound  sorrow,  and  of  the  desire  to  per- 
petuate the  memory  of  his  wife  and  two  infant  children. 
It  is  of  great  value  in  the  history  of  Art,  for  it  betrays  the 
coming  revolution.     Eomanticism  is  already  in  the  air. 

His  well-known  '*Chien  Braque"  (695)  was  exhibited  in 
the  memorable  Salon  of  1827  ;  and  is  a  fine  and  life-Hke  study. 

CoRTOT,  Jean  Pierre  (b.  Paris,  1787 ;  d.  1843),  is  better 
represented  in  the  Louvre  by  his  **  Soldat  de  Marathon" — 
heavy  though  it  be — than  by  his  stiff  and  silly  **  Daphnia 
and  Chloe  ".  He  was  one  of  the  purely  official  school.  He 
produced  numbers  of  Royal  Statues;  was  given  the  fourth 
group,  **  Le  Triomphe  de  1810,"  on  the  Arc  de  Triomphe  in 
preference  to  Rude ;  and  was  eulogized  by  Raoul  Rochette, 
the  perpetual  secretary  of  the  Academy  and  the  sworn  foe 
of  naturalism. 

Pradier,  James  (6.  Geneva,  1792;  d.  Bougival,  1862), 
who  has  been  called  the  author  of  the  Louis  Philippe  style,. 


1800-1865.  NINETEENTH  CENTURY  SCULPTURE.  475 

belonged  to  a  French  Protestant  family,  which  had  taken 
refuge  in  Geneva  after  the  Edict  of  Nantes.  He  was 
studying  at  the  Municipal  School  of  Geneva,  when  Vivant 
Denon,  the  director  of  the  Louvre,  remarked  his  aptitude 
for  sculpture.  He  took  him  to  Paris,  obtained  a  pension 
for  him  from  Napoleon  to  enable  him  to  complete  his  studies, 
and  placed  him  with  Lemot,  in  1809.  He  gained  the  grand 
prix  in  1813.  And  after  five  years  in  Rome  returned  to 
Paris,  and  exhibited  for  the  first  time  in  1819 — not  in  1817 
as  has  been  often  stated.  The  piece  was  the  "  Centaure  et 
Bacchante  "  now  at  Rouen.  In  1827  he  was  a  Membre  de 
rinstitut,  and  Professor  at  the  iicole  des  Beaux  Arts. 

Pradier's  gifts — his  facility,  his  decent  paganism,  his  cor- 
rectness and  elegance — were  such  as  suited  the  taste  of  the 
time.  *'  He  sets  out  every  morning  for  Athens,  and  arrives 
**  every  evening  at  the  rue  de  Breda "' !  said  the  caustic  Pr^ault. 
His  Psyches,  his  Sapphos,  his  Fils  de  Niob6,  even  his  pretty 
"  Toilette  d'Atalante,"  are  exasperating  in  their  insipid 
elegance.  He  fills  the  place  in  sculpture  which  Delaroche 
filled  in  painting — that  safe  and  happy  mean  which  brings 
prosperity ;  for  it  is  certain  to  make  no  demands  upon  the 
greater  depths  of  feeling  and  intelligence. 

Besides  the  works  I  have  mentioned,  the  Louvre  owns 
his  excellent  bronze  bust  of  Maxime  Du  Camp.  To  Pradier 
also  are  due  the  bust  of  Louis  XVIH.  at  Versailles.  Four 
**  Renomm^es  "  on  the  Arc  de  Triomphe  de  I'iltoile.  Twelve 
**  Victories  '*  for  the  Tomb  of  Napoleon.  **  Com^die  gaie  et 
Com^die  serieuse  "  for  the  Fontaine  Moliere,  rue  de  Riche- 
lieu. And  the  statues  of  **  Lille  "and  of  "Strasbourg"  on 
the  Place  de  la  Concorde ;  besides  innumerable  busts,  statues, 
and  groups. 

Among  other  more  or  less  academic  artists  may  be  men- 
tioned SiMART,  Pierre  Charles  (1806-1857),  who  sculp- 
tured seven  of  the  bas  reliefs  for  the  tomb  of  Napoleon,  and 
the  pediment  of  the  Pavilion  Denon  at  the  Louvre.  Jaley, 
J.  L.  Nicholas  (1802-1866),  a  good  pupil  of  Cartellier's, 
whose  statue  of  Louis  XI.  is  in  the  Louvre.  Lemaire, 
Ph.-Joseph-Henri  (1798-1880),  author  of  the  Pediment  of 


476  A  HISTORY  OF  FRENCH  ART.  Ch.  XXIII. 

the  Madeleine,  and  the  has  relief  of  the  Funeral  of  Marceau 
on  the  Arc  de  Triomphe.  Perraud,  J.  Joseph  (1819-1877), 
the  author  of  the  somewhat  famous  bas  reUef  of  "Les 
Adieux  "  now  in  the  Louvre,  which  was  acclaimed  by  the 
partisans  of  pure  classicism  as  the  last  word  of  Greek  Art. 
It  is  indeed  an  admirable  bit  of  sculpture :  but  was  so  much 
better  done  2000  years  ago,  either  in  Athens  or  in  Rome. 
Cl6singer,  Jean-Baptiste-Auguste  (6.  Besan^on,  1814; 
d.  Paris,  1883),  who  enjoyed  a  brilliant  but  ephemeral 
reputation.  And  is  now  best  known  as  the  son-in-law  of 
George  Sand,  having  married  Mile.  Solange  Dudevant. 
In  1847  his  **  Femme  piqu^e  par  un  Serpent  *'  brought 
him  great  popularity.  His  statues  of  Rachel  and  George 
Sand  at  the  Comedie  Fran9aise  are  inferior. 

But  before  Duret,  Francisque  {b,  Paris,  1804 ;  d.  Paris, 
1865),  we  pause  among  the  Classic  pastiches  of  many  of  the 
other  sculptors  of  this  period,  with  a  sense  of  rehef.  With 
his  **  Jeune  Pecheur  dansant  1ft  Taren telle  '*  a  finer,  stronger, 
more  honest  chord  is  touched.  It  is  a  pity  that  such  an 
impulse  only  lasted  for  a  time;  and  that  Buret's  later 
works  did  not  carry  him  beyond  the  youthful  vigour  of  this 
early  effort. 

Preault,  Auguste  (b,  1810;  d,  1879),  must  be  by  no 
means  forgotten  in  speaking  of  the  beginning  of  the 
Romantic  movement.  For  though  perhaps  he  is  better 
remembered  as  the  author  of  many  mordant  bon  mots  which 
are  still  quoted  in  the  studios,  he  was  also  the  author  of  the  fine 
**  Jacques  Coeur"  at  Bourges ;  of  the  **C16mence  Isaure*' 
in  the  garden  of  the  Luxembourg;  of  the  **  Marceau,"  an 
admirable  statue  on  the  place  d'Armes  at  Chaxtres ;  and  the 
*'  Cavaher  Gaulois  "  of  the  Pont  d'lena. 

We  now  reach  the  true  Pioneers  of  Modem  Sculpture. 

David,  Pierre  Jean,  dit  David  d'Angers  (6.  Angers, 
1789  ;  d.  1856). — Among  his  contemporaries  David  d'Angers 
ranked  as  the  first  sculptor  of  the  age.  His  medallions 
were  placed  far  above  the  works  of  Houdon  in  the  past, 
or  of  Rude  in  the  present.  This  opinion  has  however 
been  modified.      In   a   few  important  works  he  attained  a 


1800-1855.  NINETEENTH  CENTURY  SCULPTURE.  47T 

complete  revelation  of  his  powers,  such  as  the  Pediment 
of  the  Pantheon — the  "  Philopomfene  "  of  the  Louvre — the 
tomb  of  **  General  Gobert "  at  Pfere  Lachaise — and  I  am 
incUned  to  add  the  tomb  of  the  **  Comte  de  Bourck,"^ 
also  in  P^re  Lachaise. 

But  his  medallions  are  without  doubt  the  most  im- 
portant part  of  his  work,  worthy,  so  M.  Charles  Blanc  con- 
siders, to  be  placed  beside  the  drawings  of  Ingres,  or 
Charlet's  lithographs.  They  are  indeed  instinct  with  the 
quahty  which  distinguishes  all  his  work — the  sensation  of 
life.  In  these  medallions  we  get  a  series  of  portraits  of  all 
his  contemporaries,  a  series  of  extreme  intrinsic  interest,  and 
of  the  very  highest  historic  as  well  a.s  artistic  value.  Through 
them  we  know  what  manner  of  men  and  women,  to  take  a 
few  names  at  random,  Bonaparte — the  Bonaparte  who  Gros 
saw  at  the  bridge  of  Arcole — K16ber,  Gericault,  Alfred  de 
Musset,  Lafayette,  the  captivating  Mme.  E^camier,  Goethe^ 
Schiller,  Flaxman,  Fennimore  Cooper,  Lady  Morgan, 
Bentham,  Spurzheim,  Lamartine,  George  Sand,  Jules 
Janin,  Theophile  Gautier,  Lord  Byron,  Victor  Hugo, 
Delphine  Gay,  Dumas,  Thiers,  Guizot — every  one  of  note, 
in  fact — appeared  to  the  artist,  who  worshipped  genius,  and 
knew  so  well  how  to  render  the  type,  the  character,  the 
nationality — nay,  even  the  colouring  of  his  sitter.  It  is  an 
education  in  itself  to  study  the  series  which  adorns  the  walls 
of  the  Salle  Bude  at  the  Louvre — that  Hall  to  which,  alas ! 
such  a  fraction  of  the  thousands  of  visitors  ever  penetrate. 

David  d'Angers — son  of  a  sculptor  in  wood  who  served 
the  Republic  as  a  soldier  in  La  Vendee — **  a  delicate  and 
'*  sickly  child,  was  carried  oflf  by  his  father  among  the 
**  baggage  of  the  army  '\  He  was  brought  up  to  the  sound 
of  drum  and  cannon,  amid  the  horrors  and  heroisms  of  war ; 
and  his  whole  soul  was  aflfected  by  so  strange  an  education. 
He  belonged  to  the  French  Revolution,  and  the  passions  it 
engendered.  But  those  passions  in  David  d'Angers  were 
always  generous  and  noble  ones.  Though  a  thorough-going 
republican,  he  could  nevertheless  dedicate  one  of  his  finest 
works    to    the    Vendean   general,  Bonchamps,   a  fanatical 


478  A  HISTORY  OF  FRENCH  ART.  Ch.  XXIII. 

royalist — ^because  the  general  had  spared  the  hfe  of  David's 
father,  taken  prisoner  after  Saint-Florent. 

At  ten  years  of  age,  in  spite  of  all  opposition,  the  child 
was  determined  to  be  an  artist.  He  had  mastered  the 
rudiments  of  education  and  drawing  at  the  iicole  centrale  of 
Angers.  And  one  fine  day,  with  fifty  francs  in  his  pocket, 
lent  him  by  a  painter  named  Delusse,  he  set  out  for  Paris. 
Arriving  there  with  nine  francs,  he  became  a  stone  carver  to 
gain  his  bread.  But  after  a  time  a  pension  was  allowed  him 
by  the  city  of  Angers,  and  in  gratitude  he  added  the  name  of 
his  native  place  to  his  own.  As  the  pupil  of  Louis  David 
and  KoUand  he  soon  began  to  make  his  way.  And  as 
Pensiaiinaire  (he  only  gained  the  second  prize)  he  spent  the 
usual  time  in  Bome  studying  the  antique. 

After  his  sojourn  in  Rome  he  heard  that  Lord  Elgin 
had  brought  the  marbles  of  the  Parthenon  to  England. 
And  as  a  pious  pilgrim  of  old  to  the  Holy  Land,  David 
instantly  started  for  London.  What  he  gained  from  a 
profound  study  of  Phidias  was  what  he  already  possessed 
in  no  small  degree — the  sense  of  life.  "  The  taste  for  noble 
"lines,  moderation  of  movement,  measured  gesture,  the 
**  selection  of  forms,  and  the  artifices  which  best  set  them  oflf — 
"  all  this  he  knew  already,  and  he  talked  of  it  all  like  a  Greek  : 
"  but  the  moment  he  found  himself  in  the  presence  of  nature 
'*  with  the  clay  in  his  fingers  or  the  chisel  in  his  hand,  his 
'*  dominant  faculty  reasserted  itself  in  full  force ;  carried 
"  away  by  his  warmth  of  temperament  he  gave  himself  over 
"  wholly  to  the  endeavour  to  give  movement  to  marble  or 
"  bronze." 

Few  artists  have  displayed  a  more  complete  professional 
probity,  a  more  inflexible  conscience  in  all  their  work,  than 
David.  And  when  once  he  had  embarked  on  his  con- 
temporary medallions,  no  sacrifice  of  time,  money,  or  ease, 
was  too  great  to  gain  his  end.  He  would  travel  to  London 
to  model  Sir  Walter  Scott's  profile;  to  Berlin  for  Rauch, 
the  sculptor;  to  Weimar,  for  Goethe;  to  Lombardy  to 
**  seize  the  great  nomad  Byron  on  the  road  to  death  " ;  to 
Athens  even,  for  portraits  of  Canaris,  Fabvier,  and  Coletti. 


1800-1855.  NINETEENTH  CENTURY  SCULPTURE.  479 

**  These  gentlemen  would  not  come  to  me — no  matter.  I  am 
**  met  with  my  little  slate,  racing  along  as  if  I  was  hurrying 
**  to  see  immortality.  A  statuary  is  the  registrar  of  posterity. 
*•  He  is  the  future  !  " 

A  prodigious  number  of  statues  and  busts  were  produced 
in  his  studio.  His  records  of  men  of  mark  adorn  the  squares 
and  museums  of  cities  far  and  wide,  from  Dunkerque  to 
Missolonghi,  from  Aix  to  Philadelphia.  While  in  Paris  some 
of  his  finest  monmnents  are  to  be  found  in  Pere  Lachaise — 
another  much  neglected  spot,  of  deep  interest  to  the  student 
of  Modem  Sculpture. 

EuDE,  Francois  (6.  Dijon,  1784;  d.  Paris,  1855). — 
**  Rude  is  a  doctrine,  a  principle ;  he  has  caught  sight  of  the 
'*  eternal  verities  of  Art ;  he  is  the  block  of  granite  upon 
"  which  rest  the  generous  hopes  of  our  School.''  ^ 

A  Burgundian  by  race  and  birth,  Fran9ois  Rude  is  a 
worthy  descendant  of  the  Burgundian  masters  of  the 
fifteenth  century.  Those  splendid  instincts  which  guided 
the  hand  of  Glaus  Sluter  as  he  sculptured  his  "Puits  de 
Moise  **  and  his  '*  Philippe  le  Hardi,"  live  again  in  "  Le 
Depart";  in  **  Marechal  Ney'';  and  in  the  **  Gaspard 
Monge  ".  Rude  possessed  in  full  measure  the  distinguishing 
gifts  of  his  Burgundian  forerunners — a  fearless  love  of  truth 
and  detestation  of  cramping  formulas — solid  judgment — keen 
observation — a  gay  but  well-balanced  temperament — and  an 
iron  constitution. 

Son  of  a  coppersmith  in  the  rue  de  la  Petite-Poissonerie, 
at  Dijon,  the  lad's  strong  hand  was  trained  betimes  to  the 
use  of  hammer  and  file  in  the  forge.  But  his  father,  who 
was  in  easy  circumstances,  gave  him  an  excellent  education 
as  well.  And  in  1798  his  taste  for  drawing  was  so  pro- 
nounced that  he  entered  the  school  of  design,  under  that 
admirable  teacher  Devosge,  whose  name  is  still  held  in 
honour  at  Dijon.  And  well  it  may  be.  For  he  was  the 
master  of  Prud'hon  as  well  as  of  Rude — a  man  of  taste  and 
insight,  and  of  generous  appreciation  of  talent.  Thanks  to 
Devosge,  young  Rude  was  recommended  to  M.   Fremiet, 

^  Louis  Gonse. 


480  A  HISTORY  OF  FRENCH  ART.  Ch.  XXIH. 

conirdleur  d£s  contributicyiis  directeSf  who  henceforth  played  an 
important  part  in  his  Hfe.  M.  Fr^miet  not  only  gave  him 
his  first  commission — a  bust  of  M.  Monnier,  his  father-in-law 
— but  paid  the  artist's  substitute  for  military  service.  And 
in  consultation  with  Devosge,  this  excellent  man  soon 
decided  that  Eude  must  finish  his  education  in  Paris. 

In  1807  Eude  therefore  set  forth,  armed  with  a  letter  to 
the  all-powerful  Vivant-Denon,  superintendent  of  museums. 
Vivant-Denon  was  also  a  Burgundian.  He  received  his 
young  compatriot  warmly,  and  sent  him  to  Gaulle,  to 
whom  the  direction  of  the  sculptures  for  the  Vend6me 
Column,  just  begun,  had  been  entrusted.  Eude  helped 
with  the  bas-reliefs  of  the  base.  But  of  far  greater  impor- 
tance was  the  fact  that  he  became  a  pupil  of  Cartellier,  in 
whose  studio  the  most  promising  young  artists  gathered; 
while  about  the  same  time  he  entered  the  Nicole  des  Beaux 
Arts.  Cartellier  s  advice  to  the  new-comer  was  worthy  of 
master  and  pupil  alike.  **  Observez  les  gestes  et  les  attitudes, 
"  cherchez  surtout  la  synthase  morale  des  vos  figures." 

In  1809  Eude  gained  the  second  prix  de  Eome.  In  1812 
he  gained  the  first  with  his  **  Aristee  deplorant  la  perte  de 
ses  abeilles  ".  This  success  was  a  perilous  one.  For  a  time 
he  fell  under  the  influence  of  the  pedagogues  of  classic 
formula.  Happily,  however,  he  was  not  able  to  go  to  Eome, 
as  all  available  money  at  that  moment  was  needed  for  war. 
One  must  believe  that  his  vigorous  personality  would  in  any 
case  have  triumphed  in  the  end  over  the  deadening  influence 
of  the  Ecole  de  Eome,  as  it  then  was.  But  that  it  would 
have  delayed  the  full  development  of  his  genius  cannot  be 
doubted.  Events  however  were  hastening  on  with  fateful 
rapidity. 

Eude,  hke  most  of  the  young  generation,  was  possessed 
by  the  Napoleonic  idea.  After  Waterloo  he  fled  to  Dijon. 
There  he  joined  his  early  friend,  M.  Fremiet,  and  accom- 
panied him  to  Brussels.  Here  among  the  exiles  of  the 
Eevolution  and*  the  Empire,  he  found  David  ;  and  feU  once 
more  under  classic  influence.  Undaunted  by  exile  or  mis- 
fortune Eude  set  himself  bravely  to  work.     A  bust  of  King 


1800-1866.  NINETEENTH  CENTURY  SCULPTURE.  481 

William  I.,  which  pleased  the  sovereign,  and  others  of 
Bonnet,  Jacotot,  and  Villaine,  brought  him  into  notice.  And 
the  friendship  of  these  exiles  proved  of  great  service  to  him. 
Thanks  to  David  he  obtained  an  important  share  in  the 
sculpture  of  the  Chateau  de  Tervuen,  built  for  the  Prince  of 
Orange — a  series  of  decorative  bas  reliefs.  Also  commissions 
for  the  cariatides  of  the  Theatre  Royale ;  and  for  the  pedi- 
ment of  the  Hotel  des  Monnaies.  It  is  interesting  to  see  in 
these  classic  works  how  his  innate  sense  of  life,  of  nature, 
of  movement,  struggles  with  his  endeavour  to  remain  severely 
academic. 

Twelve  years  he  spent  at  Brussels ;  where  besides  the 
works  already  mentioned,  he  executed  allegoric  figures  for 
the  d'Arenberg  Library — cariatides  for  the  Salle  du  Concert 
Noble — a  pulpit  for  the  church  of  Saint  fitienne,  Lille — and 
produced  a  chef  d*oeuvre  in  his  wonderful  bust  of  David,, 
now  in  the  Louvre.  This  period  of  exile  was  indeed  a  happy 
one  to  Fran9oi8  Rude.  He  earned  an  income  suflBcient  for 
his  modest  needs.  And  he  married  the  beautiful  Sophie 
Fr^miet,  herself  a  charming  artist  and  a  pupil  of  David's. 
He  had  loved  her  with  the  tenderest  devotion  for  many 
years;  and  she  remained  to  the  end  the  joy  and  crown  of 
his  life. 

Meanwhile  Cartellier  and  others  urged  him  to  come  back 
to  Paris.  And  in  1827  he  returned  to  his  native  land,  and 
exhibited  the  model  of  his  **  Mercure  "  in  the  Salon.  This 
was  welcomed  by  the  Classics,  who  hoped  to  find  in  the 
rising  master  a  valuable  recruit  for  academic  art.  Their 
disenchantment  was  considerable  when  in  the  Salon  of  1831, 
Bude,  besides  the  bust  of  **  David,"  exhibited  the  enchanting 
**  Petit  P^cheur  jouant  avec  une  tortue  ". 

The  "  Petit  P^cheur,"  now  one  of  the  treasures  of  the 
liouvre,  began  the  long  list  of  Rude's  noblest  works.  Ex- 
quisite in  its  fresh,  life-like  truth,  it  was  acclaimed  by  the 
young  school  as  an  unanswerable  protest  against  '*  les reveries 
glac^es  de  I'ideal  *\  The  painters  had  found  emancipation 
in  the  revolt  of  G^ricault  and  Delacroix.  Now  Sculpture 
had  found  its  champion.     And  this  new  life,  these  new  ideals 

Q1 


482  A  HISTORY  OF  FRENCH  ART.  Ch.  XXIH. 

in  art,  filled  the  souls  of  men  wearied  of  a  false  classicisni  with 
hope  and  enthusiasm.  The  little  Neapolitan  fisher  boy  was 
absolutely  irresistible.  Exhibited  in  marble  in  1833  he  was 
bought  for  the  Musee  Royale ;  and  his  author  was  made  a 
chevalier  of  the  Legion  of  Honour. 

Commissions  and  successes  now  followed  fast.  M.  Thiers, 
a  warm  admirer  of  the  "  Mercury,"  asked  Rude  to  furnish 
a  scheme  for  the  decoration  of  the  Arc  de  Triomphe  de 
riltoile.  Begun  by  Napoleon  in  1806,  to  celebrate  his  own 
glory,  it  had  progressed  but  slowly.  And  it  was  not  imtil 
1832,  that  under  Blouet^  the  work  was  pushed  forward 
vigorously.  Eude*s  idea  was  of  four  great  subjects — "Le 
Depart,  le  Retour,  la  Defense  du  Sol,  la  Paix,"  for 
which  he  furnished  sketches.  But  jealousies  and  intrigues 
only  left  him  one  of  the  groups.  To  Cortot,  the  official 
Cortot,  was  given  "  Le  Triomphe  de  1810  ".  **  La  Resistance  " 
and  *'  La  Paix  '*  were  given  to  6tex.  **  Le  Depart  des 
Volontaires  de  1790  "  alone  fell  to  Rude.  But  it  is  enough 
to  secure  the  immortal  fame  of  its  author.  The  very  stone 
cries  aloud  in  the  passion  of  patriotism.  While  for  dignity 
and  nobility  of  thought  and  expression,  no  Greek  would  be 
ashamed  to  call  Rude  his  brother. 

Celebrated,  overwhelmed  with  commissions.  Rude  re- 
mained as  unmoved  by  success  as  he  had  been  by  difficulties ; 
living  the  same  serenely  tranquil  life  in  his  little  ateher  of 
the  rue  d'Enfer,  where  Madame  Rude  reigned  over  the 
simple,  modest  home,  and  completed  his  happiness.  As  a 
master — for  at  length  after  much  hesitation  he  decided  to 
open  an  atelier — he  trained  some  of  the  most  brilliant  of 
contemporary  sculptors,  who  adored  and  revered  him.  "  His 
"teaching,  essentially  technical,  is  based  on  the  rigorous 
"  study  of  nature."  **  I  ajn  here  to  teach  you  sculpture,  not 
"  to  teach  you  to  think,"  he  would  say. 

The  list  of  his  works  in  those  fruitful  years  from  1836  to 
the  end,  is  a  long  one.  But  certain  among  them,  but  little 
known  outside  France,  need  special  notice.  The  first  of 
these  is  the  tomb  of  **  Godefroy  Cavaignac  "  in  the  Mont- 

^  See  Blouet. 


1800-1866.  NINETEENTH  CENTURY  SCULPTURE.  483 

inartre  Cemetery.  In  the  name  of  a  committee,  6tienne 
Arago  came  to  request  Rude  to  undertake  the  work.  The 
subscriptions  were  scanty.  "Why  talk  of  money?"  was 
the  artist's  characteristic  reply.  "I  knew  what  the  man 
'*  was  worth.  I  would  do  it  for  nothing."  The  nude  figure, 
after  the  manner  of  the  gisants  of  the  sixteenth  century,  was 
modelled  entirely  by  Eude*s  own  hand  with  impetuous 
fervour.  On  the  nude  he  himself  arranged  the  drapery ;  and 
confided  its  execution  to  one  of  his  favourite  pupils.  And 
after  retouching  the  winding  sheet,  he  inscribed  on  the  damp 
clay,  "Rude  et  son  jeune  ^leve  Christophe ".  Cast  in 
bronze  in  1847,  it  was  not  put  in  position  till  1856,  after 
Rude's  death.  The  second  work  is  the  monument  to  his 
compatriot,  "  Gaspard  Monge,"  the  mathematician.  This  was 
a  commission  for  the  Burgundian  city  of  Beaune.  Rude 
threw  himself  into  the  work  heart  and  soul.  He  had  seen 
Monge  in  his  youth.  And  assisted  by  a  portrait,  and  by  his 
friend  Jacotot's  recollections,  he  produced  a  marvel  of  life. 
**  He  represents  him,  not  as  a  dignitary  of  the  Empire,  but  as 
**  the  savant  .  .  .  his  face  strained  in  the  effort  of  thought — 
"  the  attitude  grave  and  meditative,  emphasizing  by  a  demon- 
**  strati ve  gesture  the  phrase  which  seems  to  leave  his  mouth.'* 
The  original  plaster  model  of  the  head  is  in  the  Louvre — an 
extraordinary  bit  of  force  and  audacious  modernit  \ 

The  third  work  is  the  magnificent  statue  of  **  Mar^chal 
Ney,'*  erected  by  the  Government  of  the  third  Empire,  on  the 
spot  in  the  Avenue  de  I'Observatoire  where  Ney  was  shot.^ 
Bude  had  for  many  years  dreamt  of  some  heroic  statue  in 
which  he  could  express  his  anger  and  regret  for  **  le  brave 
des  braves  ".  And  when  M.  de  Persigny  proposed  the  work 
to  him  in  1852,  he  eagerly  seized  the  coveted  opportunity. 
But  he  had  to  abandon  his  first  idea — Ney  baring  his  breast 
to  the  firing  party.  The  monument  was  not  to  be  a  work  of 
rancour,  but  "  the  sign  of  a  rehabilitation  proclaimed  by  the 

^  Owing  to  alterations  for  the  Sceaux  railway,  Ney's  statue  has  been 
moved,  and  much  of  its  beauty  is  lost.  For  whereas  Bude  designed  it  so 
that  the  light  should  fall  on  it  from  the  right,  it  is  now  lighted  from  the  left, 
the  face  is  in  shadow,  and  the  original  conception  is  utterly  destroyed. 


484  A  HISTORY  OF  FRENCH  ART.  Ch.  XXIII. 

"public  conscience".  The  last  touches  were  given  to  the 
bronze  in  May,  1853.  And  on  December  7th,  the  anni- 
versary of  Ney's  death,  the  archbishop  chanted  the  De 
Profundis — amid  the  roll  of  muffled  drums  Eude's  chef  d*oeu\Te 
is  uncovered — and  Ney  appears  to  the  vast  bare-headed  crowd 
— Ney  of  the  great  Napoleonic  (fpop^,  with  flashing  sword, 
head  thrown  back,  and  every  hne  expressing  that  shout  of 
**  En  Avant,"  which  comes  from  the  bronze  lips. 

But  two  years  remain.  The  Universal  Exhibition  of 
1855  was  a  triumph  to  the  great  artist,  and  he  received  the 
M^daille  d'Honneur  of  Sculpture  by  forty-seven  votes  out  of 
fifty.  But  he  never  became  a  member  of  the  Institute — 
Duret,  Simart,  and  Lemaire  being  preferred  to  the  sculptor 
of  "  Le  Depart ".  And  on  the  3rd  November,  1853,  Eude  died 
suddenly  and  gently — a  heart  attack  ending  the  life  of  an 
honest  man  and  a  great  artist. 
Examples  in  Louvre : — 

Petit  Pecheur  jouant  avec  un  tortue,  marbla     808. 

Mercure  attachant  ses  talonniferes,  bronze.     809. 

Maurice  de  Saxe.     810. 

Jeanne  d'Arc  ecoutant  les  Voix,  1852.     812. 

Bust,  Louis  David.     815. 

Original  plaster  head,  Gaspard  Monga 

Napoleon   s'^veillant    k    Timmortalite,    1846,    plaster 
model.     The  monument  is  at  Fixin,  near  Dijon. 

Le  Depart,  1832 ;   and  part  of  the  great  frieze,  Arc 
•    de  Triomphe  de  I'iitoile. 

Godefroy  Cavaignac,  bronze,  1833,  Cimetiere  de  Mont- 
martre. 

Le  Marechal  Ney,  1853,  Carrefour  de  TObservatoire. 

Gaspard  Monge,  Beaune. 

General  Bertrand,  Chateauroux. 

Heb6;   and   L'Amour  dominateur  du  monde,  1857, 

Musee  de  Dijon. 

Bakye,  Antoine-Louis,  0.  *  (6.  Paris,  1796;  d.  1875). 

— '*  The  life  of  Antoine-Louis  Barye,"  says  M.  Charles  Blanc, 

*'  may  be  related  in  fifteen  lines ;  but  a  whole  book  would  be 

*'  needed  to  give  an  account  of  his  work,  which  is  immense.** 


t  ^ 


1800-1855.  NINETEENTH  CENTURY  SCULPTURE.  485 

Bom  in  Paris  in  1796,  he  was  destined  to  be  a  mere 
workman,  and  at  fourteen  was  apprenticed  to  an  engraver 
in  metal,  who  had  obtained  from  the  ministry  of  war  the 
privilege  of  furnishing  all  the  stamps  for  the  metal  ornaments 
of  military  dress — buttons,  belt  buckle,  collar  clasps,  eagles, 
grenades,  etc.  His  apprenticeship  was  not  at  an  end  in  1813, 
when  a  decree  placed  160,000  Frenchmen  born  in  1796,  at 
the  disposition  of  the  minister  of  war.  Barye,  among  them, 
was  attached  to  the  topographical  brigade  of  engineers,  and 
employed  in  modelling  some  of  the  plans  in  relief,  which  are 
still  in  existence — such  as  those. of  the  Mont  Cenis,  Cher- 
bourg, Coblentz,  etc.  He  then  joined  the  2nd  battalion  of 
sapeurs  du  g^nie.  But  in  1814  his  military  service  ended  ; 
and  he  again  took  up  the  profession  of  metal  engraver,  which 
was  soon  in  his  hands  to  become  an  art. 

His  early  studies  and  his  tastes  inclined  him  to  sculp- 
ture. But  six  months'  work  under  Bosio  left  him  chilled  and 
discouraged.  And  in  1817  he  entered  Gros'  studio.  Here 
he  found  what  he  needed — that  vigour  of  hfe,  movement, 
expression,  which  he  had  so  far  sought  for  in  vain  in 
sculpture,  yet  hoped  to  find  in  the  future. 

In  1819  he  competed  for  the  prix  de  Eome  as  engraver 
of  medals.  He  only  obtained  the  third  prize.  The  next 
year  he  competed  in  sculpture.  He  won  the  second  prize — 
Jacquot  carrying  off  the  first  with  a  more  academic  piece. 
The  next  year  Barye  was  not  even  mentioned.  So  he  gave 
up  all  thought  of  the  prix  de  Rome,  and  became  once  more  an 
"ouvrier  ciseleur  ".  He  placed  his  talent  at  the  service  of  a 
goldsmith,  Fauconnier,  in  the  rue  du  Bac;  one  of  those 
persons  whose  genius  consists  in  finding  the  best  men  and 
using  them.  Barye  invented  jewels,  engraved  precious 
stones,  chased  necklaces  and  every  sort  of  delicate  ornament, 
many  of  which  Fauconnier  sold  to  the  Duchesse  de  Berri, 
who  showed  them  at  Court. 

But  Barye,  married  and  living  with  his  family  close  by 
in  the  passage  Sainte-Marie,  never  for  a  moment  relaxed  his 
artistic  education.  He  drew  from  nature  in  Suisse's  school ; 
and  painted  from  the  old  masters  in  the  Louvre.    He  tried  his 


486  A  HISTORY  OF  FRENCH  ART.  Ch.  XXIH. 

hand  on  portraits,  beginning  with  his  two  little  daughters  ; 
and  studied  anatomy  both  of  man  and  of  animals  with 
infinite  care  and  patience.  He  then  acquainted  himself 
with  all  the  different  processes  of  casting ;  and  the 
best  methods  *  for  making  casts  by  the  sand  or  wax 
process. 

His  existence  was  a  quiet  and  simple  one,  after  the  fashion 
of  artists  of  that  date.  Charlet,  Chenavard,  Abel  Hugo,  and 
a  few  others  had  founded  a  little  dinner  club,  which  met 
at  la  mfere  Saguet-Bourdon's,  at  the  barrifere  du  Maine,  and 
was  intended  to  consist  of  artists  and  writers.  Barye  and 
Sainte  Beuve  were  the  first  to  be  admitted.  Others  joined. 
B6ranger  occasionally  appeared  ;  and  Charlet  contrived  to 
get  his  intimate  friend  General  de  Eigny  admitted  as  a  great 
favour ;  for  those  who  had  no  title  in  art  or  letters  were 
looked  on  with  disfavour.  **It  was  here  that  the  great 
"  battle  of  the  romantics  for  the  triumph  of  Victor  Hugo  in 
**  Hernani  was  prepared.  Barye  spoke  little,  but  always  dis- 
"  erectly  and  always  well.  He  listened,  observed,  caught 
**  the  profiles  of  the  guests  and  used  them  to  model  medals  in 
"  the  Pisan  taste.  Beneath  a  phlegmatic  appearance  he  hid 
**  an  ardent  and  passionate  soul,  and  he  seemed  cold  because 
**  he  was  both  modest  and  proud."  ^  Such  was  the  training 
of  the  great  master. 

To  the  Salon  of  1827  he  sent  several  busts.  But  that  of 
1831-  was  the  beginning  of  his  real  fame.  He  exhibited 
besides  a  **  Martyrdom  of  St.  Sebastian,"  a  **  Tiger  devouring 
a  young  crocodile"  and  the  sketch  of  a  **Bear".  In  the 
next  few  years  came  the  **Lion  strangling  a  viper";  the 
**  Cerf  terrass^  par  deux  l^vriers  de  grande  race,"  and  the 
**  Jeune  lion  terrassant  un  cheval".  The  enthusiasm  these 
noble  works  created  among  the  new  school  of  artists  was 
intense.  Here  in  plaster  and  in  bronze,  side  by  side  with 
Eude's  *'  P^cheur  "  and  ''  Le  Depart  ''—was  the  hfe,  the  truth, 

^  Charles  Blanc. 

'  It  is  deeply  interesting  to  observe  how  the  talent  of  the  modem  school 
manifested  itself  at  the  same  moment.  The  Salons  of  1827  and  1831  com- 
prise some  of  the  most  important  modern  works. 


1800-1855.  NINETEENTH  CENTURY  SCULPTURE.  487 

the  liberty,  for  which  hterature  and  painting  were  fighting  so 
fierce  a  battle.  For  centuries  animals  in  marble  and  bronze 
— hons  and  horses — for  who  had  ever  thought  of  the  present- 
ment of  a  tiger,  a  bear,  a  gazelle,  or  a  crocodile ! — for  centuries 
they  had  been  treated  in  a  merely  conventional  manner.  The 
first  apparition  of  Barye's  work  served  to  reveal  all  this  to 
the  eyes  of  artists,  and  to  open  a  new  field  for  Art.  And, 
innovator  as  he  was,  he  never  in  all  the  amazing  novelty  of 
his  treatment  lost  the  dignity,  the  true  beauty  of  the  classic 
spirit. 

It  was  in  1834  that  his  famous  bronzes  began,  and  his 
fame  was  established.  In  1831  he  was  given  a  second  class 
medal.  In  1833  the  Legion  of  Honour.  From  1848  to  1851 
he  held  the  post  of  conservateur  de  la  galerie  des  Pl&tres  et 
des  Moulages  au  Louvre.  And  in  1855  was  made  Ofiicier  de 
la  Legion  d'Honneur. 

His  life  was  spent  between  Paris  and  the  Forest  of 
Fontainebleau,  where,  among  the  famous  group  at  Barbizon, 
Barye  worked  as  the  humblest  and  youngest  landscape 
painter — painting  his  beloved  animals  in  water-colour  or 
oils  against  a  background  of  the  forest — after  studjring  their 
lives,  their  ways,  their  every  turn  and  movement,  in  the 
Jardin  des  Plantes. 

Besides  his  large  groups,  Barye  produced  a  number  of 
those  marvellous  httle  bronzes  which  are  now  so  eagerly 
sought  after  by  all  connaisseurs.  And  nowhere  have 
Barye's  works  been  so  much  appreciated  as  in  the  United 
States. 

Examples  in  Louvre  : — 

Tiger  and  Gavial,  bronze.     493. 
Jaguar  and  hare,  1852.  bronze.     495. 
Centaure  et  Lapithe,  1851,  bronze. 
Groups    of    Peace ;    War ;    La   Force   prot^geant   le 
Travail ;  L'ordre  comprimant  les  pervers,  Pavilions 
Denon  and  Eichelieu,  Louvre. 
Lion,  of  the  Column  of  July,  Paris. 
Lion  strangUng  a  boa,  Garden  of  the  Tuileries. 


488  A  HISTORY  OP  FRENCH  ART.  Ch.  XXIIX. 

Young  bears  playing,  and  Tiger  eating  a  goat,  Musee 

de  Lyon. 
Lynx,  plaster  model,  1833,  Mus^e  de  Lisieux. 
Elephant,  1834,  S.  A.  E.  due  de  Nemours. 
Jeune  lion  terrassant  un  cheval,  Due  de  Luynes. 
The  South  Kensington  Museum  has  some  fine  casts 

of  Barye's  works. 


CHAPTER  XXIV. 
french  sculpture  of  the  nineteenth  century. 

2. — Contemporary  Sculptors  and  Medallists. 

It  is  always  a  pleasant  task  to  praise.  And  as  regards  the 
chief  sculptors  of  the  last  fifty  years,  it  will  be  readily  con- 
ceded that  little  but  sincere  admiration  is  called  for.  France 
80  easily,  so  incon  test  ably,  takes  the  first  place  in  nineteenth 
century  sculpture,  that  the  task  of  recording  mere  material 
attainment  would  be  a  very  simple  one.  In  the  Exhibition 
of  1889  we  were  offered  a  memorable  opportunity  of  studying 
the  efforts  of  modem  artists.  And  the  impression  made  by 
their  works  was  a  profound  one.  For,  besides  technical 
skill,  and  appreciation  of  beauty,  we  found  evidences  of  the 
revolt  against  materialism  of  which  I  have  spoken  elsewhere. 
And  in  many  works  which  have  been  produced  since  1889, 
we  see  that  this  mystic  and  spiritual  revival  is  having  an 
increasing  effect  on  sculptors  as  well  as  on  painters. 

The  barriers  have  long  been  overthrown  which  bound 
Art  in  fetters.  Eude  and  Barye  opened  the  way  once  for 
all  to  original  thought,  to  individual  effort.  And  although 
rewards  and  encouragement  are  still  the  attributes  of  the 
Institute  and  the  State,  neither  the  one  nor  the  other  is  now 
afraid  of  recognizing  new  talent,  even  though  that  talent 
may  have  sprang  into  being  outside  the  walls  of  the  itoole 
des  Beaux  Arts.  Indeed  we  may  say  that  the  personal  note 
is  now  the  popular  one.  And  it  seems  probable  that  we 
may  soon  be  crying  aloud  for  a  return  to  a  stricter  and  more 
academic  view  of  Art,  after  seeing  eccentricity  exalted  into  a 
supreme  virtue,  and  the  great  ones  of  the  past  despised. 

As  I  pointed  out  in  the  last  chapter,  sculpture  cannot 

exist  without  respect  for  the  great  traditions  of  the  past — 

(489) 


490  A  HISTORY  OF  FRENCH  ART.  Ch.  XXIV. 

without  persistent  training.  And  nowhere  at  the  present 
time  is  the  sculptor  given  such  training  as  in  France.  But 
this  training,  so  absolutely  essential,  has  its  perils.  The 
sculptor's  art,  so  material  in  itself,  has  always  had  to  guard 
against  the  danger  of  being  content  with  a  duplicate  of  the 
human  creature — against  looking  upon  perfection  of  ac- 
complishment as  an  end.  Modern  Italian  statuary,  with  its 
lace  petticoats  and  other  ghastly  abominations,  shows  to 
what  depths  of  degradation  a  positively  absurd  technical 
dexterity  can  lead. 

Had  I  to  dwell  on  mere  material  attainment  of  a  very 
high  order,  I  repeat,  my  task  would  be  an  easy  one.'  But 
if  a  statue  is  to  live,  we  demand  more  than  the  outer 
semblance  of  the  human  form,  however  perfect.  What  we 
must  seek  in  the  amazing  assemblage  of  talent  that  we  see 
among  modern  French  sculptors,  is  the  thought,  the  spirit, 
which  alone  makes  the  work  live.  And  I  hope  to  show  that 
in  the  works  of  many  modem  artists  we  do  find  the  perfection 
of  training  and  technical  skill  allied  with  the  ideal  that  gives 
life.  In  Carpeaux's  "  Danse  " — in  M.  Paul  Dubois'  **  Jeanne 
d'Arc  " — in  Chapu's  adorable  ''  Jeunesse  " — in  M.  Guillaume's 
bust  of  "  Mgr.  Darboy  " — in  M.  Falguifere's  **  Henri  de  la 
Eochejaquelein,**  and  M.  Merci^'s  ** Souvenir" — in  the  works 
of  Puech  and  Dalou  and  many  more,  we  find  the  life-giving 
idea  that  will  keep  their  name  and  their  fame  alive  in  time 
to  come.  M.  Rodin  is  of  course  the  prophet  of  the  hour — 
the  Impressionist  in  marble,  ^^^lile  M.  Bartholomi,  main- 
taining a  less  startling  and  rugged  technique,  may  be  taken 
as  an  example  of  the  symbolist  and  mystic.  And  one  notes 
with  thankfulness  that  thought,  ideas,  searchings  after  mani- 
festations of  the  spirit  in  material  form,  in  marble  and  bronze, 
are  very  present  among  the  contemporary  sculptors. 

Medallists. 

Before,  however,  we  study  the  recent  sculptors  of  France,^ 
one  branch  of  their  art  must  be  noticed — a  branch  in  which 
the  French  have  always  been  distinguished,  and  are  now 
absolutely  supreme.      Of  the  medals  of  the  sixteenth  and 


1860-1900.  CONTEMPORARY  SCULPTORS.  491 

seventeenth  centuries  I  have  ahready  spoken.  The  eighteenth 
century,  when  deUcate  decorative  sculpture  attained  such  per- 
fection, also  produced  medals  of  considerable  beauty.  Andrieu 
and  Augustin  Dupr^  represented  the  art  during  the  Eevolu- 
tion.  But  after  the  Eestoration  it  fell  for  a  while  into 
abeyance,  until  the  impulse  given  to  modern  sculpture  by 
the  three  great  pioneers,  David  d'Angers,  Eude,  and  Barye, 
produced  a  revival  likewise  in  this  exquisite  form  of  art. 
Among  the  modern  sculptors,  besides  David  d'Angers,  many 
have  from  time  to  time  turned  their  attention  to  medals — 
Rude,  Pr^ault,  Barye,  Carpeaux.  Some  of  Chapu's  finest 
portraits  are  to  be  found  among  his  medals  in  the  Luxem- 
bourg. But  it  remained  for  the  medallists  of  the  last 
forty  years  to  complete  the  renaissance  of  their  art,  and 
carry  it  to  heights  of  attainment  it  has  never  hitherto 
reached. 

In  the  Luxembourg,  we  have  an  admirable  opportunity 

of  studying  the  works  of  these  masters  in  their  art.     The 

somewhat  rugged  work  of  Michel  Cazin.     Antoine  Gar- 

I3ET*S    fine    portraits    of    Mme.   de   Chambrun   and   Mme. 

Ernest  Hubert.     Alph6e  Dubois'  fine  commemorative  and 

official  medals.      Alexandre   Charpentier's  imaginative 

"Vsrork,  and  his  charming  babies,  **  Pierre  et  Jean  ". 

And  the  work  of  the  four  chiefs  in  this  art  stands 
CDut  grandly  among  so  much  that  is  admirable.  These  are — 
Daniel-Dupuis,  Jean-Baptiste,  *  {b.  Blois),  who  won 
the  grand  prix  de  Eome  in  1872.  Among  the  many  examples 
ot  his  work,  perhaps  some  of  the  finest  are  his  portraits,  such 
CIS  those  of  M.M.  Guillaume,  Barrias,  Eoger  Marx,  P.  C. 
^ules  Janssen. 

Patey,  Henri-Auguste-Jules  {b.  Paris),  grand  prix  de 
IRome  1881,  and  author  of  the  beautiful  **  L'Esperance  ".  A 
c^ase  of  M.  Patey's  medals  was  exhibited  at  the  Exhibition  of 
ZFrench  Art  at  the  Guildhall,  1898,  and  made  a  profound 
impression. 

Chaplain,  Jules-Clement,  0.*,  M.  de  l'Inst.  (6.  Mor- 
tagne,  Ome). — A  pupil  of  Jouflfroy,  M.  Chaplain  gained  the 
grand  prix  de  Eome  in  1863.     It  is  difficult  among  the  many 


492  A  HISTORY  OP  FRENCH  ART.  Ce.  XXIV. 

chef  d'oeuvres  of  this  great  artist  to  single  out  one  in  particular. 
But  whether  we  choose  "  L'Inspiration  " — or  the  portrait  of 
*'  Gambetta" — the  commemorative  medal  of  the  **  Donation 
du  Chateau  de  Chantilly  k  Tlnstitut " — or  the  charming 
silvered  bronze  of  "  Mes  Enfants  ** — all  bear  the  stamp  of  the 
true  artist. 

RoTY,  Oscar,  0.*,  M.  de  lTnst.  (6.  Paris),  is  the  supreme 
master,  whose  every  touch,  firm,  strong,  delicately  imaginative, 
reveals  his  genius.  Grand  prix  de  Eome  in  1875,  a  pupil  of 
Dumont  and  M.  Ponscarme,  M.  Roty*s  distinguished  talent 
gives  evidence  of  profound  study.  While,  whether  in  the 
tiny  medal  or  the  large  plaquette,  we  find  tenderness,  imagina- 
tion, deep  insight  into  character  and  temperament,  unflinching 
love  of  truth,  a  fertile  invention,  and  unsurpassed  charm. 

One  need  only  mention  "  Maternity,"  "  Le  Club-Alpin- 
Frangais,"  "  M.  Pasteur's  70th  Birthday ,*'  *'  M.  and  Mme. 
Bigot-Danel's  Silver  Wedding,"  and  the  portrait  plaquettes 
of  the  artist's  parents,  of  Mile.  Taine,  of  Mme.  Eoty,  of  little 
Maurice  Roty,  aged  fifty-two  months,  with  the  spray  of  wild 
rose  on  the  reverse — to  call  to  mind  some  of  the  most  ex- 
quisite works  of  art  the  nineteenth  century  has  produced. 

Sculptors. 

Carpeaux,  Jean-Baptiste  {b.  Valenciennes,  1825 ;  d. 
Courbevoie,  1875). — The  firstfruits  of  Eude*s  influence,  Car- 
peaux was  a  worthy  pupil  of  that  great  master.  For  next 
to  Kude,  Carpeaux  is  perhaps  the  most  striking  individuality 
among  sculptors  of  the  century.  The  city  of  Valenciennes, 
which  has  given  birth  to  so  many  fine  artists  in  the  past  and 
the  present,  sent  young  Carpeaux  to  Paris  with  a  small 
allowance.  He  went  first  to  Rude's  studio ;  and  then,  by 
his  master's  generous  advice,  to  that  of  Duret,  who  was  more 
in  favour  with  the  6cole  des  Beaux  Arts,  which  Carpeaux 
entered  in  1844.  Ten  years  later  he  gained  the  grand  prix 
de  Eome.      His   first  eiivoi  from  the  Villa  Medicis  was  a 

* 

''  Petit  P^cheur  a  la  Coquille  *' — evidently  inspired  by  Rude's 
delicious  "Petit  P^cheur '\  But  it  was  Michael  Angelo 
whose  genius   affected    him   most   deeply   in   Rome.     And 


O-1900.  CONTEMPORARY  SCULPTORS.  493 

;er  the  Fisher  boy,  he  threw  himself  with  passion  into  his 
oup  of  "  Ugolino,"  in  which  the  influence  of  Michael  Angelo 
clearly  seen.  The  plaster  model  was  the  last  piece  he  sent 
)m  Eome ;  the  bronze,  now  in  the  gardens  of  the  Tuileries^ 
IS  exhibited  in  the  Salon  of  1863. 

In  1866  M.  de  Niewerkerke  presented  Carpeaux  at  the 
lileries,  and  thus  began  a  connection  which  lasted  to  the 
ry  end.  For  it  was  Carpeaux's  hand  that  modelled  the  last 
st  of  Napoleon  III.  at  Chiselhurst  on  January  13,  1873. 
le  original  plaster  model  is  now  in  the  new  room  at  the 
)uvre,  opened  in  June,  1898,  which  contains  besides,  the 
ginal  models  of  his  busts  of  Alexandre  Dumas  fils,  of 
adame  Carpeaux,  and  several  others.  Carpeaux's  bust 
rtraits  were  a  most  important  part  of  his  work.  He  began 
e  series  in  1802 ;  and  left  some  thirty  as  a  lasting  con- 
bution  to  contemporary  biography.  It  is  only  necessary 
mention  the  Eugene  Giraud,  now  in  the  Louvre,  and  the 
irvellous  bronze  of  M.  G6r6me,  to  show  how  Carpeaux'^s 
inner  in  portraiture  has  affected  many  of  the  most  cele- 
ated  and  modern  of  living  artists. 

The  first  commission  given  him  by  the  Emperor  was  the 
coration  of  the  southern  fagade  of  the  Pavilion  de  Flore,. 

the  Tuileries.  The  great  group  of  the  pediment  is  the 
ist  original  part  of  the  work.  But  in  the  delicious  central 
8-relief — "  Le  Triomphe  de  Flore  *' — we  get  the  master's 
nius  fully  shown.  The  great  success  of  this  decoration 
IS  followed  by  others  still  greater — the  beautiful  group,. 
Ija  Danse,"  for  the  new  opera  house,  full  of  such  extra- 
iinary  life,  vigour,  and  lightness  that  it  positively  givea 
sense  of  air;  and  the  famous  fountain  of  the  Avenue  de 
)bservatoire — **  Les  quatre  parties  du  monde  soutenant  la 
h^re  ".  The  plaster  model  is  now  in  the  Louvre.  **  It  is 
he  last  word  of  the  sculptor  of  motion  *' — the  four  nude 
nale  figures,  a  European,  a  negress,  a  Chinese,  and  a 
jruvian,  turning  in  rhythmic  measure  beneath  the  great 
here  that  rests  lightly  on  their  upraised  hands.  Each 
Tire  is  symbolic  in  a  high  degree — as  well  as  of  extreme 
auty. 


494  A  HISTORY  OF  FRENCH  ART.  Ch.  XXIV. 

Examples  in  Louvre  : — 

Bust,  bronze,  Eugfene  Giraud.     528. 

Busts,  original  plaster,  Mme.  Carpeaux ;  Mme.  I. ; 
Mme.  Lefevre  ;  Alexandre  Dumas  fils  ;  Napoleon 
in.,  dated  Chiselhurst,  Jan.  13,  1873. 

La  Danse,  original  model  for  the  group  on  the  Kew 
Opera  House.     529. 

Les  quatre  parties  du  monde  soutenant  la  sphere, 
original  model.     531. 

The  same  in  bronze,  Avenue  de  TObservatoire. 
Fremibt,  Emmanuel,  0.*,  M.  de  lInst.  (b,  Paris, 
1824),  one  of  Rude's  most  distinguished  pupils,  as  well  as 
his  nephew,  began  his  long  series  of  Salons  in  1843  \\ith 
a  gazelle — a  study  in  plaster.  And  for  some  years  he 
exhibited  little  else  but  splendid  studies  of  animals.  Indeed, 
all  through  his  brilhant  career,  animals  have  been  one  of 
his  most  original  and  most  delightful  subjects  of  observation. 
Every  visitor  to  the  Luxembourg  knows  the  delicious 
*'  D^nicheur  d'Oursons  *' — the  little  Pan  with  his  careless, 
humorous  face,  wholly  occupied  in  stirring  up  a  wild  bee's 
nest  for  two  baby  bears.  I  confess  I  never  can  pass  the 
little  demi-god,  so  absorbed  in  his  idle  mischief,  without  a 
friendly  word.  Of  late  M.  Fr^miet  has  turned  again  to  these 
studies  of  animal  nature  in  a  commission  for  the  Museum 
d'Histoire  Naturelle  in  Paris,  for  which  he  modelled  the 
fearful  scene  of  a  combat  between  Borneans  and  ourang- 
outangs,  exhibited  in  the  Salon  of  1895.  He  had  already 
tried  his  hand  on  such  monstrous  creatures  in  his  "  B6tiaire 
et  Gorille"  of  1876.  But  M.  Fr^miet  has  not  devoted 
himself  to  animals  alone. 

In  1880  he  exhibited  the  first  edition  of  his  "  Jeanne 
d'Arc"  of  the  Place  des  Pyramides.  But  dissatisfied  with 
certain  details,  with  a  splendid  generosity  and  rare  artistic 
conscience  he  began  the  whole  thing  over  again.  More 
recently,  among  many  other  works,  the  fine  "Velasquez 
^questre  "  must  be  noted,  in  the  Jardin  de  Tlnfante  at  the 
Louvre — a  souvenir  of  that  little  Infanta  of  Spain,  who, 
when  barely  four  years  old,  was  despatched  to  France  under 


1860-1900.  CONTEMPORARY  SCULPTORS.  495 

a  treaty  as  fiancee  of  Louis  XV.,  then  twelve,  and  sent  home 
three  years  later,  only  leaving  her  name  to  the  garden  in 
which  she  played  beside  the  Seine. 

Everything  M.  Frimiet  produces  is  touched  with  an 
originahty  of  thought,  an  impetuous  vigour,  a  life  and  fire, 
which  should  go  far  to  inspire  his  contemporaries  and  his 
followers.  These  qualities  are  to  be  found  in  those  small 
bronzes — animals  and  statuettes — which  are  the  delight  of 
the  connaisseur. 

Examples  in  Luxembourg : — 

Pan  et  Ours,  marble.     482. 

Le  Chien  blesse,  bronze,  1851.     481. 

Saint  Georges,  statuette  gilt  bronze.     483. 

Jeanne  d'Arc,  Place  des  P5rramides,  Paris. 

L'homme  a  TAge  de  pierre,  Jardin  des  Plantes. 

Velasquez  equestre,  Jardin  de  I'lnfante,  Louvre. 

Louis  d'Orleans,  bronze.  Chateau  de  Pierrefonds. 

Eavageot  et  Eavageode,  chiens  bassets,  Chateau  de 
Compi^gne. 
Among  his  best  known  statuettes  are  the  M^nestrel — 
Pauconnier — Spadassin — Saint  Michel — all  in  silvered  bronze. 
And  the  series  of  military  statuettes  in  bronze. 

Gardet,  Georges,  *  (b.  Paris),  pupil  of  Aim6  Millet  and 
M.  Fr^miet,  is  a  direct  inheritor  of  Barye.  And  without 
Barye,  one  imagines  M.  Gardet  would  hardly  have  reached 
such  high  attainment  as  a  sculptor  of  animals.  His  tiger 
fight  of  the  Luxembourg — the  marble  coloured  slightly,  gives 
a  singularly  life-like  touch — ^is  a  grand  bit  of  work.  While 
his  group  of  Lions  and  Tigers  for  the  chateau  of  Vaux  le 
Vicomte,  was  one  of  the  chief  triumphs  of  the  Salon  of  1898. 
Cain,  Auguste-Nicholas,  0.*  {b.  Paris,  1822 ;  d.  Paris, 
1894),  a  pupil  of  Rude  and  M.  Guionnet,  is  another  artist 
who  devoted  himself  to  the  study  of  animals.  His  two 
colossal  bronze  groups  at  the  entrance  to  the  Tuileries 
gardens  from  the  rue  de  la  Paix — of  the  Tigers  and  Rhino- 
ceros, and  the  family  of  Lions — are  familiar  to  every  visitor 
to  Paris.  And  such  is  their  force  and  life  that  one  would 
not  be  surprised  if  they  bore  Barye's  signature. 


496  A  HISTORY  OF  FRENCH  ART.  Ch.  XXIV. 

Christophe,  Ernest-Louis- Aquilas,*  {b.  Leches,  1827  ; 
d.  Paris,  1892). — "  Son  jeune  6Ieve  Christophe  *'  was  one  of 
Rude's  favourite  pupils,  who  more  than  most  sculptors  gave 
himself  over  to  those  imaginative  endeavours  which  are  so 
curious  and  interesting  a  development  of  Modern  Art.  His 
two  groups  in  the  Luxembourg,  one  in  bronze,  one  in  marble, 
are  both  inspired  by  lines  of  Leconte  de  Lisle — ''La  Fatalite" 

L'epee  en  main,  le  pied  sur  la  roue  immortelle — 

— And  **  Le  Baiser  supreme,"  of  the  Sphinx  to  the  poet  who 
she  destroys. 

Cordier,  Charles,*  (6.  Cambrai),  another  pupil  of  Eude's 
atelier,  has,  unlike  Christophe,  endeavoured  to  record  racial 
types  in  all  their  reality — such  as  his  busts  of  a  **  Negre  du 
Soudan  "  and  a  **  Negresse  des  Colonies  " — in  various  coloured 
marbles  ;  and  to  revive  the  polychrome  sculpture  of  the 
ancients. 

And  while  speaking  of  this  subject  let  us  note  the  very 
remarkable  little  statuette — now  in  a  place  of  honour  in  the 
Luxembourg — of  "  Salammb6  chez  Math6/*  by  Riviere- 
Theodore,  Louis- AuGUSTE  (b.  Toulouse),  a  pupil  of  Jouffroy 
and  M.M.  Falguiere  and  Merci6.  It  is  technically  described 
as  a  **  Statuette  chryselephantine,'*  in  which,  after  the 
fashion  one  supposes  of  the  Mvtierve  ChryseUpliantine  of 
Phidias,  ivory,  gold,  silver,  and  bronze  are  mingled.  What- 
ever the  means,  the  sensation  of  that  supreme  scene  of 
Flaubert's  great  novel  is  finely  rendered. 

Carrier-Belleuse,  Albert-Ernest,  0.*  {b,  Anizy  le 
Chateau,  Aisne,  1824 ;  d,  Sevres,  1887). — A  pupil  of  David 
d'Angers,  Carrier-Belleuse  was  for  many  years  director  of 
the  Works  at  Sevres.  His  portrait  statues  and  busts  were 
highly  thought  of.  But  his  "  Hebe  endormie,"  now  in  the 
Luxembourg,  created  a  real  sensation  in  the  Salon  of  1869. 

Millet,  Aime  0  *  (6.  Paris,  1819 ;  d,  Paris,  1891),  sculptor 
and  painter,  pupil  of  his  father  and  of  David  d 'Angers  and 
Viollet-le-Duc,  entered  the  6cole  des  Beaux  Arts  in  1836.  In 
1849  he  exhibited  a  "  Jeune  P4tre  pleurant  son  chevreau  ". 
And  after  a  good  many  portrait  busts,  etc.,  and  a  number  of 
excellent  paintings  from  various  Italian  and  Spanish  masters, 


1860-1900.  CONTEMPORARY  SCULPTORS.  497 

his  **  Ariane  *'  of  1857  was  bought  by  the  State.  It  is  now  in 
the  Luxembourg.  The  huge  *'  Vercing^torix,'*  for  the  plateau 
d'Alise,  C6te  d'Or,  of  1865  ;  and  the  tomb  of  "  Henri  Murger/' 
Cimetiere  Montmartre,  are  among  his  best  known  works, 
with  the  great  group  surmounting  the  new  Opera  House. 

A  charming  portrait  of  Aim6  Millet,  by  M.  Bonnat,  was 
given  by  the  painter  and  Mme.  Aim^  Millet  to  the  Luxem- 
bourg. 

Dubois,  Paul,  G.O.*,  M.  de  l'Inst.  {b,  Nogent  sur  Seine, 
1829). — M.  Paul  Dubois,  the  distinguished  Director  of  the 
ifccole  des  Beaux  Arts,  is  singularly  well-fitted  for  such  a 
position  ;  for  he  is  a  painter  as  well  as  a  sculptor,  and  a  keen 
observer  in  both  arts.  "  Un  des  maltres  les  plus  fins,  les  plus 
"  d^licats,  les  plus  noblement  artistes  et,  ce  qui  ne  g&te  rien, 
"  un  des  plus  modestes  de  notre  temps.*'  Such  words  betray 
the  admiration  with  which  the  artist  is  regarded  both  as  man 
and  as  artist. 

Studying  first  under  Toussaint,  one  of  David  d'Angers* 
pupils,  M.  Paul  Dubois  entered  the  ifccole  des  Beaux  Arts 
somewhat  late,  in  1858,  when  he  was  nearly  thirty.  But  his 
time  had  not  been  wasted ;  for  he  had  spent  the  intervening 
years  in  travel  and  study.  And  it  was  in  Italy  in  1860  that 
he  made  the  sketch  of  his  "  Saint  Jean-Baptiste,  enfant  ". 
This  charming  statue  in  plaster  was  exhibited  in  1863  with 
the  "  Narcisse,"  and  followed  in  1865  by  the  plaster  model  of 
the  well-known  "  Chanteur  Florentin  '*.  The  three  statues — 
the  "  Narcisse "  in  marble,  the  others  in  bronze — were 
exhibited  in  the  Exposition  Universelle  of  1867 ;  and  are 
now  in  the  Luxembourg.  They  had  an  immediate  success, 
and  gained  their  author  a  M^daille  d'Honneur.  We  see  in 
them  a  certain  early  Florentine  influence.  But  in  the  next 
few  years,  with  his  admirable  busts  of  Henner,  Paul  Baudry, 
etc.,  etc.,  the  master's  own  individuality  asserts  itself,  and 
prepares  us  for  his  chief  work,  the  "  Tomb  of  General 
tiamoricifere,"  in  the  Cathedral  of  Nantes. 

This  great  monument  is  placed  opposite  Michel  Colombe*s 
famous  tomb  of  the  Due  de  Bretagne.^    And  M.  Paul  Dubois 


498  A  HISTORY  OF  FRENCH  ART.  Ch.  XXIV. 

has  arranged  his  chef  d'oeuvre  with  singular  felicity,  after  the 
style  of  the  Renaissance  monuments.  The  General's  figure 
lies  under  a  canopy  supported  by  black  and  white  marble 
columns.  And  at  the  four  outer  angles  of  the  stylobate  four 
figures  are  seated — as  in  Michel  Colombe's  monument — 
Charity,  Faith,  Meditation,  and  Military  Courage.  While 
Wisdom,  Eloquence,  Justice,  Strength,  Hope,  Prudence, 
Religion,  occupy  medallions  on  the  columns ;  and  delightful 
funeral  genii,  and  renaissance  ornaments  in  low  relief,  com- 
plete the  work,  which  holds  its  own  even  in  comparison 
with  that  of  the  famous  Colombe. 

Among  M.  Paul  Dubois'  later  works  one  of  the  most 
remarkable  is  the  **  Jeanne  d'Arc  "  of  1895 — an  equestrian 
statue  for  the  city  of  Reims.  Among  the  many  statues  of 
La  Pucelle,  few  have  surpassed  this  in  admirable  thought 
and  feeling — even  to  that  "  gaucherie  "  with  which  she  carries 
her  sword  aloft,  '*  comme  elle  portrait  le  cierge  k  Tfiglise  de 
**  Domr^my,"  as  M.  Melchior  de  Vogiie  says. 

M.  Paul  Dubois*  paintings   are   chiefly  portraits.      The 
charming  one  of  "  Mes  Enfants  "  appeared  in  the  Salon  of 
1876,  and  was  again  exhibited  in  the  Exposition  Centennale 
of  1889,  with  several  others. 
Examples  in  Luxembourg  : — 

Saint-Jean-Baptiste,  enfant,  bronze.     473. 

Narcisse,  marble.     474. 

Chanteur  Florentin,  bronze  argents     475. 

Tomb  of  General  Lamorici^re,  Cathedral  of  Nantes. 

Jeanne  d'Arc,  bronze,  Reims. 

Connetable  de  Montmorency,  Terrace,  Chantilly. 
Chapu,  Henri-Michel-Antoine,  0.*,  M.  de  l'Inst.  (b. 
au  Mee,  Seine  et  Marne,  1833  ;  d.  1891).— The  death  of  M. 
Chapu  at  the  height  of  his  powers  in  1891  was  a  heavy  blow 
to  modern  sculpture  ;  for  it  robbed  France  of  a  most  brilhant, 
a  most  original,  and  a  most  poetic  artist.  If  nothing  remained 
of  M.  Chapu's  work  but  the  "  Jeunesse  "  of  Henri  Regnault  s 
monument  in  the  cloisters  of  TEcole  des  Beaux  Arts,  it  would 
be  enough  to  secure  him  a  foremost  place  for  all  time  among 
nineteenth  century  sculptors.      Few  modern  figures  are  so 


1860-1900.  CONTEMPORARY  SCULPTORS.  499 

full  of  absolute  grace,  combined  with  such  a  poetic  sensation 
of  passionate  and  yet  dignified  regret.^ 

A  pupil  of  Pradier  and  Duret,  he  entered  the  ficole  des 
Beaux  Arts  in  1849 ;  and  after  two  second  prizes,  gained 
the  grand  prix  de  Eome  in  1855.  "  If  M.  Chapu  has  been  to 
**  Rome,  he  demonstrates  how  one  can  return  from  thence." 
Without  ever  casting  aside  the  respect  of  tradition,  he  is 
essentially  modem  in  his  work. 

His  first  work  for  the  Salon  was  in  1863,  the  "  Mercure 
inventant  le  caduc^e,"  now  in  the  Luxembourg.  This  must 
not  be  confounded  with  Idrac's  statue  of  the  same  subject — 
which  I  must  consider  much  the  most  original  of  the  two. 
Chapu's  is  somewhat  **  rhetorical  ".  He  had  not  shaken 
himself  free  from  the  fetters  of  tradition  at  that  time.  But 
within  ten  years  he  could  give  us  the  exquisite  **  Jeunesse  '*. 
The  model  of  the  "  Jeanne  d'Arc  " — a  much  discussed  figure 
—was  in  the  Salon  of  1868.  The  marble  in  that  of  1870.  It 
is  now  in  the  Luxembourg.  But  Chapu's  full  talent  is  mani- 
fested in  such  ideal  figures  of  women  as  the  exquisite 
"Jeunesse" — the  pathetic  and  lovely  figure  of  "  Princesse 
H61fene  "  on  the  tomb  of  the  Due  d'Orlians  at  Dreux — and 
the  beautiful  **  France  "  of  the  Cathedral  of  Eouen,  holding 
a  sword  while  she  offers  a  wreath  of  bays  to  the  kneeling 
Cardinal  Bonnechose  above  her. 

The   Luxembourg  contains   some  very  fine  medals  by 
Chapu,  mostly  executed  between  1864  and  1881.     They  are 
larger  than  is  usual ;  and  some  are  of  high  merit. 
Examples  in  Luxembourg : — 

Mercure  inventant  le  Caduc^e.     449. 

Jeanne  d'Arc  k  Domr^my.     450. 

Medals,  bronze. 

La  Jeunesse,  Monument  to  Henri  Regnault,  ficole  des 
Beaux  Arts. 

La  Pens^e,  tomb  of  Mme.  d'Agoult. 

Monument  of  Due  d'Orleans,  figlise  de  Dreux. 

Monument  to  Cardinal  Bonnechose,  1883,  Cathedral 
of  Rouen. 

1  See  p.  388. 


500  A  HISTORY  OF  FRENCH  ART.  Ch.  XXIV. 

GuiLLAUME,  Claude- Jean -Baptiste-Eug6ne,  G.  O.  * 
M.  DE  L'AcAD.  Fr.  {b.  Montbard  (C6te  d'Or),  1822).— 
M.  Guillaume,  a  pupil  of  Pradier,  is  one  of  those  artists 
distinguished  ahke  as  a  thinker  and  a  worker,  who  has 
contributed  both  in  theory  and  in  practice  to  the  advance- 
ment of  Art.  His  life  has  been  marked  out  for  success  from 
the  beginning.  Entering  the  ifccole  des  Beaux  Arts  in  1841, 
he  gained  the  grand  prix  de  Eome  in  1845.  Ten  years  later 
he  obtained  a  first  medal.  But  his  reputation  was  already 
established  by  his  **  Gracchi/*  in  the  Salon  of  1853,  now  in 
the  Luxembourg,  which  was  an  evidence  of  Ingres'  famous 
dictum,  **  Le  dessin  est  la  probite  de  Tart ".  And  this 
probity  has  always  been  found  in  M.  Guillaume''s  work, 
marked  among  that  of  modem  artists  by  a  dignity,  almost 
amounting  to  severity  of  style.  This  is  seen  in  a  high  degree 
in  his  noble  bust  of  *'Monsignor  Darboy"^  in  his  pontifical 
robes,  which  with  certain  others  by  M.  Guillaume — notably 
the  "  Ingres  "  in  the  ifccole  des  Beaux  Arts — are  well  worthy 
to  rank  with  the  grand  series  of  busts  for  which  the  French 
school  has  been  famed  from  its  outset.  M.  Guillaume's  life 
is  a  record  of  constant  and  well-merited  success.  In  1862  he 
was  elected  a  membre  de  Tlnstitut.  Two  years  later  he  was 
made  Director  of  the  iicole  des  Beaux  Arts,  a  post  he  fiHed 
till  1879.  In  that  year  he  became  Directeur  Gin6ral  des 
Beaux  Arts.  A  little  later  Directeur  de  Tifecole  de  France  k 
Eome.  And  in  1898  he  was  elected  a  membre  de  TAcad^mie 
de  France,  as  a  recognition  of  his  many  vratings  on  Art. 
Examples  in  Luxembourg : — 

Anacr^on,  1851,  marble.     487. 

Les  Gracques,  1853.     488. 

Mgr.  Darboy,  1874.     489. 

Le  Faucheur,  1849.     490. 

Vie  de  Ste.  Clotilde,  bas  relief,  Church  of  Ste.  Clotilda 

Four  saints,  stone  statues.  Church  of  La  Trinity. 

Fronton  et  Cariatides,  Pavilion  Turgot,  Louvre. 

La  Musique  instrumentale,  fa9ade  of  the  Opera. 

^Archbishop  of    Paris,    shot   among    the   other  hostages    during  the 
Commune,  at  La  Qrande  Boquette,  May,  1871. 


50-1900.  CONTEMPORARY  SCULPTORS.  501 

Ingres,  bust,  ficole  des  Beaux  Arts,  Paris. 

Colbert,  statue,  bronze,  Beims. 

Fran9oi8  Buloz,  bust,  Collection  of  M.  C.  Buloz. 
Falguiere,  Jean  Alexandre  Joseph,  C.*,  M.  de  lInst. 
K  Toulouse,  1831). — It  is  difficult  to  write  of  the  intensely 
jrmpathetic  talent  of  M.  Falguifere  without  overstepping 
le  limits  of  conventional  criticism.  Few  artists  make  so 
ersonal  and  intimate  an  appeal  to  the  artistic  sense,  as  the 
3ulptor  of  **  Le  Vainqueur  au  Combat  de  Coqs,"  that  wholly 
elightful  bronze  of  the  Luxembourg,  so  full  of  vigour,  and 
outh,  and  the  joie  de  vivre.  One  hardly  knows  which  is  the 
lost  triumphant  creature — the  beautiful  lad,  or  his  proud 
ame-cock. 

M.  Falguifere  is  one  of  the  many  distinguished  artists  to 
7hom  Toulouse  has  given  birth.  And  in  the  vivacity  and 
ense  of  life  in  his  work,  we  trace  his  southern  blood.  A 
•upil  of  Jouflfroy,  he  gained  the  grand  prix  de  Bome  in  1859. 
Lnd  the  "Vainqueur  au  Combat  de  Coqs"  brought  him  a 
aedal  at  the  Salon  of  1864 ;  followed  by  a  first  class  medal 
Q  1867,  for  the  well-known  "  Tarcissius,"  the  boy  martyr. 

But  with  all  his  vigour  and  daring  sense  of  life,  M. 
''alguifere  is  never  found  wanting  in  dignity  or  in  the  true 
ense  of  beauty.  His  statue,  for  instance,  in  1895,  of  the 
/"andean  hero,  **  Henri  de  la  Bochejaquelein,"  is  the  work 
•f  a  poet.  The  proud  young  figure  of  the  general  of  twenty- 
wo  years  old,  is  the  embodiment  of  his  famous  saying  :  "  Si 
'  je  recule,  tuez-moi ;  si  favance,  suivez-moi  ;  si  je  moeurs,  v&ngez- 
moi ".  And  in  the  noble  portrait  bust  of  the  "  Baronne 
)aumesnil,  Surintendante  de  la  Legion  d'Honneur,*'  we 
ind  a  tender  and  respectful  presentment  of  dignified  old 
,ge,  infinitely  touching  and  impressive.  Among  his  most 
elebrated  statues  are  the  "  Eve"  of  1880,  his  two  "Dianas," 
jid  the  **  Saint  Vincent  de  Paul  **. 

But  M.  Falguiere  does  not  confine  his  artistic  effort 
o  sculpture  alone.  In  1875  he  obtained  a  second  medal  for 
)ainting,  with  his  "  Lutteurs  ".  And  his  **  6ventail  et  poig- 
lard  "  of  the  Luxembourg,  shows  the  same  qualities  of  life 
jid  vigour  as  his  sculpture,  with  a  fine  sense  of  colour  as  well. 


502  A  HISTORY  OF  FRENCH  ART.  Ch.  XXIV. 

Examples  in  Luxembourg  : — 

Sculpture. 

Tarcissius,  marble.     477. 

Un  Vainqueur  au  Combat  de  Coqs,  bronze.     478. 
Portrait  de  Mme.  la  baronne  Daumesnil.     479. 
Saint  Vincent  de  Paul,  marble  statue,  Pantheon. 
Le  progres  terrassant  Ferreur,  Pantheon. 
Lamartine,  Macon. 

Painting. 

fiventail  et  poignard,  Luxembourg. 
Lutteurs. 

Mercie,  Antonin,  C*  (b.  Toulouse),  a  pupil  of  Jouflfroy, 
and  of  his  compatriot  M.  Falguifere,  is  another  of  that 
brilliant  company  of  artists  from  Toulouse,  which  includes 
Ingres  and  Boilly,  Falguifere,  Idrac,  and  Marqueste,  Troy, 
Valenciennes,  Serres,  Debat-Ponson,  Destrem,  and  scores  of 
lesser  lights. 

There  was  no  hesitation  visible  in  M.  Mercii's  talent 
from  the  outset ;  and  success  came  swiftly.  M.  Falguiere's 
favourite  pupil  gained  the  grand  prix  de  Eome  in  1868 ;  and 
four  years  later  received  a  first  medal  for  his  beautiful 
*'  David,'*  in  the  Salon  of  1872.  This  success  was  confirmed 
in  1874  by  the  epic  group  **  Gloria  Victis  '* — a  subject  which, 
treated  with  such  original  and  harmonious  skill,  was  bound 
to  stir  all  hearts  at  such  a  moment.  The  bronze  now  stands 
in  the  Square  Monthollon.  And  the  original  plaster  group 
has  been  moved  to  one  of  the  Salons  of  the  Hotel  de  Ville. 
In  1877  came  the  fine  bronze  group  in  high-reUef,  **  Le  g^nie 
des  Arts " ;  which  replaced  Barye's  "  Napoleon  HE."  on 
the  guichet  of  the  Louvre. 

But  perhaps  Merci6*s  most  charming  work  is  the  ex- 
quisite figure  known  as  **  Le  Souvenir,"  on  the  tomb  of 
Mme.  Charles  Ferry,  at  Thann,  Alsace.  M.  Charles  Ferry 
has  given  a  repetition  of  the  original  to  the  Luxembourg. 
And  it  would  be  hcurd  to  find  a  more  lovely  and  touching 
work  in  modem  sculpture  than  the  graceful  veiled  figure  of 
the  young  and  beautiful  woman. 


1860-1900.  CONTEMPORARY  SCULPTORS.  503 

Examples : — 

David,  bronze,  Luxembourg.     510. 

Le  Souvenir,  Luxembourg.     511. 

Gloria  Victis,  plaster  model,  Hotel  de  Ville,  Paris. 

Gloria  Victis,  bronze.  Square  MonthoUon,  Paris. 

Le  Genie  des  Arts,  Guichet  du  Louvre. 

Quand  m^me,  Jardin  des  Tuileries. 

Arago,  statue  and  bas  relief,  Perpignan. 

Monuments  to  Baudry  and  Michelet,  Pfere  Lachaise. 

Monument  to  le  roi  Louis  Philippe,  Dreux. 
Idrac,  Jean-Antoine-Marie,  *  {b.  Toulouse,  1849 ;  d. 
Paris,  1885),  another  Toulousian,  who  died  at  the  age  of 
thirty-six,  had  already  shown  not  only  promise  but  power. 
A  pupil  of  M.M.  Guillaume  and  Falguifere,  he  gained  the 
grand  prix  de  Eome  in  1873 ;  and  in  1879  exhibited  his 
'*  Mercure  inventant  le  Caducie,'*  now  in  the  Luxembourg 
(493)  ;  followed  in  1882  by  the  ''  Salammb6  "  (494).  He 
also  collaborated  with  his  fellow-citizen,  M.  Marqueste,  in  the 
very  fine  equestrian  statue  of  **  Etienne  Marcel,*'  now  on  the 
Quai  des  Gesvres. 

Marqueste,  Laurent-Honor6,  0.*,  M.  de  l'Inst.  (b. 
Toulouse),  a  pupil  of  Joufifroy  and  M.  Falguiere,  and  a  grand 
prix  de  Bome  two  years  before  Idrac,  is  represented  in  the 
Luxembourg  by  three  statues — Cupidon  (507) ;  Galatie  (508); 
Pers^e  et  la  Gorgone  (509). 

But  though  not  actually  born  in  Toulouse,  Puech, 
Denys,  *  (b.  Gavernac,  Aveyron),  may  be  counted  as  a 
member — the  youngest — of  the  group.  For  he  is  of  the 
country — a  pupil  of  MM.  Falguifere  and  Chapu — and  one  of 
the  most  interesting  of  the  younger  sculptors. 

The  Luxembourg  contains  two  of  his  statues — **  La  Muse 
d'Andr^  Ch^nier  *'  (520),  and  "  La  Sirene ''  (521).  They  show 
besides  extreme  facility,  both  thought  and  inventiveness. 
One  of  his  charming  busts  of  women  is  also  there — a  part  of 
his  work  in  which  he  has  already  made  a  great  reputation, 
though  he  only  gained  the  prix  de  Bome  in  1884.  In  the 
Salon  of  1898  he  exhibited  a  large  plaster  group  for  the  monu- 
ment to  Fran9ois  Gamier,  to  be  erected  in   the  place   de 


504  A  HISTORY  OF  FRENCH  ART.  Ch.  XXIV. 

« 

rObservatoire.    Let  us  hope  that  the  future  may  see  much 
more  of  M.  Puech. 

Barrias,  Louis-Ernest,  0.*,  M.  de  lInst.  (b.  Paris, 
1841),  the  sculptor  of  the  "  Spinner"  (431),  and  of  the  better 
known  "  Mozart  enfant ''  (432),  both  in  the  Luxembourg,  is 
the  son  of  F^Ux  Barrias  the  painter,  and  a  pupil  of  Jouflfroy  and 
Cavelier.  His  really  fine  statue  of  "  Bernard  Pahssy  "  in  the 
little  square  of  St.  Germain  des  Pr6s,  is  hardly  ever  observed 
in  the  rush  of  trams  and  omnibuses.  But  it  well  repays 
careful  attention ;  for  it  shows  admirable  truth  and  feeling. 

Saint-Marceau,  Ben6  de,  0.*  {b,  Eeims),  is  another  of 
Jouflfroy's  many  pupils.  He  is  said  to  be  an  amateur.  But 
there  is  little  of  the  amateur  about  M.  de  Saint-Marceau, 
unless  it  be  that  he  is  not  obliged  to  work  for  his  bread — a 
kind  of  amateurism  many  would  wish  to  share. 

Of  his  three  works  in  the  Luxembourg — "  La  Jeunesse 
de  Dante*'  (1896),  ** Ginie  gardant  le  secret  de  la  tombe" 
(1879),  **  Buste  d'homme  *'  (1892)— perhaps  the  bust  of  his 
friend  Dagnan-Bouveret  is  the  most  deeply  interesting.  It  is 
a  remarkable  character  study — the  sculptor's  vision  of  the 
painter.  The  **  G6nie  gardant  le  secret  de  la  tombe ''  received 
a  m^daille  d'honneur  in  1879.  But  M.  de  Saint-Marceau 
will  always  be  best  known  by  that  strangely  attractive  and 
enigmatic  figure,  his  famous  "  Arlequin  "  of  1880.  The 
bronze,  which  was  re-exhibited  at  the  Universal  Exposition 
of  1889,  created  an  effect,  when  seen  in  the  central  Hall, 
that  will  not  easily  be  forgotten.  The  original  plaster 
model  was  given  by  the  artist  to  the  museum  of  his  native 
place,  Eeims. 

If  M.  de  Saint-Marceau  produces  but  little,  that  little  is 
of  admirable  quality.  And  his  two  contributions  to  the  Salon 
du  Champ  de  Mars  of  the  Sociit^  Nationale,  1898,  show 
that  he  has  not  contented  himself  with  success  attained: 
but  is  still  striving  for  further  attainment.  They  were  the 
remarkable  bronze  bust  of  "  Gabriel  d*Annunzio  "  ;  and  the 
very  beautiful  **  image  de  Nos  Destinies,  cette  vision 
"  fuyait  au  soleil  couchant  parmi  les  nu6es  " — which,  it  is 
said,  was   suggested   to   M.  de  Saint-Marceau  by  a   swift 


1860-1900.  CONTEMPORARY  SCULPTORS.  505 

flying  cloud.  Whether  such  an  effort  comes  within  the  legiti- 
mate range  of  statuary  is  a  question.  In  any  case  it  is  an 
effort  of  imagination  which  it  is  well  worth  trying  to  realize. 

Boucher,  Alfred,  0.*  (6.  Nogent-sur-Marne),  is  the 
author  of  the  strifcftig  group  now  in  the  garden  of  the  Luxem- 
bourg, "  Les  Coureurs  ".  It  was  an  audacious  attempt :  but  a 
successful  one.  And  in  1890  he  followed  its  violent  action 
with  an  antithesis  almost  as  striking — **  Le  Kepos  '* — the 
nude  figure  of  a  sleeping  woman,  stretched  upon  a  low 
Eoman  couch.  This  is  in  the  Luxembourg  (483),  and 
is  as  delicate  and  chaste  in  sentiment  as  it  is  beautiful  in 
technique. 

Dalou,  Jules,  0.*  (6.  Paris), — a  founder  of  the  Soci6t6 
des  Artistes  Francais,  is  one  of  those  miUtant  spirits,  brought 
up  in  the  academic  school  of  Abel  de  Pujol  and  Duret,  who 
awoke  to  life  and  strength  in  contact  with  Carpeaux's  genius. 
The  fine  bas-relief  for  the  Chamber  of  Deputies  in  1883, 
**  Stance  du  23  Juin,  1789,  des  fitats  G6n6raux,''  made  him 
famous,  and  brought  him  a  m^daille  d'Honneur.  This  was 
followed  in  a  couple  of  years  by  the  statue  of  Blanqui,  now 
one  of  the  most  striking  monuments  in  Pfere  Lachaise,  in  its 
penetrating  truth  and  pathos.  The  Luxembourg  owns  the 
great  Sfevres  Vase,  modelled  by  M.  Dalou,  ornamented  with 
lovely  children  and  garlands.  His  busts  of  Henri  Bochefort, 
Andr6  Theuriet,  etc.,  are  of  the  very  highest  value. 

But  his  chef  d'oeuvre  in  my  opinion,  is  the  monument  to 
Eugene  Delacroix  in  the  quiet  corner  of  the  Luxembourg 
gardens,  under  the  shade  of  the  plane  trees,  with  Marie  de 
M^dicis'  Palace  for  a  background,  and  the  splash  of  water 
below.  Time,  Glory,  and  Apollo  offer  wreaths  and  bays  to  , 
the  bust  of  the  great  painter.  "  Le  voili  bien  avec  son  air 
**  inquiet  et  nerveux,  maladif  et  volontaire,  pensif  et  ardent ; 
**  avec  le  regard  per5ant  de  ses  yeux  k  travers  les  paupiferes 
**  mi-closes  et  clignotantes,  recules  et  comme  k  Tafftlt  sous 
**  Tarcade  sourcili^re  proiminente." ^  It  is  a  monument  worthy 
of  the  master,  and  one  which  does  honour  to  M.  Dalou's 
genius. 

^Andrd  Michel. 


506  A  HISTORY  OF  FRENCH  ART.  Ch.  XXIV. 

Dampt,  Jean,  *  (b.  Venarcy,  C6te  d'Or).  pupil  of  Jouflfroy 
and  M.  Paul  Dubois,  was  one  of  the  first  sculptors  who  had 
mercy  on  those  of  the  public  who  desired  to  possess  works^ 
of  art,  but  had  no  vast  buildings  in  which  to  place  them. 
MM.  Dampt,  Gardet,  Cordier,  S.  Lami,  and  Mme.  Cazin  the 
distinguished  wife  of  the  painter,  have  given  some  thought  to 
the  destination  of  their  works ;  and  realize  that  the  merit  of  a 
piece  of  sculpture  need  not  depend  wholly  upon  its  size.  In 
wood  and  marble,  in  ivory  and  steel,  M.  Dampt  has  given 
the  world  delicious  studies  of  children,  statuettes  of  "  CavaUers- 
Marocains,"  or  the  **  F6e  M^lusine,"  as  well  as  his  statue  of 
**  Saint  Jean  enfant,'*  and  **  Le  Baiser  de  L'Aieule,'*  which 
are  in  the  Luxembourg. 

BoDiN,  Auguste,  0.*  (6.  Paris,  1840).— With  M.  Bodin 
we  arrive  at  the  last  word  of  modemite — the  sculptor  whose 
name  is  the  watchword  of  a  large  section  of  the  advanced 
theorists  in  Art ;  and  who,  whether  we  like  his  work  or  not,, 
is  undoubtedly  a  great  artist — one  of  the  strongest  and  most 
original  personalities  of  the  last  quarter  of  the  nineteenth 
century. 

M.  Bodin  has  led  that  reaction  in  sculpture,  of  which  I 
have   already   spoken,   against   the   abuse   of   the   positivist 
doctrine.     When  Art  renounces  all  pretentions  to  spirituahty,^ 
and  grows  merely  material,   as   the   eminent  authority  M. 
Boger  Marx  has  so  well  pointed  out,  regeneration  becomesR- 
a  necessity.     And  a  master  is  needed  who  can  give  a  new 
soul  to  Art — who  is  not  the  slave  but  the  master,  of  form^ 
**  It  will  be  M.  Auguste  Bodin's  glory  to  have  possessed  this- 
**  power,  and  created  in  conformity  with  the  genius  of  the 
**  race  a  work  of  exceptional  significance."  ^ 

There  is  certainly  no  lack  of  realism  in  M.  Bodin  s  work. 
Nothing  could  be  more  terribly,  more  distressingly  realistic^ 
than  the  wasted  figure  of  '*  La  Vieille  Heaulmifere  ".  But 
even  in  this,  it  is  the  psychologic  idea  of  decrepitude  which 
is  yet  more  present  than  the  horrible  reality.  And  in  hi» 
greatest  work,  the  processional  monument  in  commemora- 
tion  of  the   devotion   of  the  **  Bourgeois  de   CalaiB,"    the 

*  Roger  Marx. 


1660-1900.  CONTEMPORARY  SCULPTORS.  507 

character,  the  spirit,  the  inner  being  of  Eustache  de  Saint 
Pierre  and  his  fellow  citizens  is  what  M.  Bodin  has  rendered 
for  us  in  such  striking  form,  as  "  les  chefs  nus,  les  pieds 
**  dichaux,  la  hart  au  coly  les  clefs  de  la  ciU  et  du  chattel  entre  les 
"  mains"  they  wind  slowly  and  sadly  along  the  way  from 
their  town  to  the  conqueror's  camp. 

A  pupil  of  Barye  and  of  Carrier-Belleuse,  M.  Bodin's  first 
works  in  the  Salon  were  portrait  busts  in  1875.  Among  his 
finest  are  those  of  M.  Dalou  the  sculptor,  M.M.  Antonin 
Proust,  Puvis  de  Chavannes,  and  J.  P.  Laurens.  His  colossal 
statue  of  Balzac  in  the  Salon  of  1898,  threw  the  world  of  art 
into  a  condition  bordering  on  frenzy.  As  every  one  holds  a 
different  opinion  about  this  remarkable  work,  it  is  needless 
to  attempt  to  express  yet  another  on  what  might  be  described 
as  an  impression  in  marble. 
Examples  in  Luxembourg : — 

Saint  Jean  Baptiste  pr6chant,  1881.     523. 

T^te  de  femme,  1888.     524. 

Danaide,  1890.     525. 

La  VieUe  Heaulmifere,  1890.     526. 

L'homme  s'^veillant  k  la  vie,  Jardin  du  Luxembourg. 

Les  Bourgeois  de  Calais,  Ville  de  Calais. 

BTists, 

Victor  Hugo,  Ville  de  Paris. 

M.  Antonin  Proust,  Collection  of  M.  A.  Proust. 

M.  Andr6  Theuriet,  M.  Dalou,  M.  Puvis  de  Chavannes, 

etc. 

BARTHOLOMi:,   ALBERT,  * — The  original,  beautiful,  and 

profoundly  touching  work  of  this  young  artist,  is  a  fitting 

close  to  the  noble  efforts  of  the  sculptors  of  the  nineteenth 

century.     M.  Bartholom^  is  his  own  pupil.     After  a  short 

sojourn  in  one  of  the  studios  of  design  at  the  ]fecole  des  Beaux 

Arts,  M.  Bartholom^  gave  himself  up  to  solitary  study  of  the 

art  of  sculpture.     M.  Gonse,  in  a  sympathetic  notice,  points 

out  that  he  is  a  fervent  disciple  of  the  middle  ages  in  his 

devotion  to  stone,  "  that  natural  and  truly  national  material  *\ 

He  can  handle  bronze  as  well,  as  may  be  seen  in  the  beautiful 


508  A  HISTORY  OF  FRENCH  ART.  Ch,  XXIV. 

*'  Petite  fiUe  pleurant  *"  in  the  Luxembourg — her  little  body 
convulsed  with  sobs.  But  though  he  is  a  master  of  technique 
and  composition,  it  is  as  an  imaginative  artist  of  the  highest 
order  that  he  takes  rank. 

It  is  no  secret  that  a  terrible  sorrow — the  loss  of  a  beloved 
wife — turned  M.  Bartholom6's  thoughts  to  funeral  sculpture, 
and  a  beautiful  and  dramatic  tomb  at  Bouillant,  near  Cr^py 
en  Valois.  And  these  ideas  have  ended  by  possessing  his 
whole  being — ^leading  him  on  to  the  execution  of  a  work  of 
extraordinary  grandeur  and  significance — **  Le  Monument 
des  Morts  '* — which  is  to  be  placed  on  the  hillside  facing  the 
entrance  of  Pfere  Lachaise.  Tte  future  state — the  immor- 
tality of  the  soul — eternal  peace  in  the  mysteries  of  death 
and  resurrection — such  are  the  problems  which  M.  Bartho- 
lomi  treats  with  a  noble  and  touching  simplicity  and 
elevation. 

**  I  have  read,**  says  M.  Roger  Marx,  "  that  the  execution 
**  denoted  more  delicacy  than  power,  that  one  found  in  it 
**  fewer  morceaux  than  psychologic  definitions ;  these  objec- 
'*  tions  were  foreseen ;  for  the  most  part  they  disguise  the 
**  vexation  caused  to  the  materialists  by  a  work  which  owes 
*'  its  grandeur  and  its  charm  more  to  inspiration  than  to  mere 
"  workmanship." 

"  The  edifice  is  architecturally  related  to  the  Egyptian 
**  Temple.  The  has  reliefs  on  its  fa9ade  develop  theories  of 
'* ' pleureivrs''  approaching  each  other;  they  meet  at  the 
"  entrance  of  the  vault :  on  the  right,  men,  women  and 
^*  children  are  scattered  against  the  wall,  prostrate,  tottering, 
'*  advancing  slowly  to  postpone  their  entry  of  the  formid- 
^'  able  portal ;  on  the  other  side,  massed  into  a  compact  group, 
*'  sitting,  crouching,  stooping,  disconsolate  beings  murmur 
**  words  of  farewell,  exchange  last  embraces,  hide  their  faces, 
^*  or  turn  them  aside,  for,  as  La  Eochefoucauld  says,  the  sun 
**and  death  cannot  be  regarded  steadily;  there  are  nought 
^*  but  despairing  gestures,  disquietude  and  moaning,  sobs  and 
^*  supplication.  And  think  upon  the  vanity  of  all  this 
**  anguish  !  One  couple  has  crossed  the  threshold,  has 
*'  entered  the  ^ight  of  mystery ;   the  illimitable  way  opens 


1860-1900.  CONTEMPORARY  SCULPTORS.  509 

**  before  them — and  to  travel  it  the  woman  leans  on  her 
**  lover*s  shoulder,  confident  in  the  renewal  of  existence,  for 
**  she  now  knows  that  the  promise  of  faith  is  not  vain."* 
Below,  a  winged  genius  Ufting  the  stone  of  the  tomb, 
allows  the  Ught  to  shine  upon  those  who  sleep  so  peace- 
fully in  the  land  of  shadows. 

It  is  not  to  commemorate  one  person,  one  century,  one 
race — this  great  Monument  of  the  Dead — but  to  serve  as  a 
memorial  to  all  —  gentle  and  simple,  statesmen  and  com- 
munard aUke,  known  and  unknown,  the  young  and  the  old„ 
who  have  travelled  the  unknown  road. 

And  thus,  with  a  work  of  pure  and  lofty  imagination, 
with  a  return  to  the  faith  of  the  earUer  ages,  the  record  of 
French  Sculpture  in  the  nineteenth  century  ends. 

*  Roger  Marx. 


.1 


INDEX. 


A. 

{  of  Rome,  161,  243,  255,  410, 

499. 

Painting  and  Sculpture,  131- 
150,  194,  217,  241. 
.  Emil,  323. 
,  Madame,  203. 
357,  384. 

Campaign,  350,  369. 
J.  C,  305,  310. 
3an,  E.,  425. 
se,  George,  Cardinal,  68-70. 

-  —     tomb  of,  78. 

t  du  Cerceau,  Jacques  I.,  124. 

fccques  II.,  119-20.        « 

,  62,  80,  247. 

lliers,  Comte,  255,  258. 

Frangois,  174-75. 
:ichel,  174-76. 
Austria,  128,  175. 

Galerie  d',  151,  164,  166,  177, 

460. 

rotte  d',  171,  177. 
Priomphe  du  Carrousel,  456, 

473. 
'riomphe  de  Tl^toile,  459,  474, 

482. 

ts — see  Architecture. 

ture,  Byzantine  influence  on, 

8. 

jvelopment  of,  15-17. 

omanesque,  8,  17-21. 

othic,  21-23. 

enaissance,  47-51,  52-73. 

enri  IV.  and  Louis  XIIL,  108- 

119-25. 

ouis  XIV.,  161-74. 

ith  century,  221-27. 

)th  century,  449-69. 

isuit  style,  112. 

orman — see  liomanesque. 

euch,   decorative,    47,     107-8, 

65,    183-84,     248-49,     453-54, 

69. 

-  of  the  18th  century,  187, 220. 

-  importance  of,  12. 

-  the  ideal  in,  326,  406,  408, 
9. 

(5 


Art,  French,  Japanese,  influence  of, 
431-41. 

—  Liberty  in,  13,  249,  284,  487. 

—  Truth  in,  272,  304,  324-26,  346, 
384,  472. 

Artistic  sense  in  France,  6. 
Azay  le  Rideau,  48,  100. 


B. 


Bailly,  a.  N.,  464. 

Ballin,  Claude,  164-65,  233. 

Ballu,  T.,  465. 

Baltard,  L.  P.,  455. 

Barrias,  L.  E.,  504. 

Barry,  Mme.  du,  215. 

Bartolome,  Albert,  490,  507-9. 

Barye,  A.  Louis,  484-88. 

Bashkirtseff,  Marie,  339-40. 

Bastien- Lepage,  Jules,  325,  835-40. 

Baudry,  Paul,  409-13. 

Beauneveu,  Andre,  33. 

Beauvais  tapestry,  201,  209. 

Beaux  Arts,  administration  of,  449-50. 

—  iScole  des,  804,  445,  461,  460. 
Bellange,  H.,  345,  366. 

Belly,  L^on,  384. 
Bernini,  166,  168. 
Bertin,  Victor,  306. 
Besnard,  Paul  A.,  446-47. 
Bessenval,  Hotel  de,  236,  466. 
Biard,  Colin,  68-9,  70. 

—  Pierre,  130. 
Bidault,  J.  J.  Z.,  303,  306. 
Billotte,  Rene,  323. 
Bitumens,  318. 
Blanchard,  Jacques,  119. 

Blois,  chateau  de,  58,  68, 70,  124,  461. 
Blouet,  G.  A.,  459,  482. 
Boeswillwald,  E.,  45S,  464. 
Boilly,  L.  L.,  368,  378. 
Bonnat,  L^on,  392-95. 
Bonnington,  290,  310. 
Bontemps,  Pierre,  85-6. 
Bonvin,  Franyois  S.,  379. 
Bosio,  F.  Joseph,  474,  485. 
Bouchardon,  Edm«^,  229-30. 
Boucher,  Alfred,  506. 

—  Frangois,  189,  208-12,  255. 

1) 


512  INI 

BoudiD,  Eugi-ne,  417. 

Boudoir  of  Mme.  de  Serilly  in  South 

KeD»ngioii  Museum,  236. 
Boiiguereau.  A.  William,  372-73. 
BoulDgae,  Los,  IK. 
Bourdin.  Michol,  127, 
Bourdon,  Sebastien   1S3. 
Bourguignon,  Le — see  Courtois. 

Bouvftrd,  }.  A.,  468. 
BracquemonJ,  Fi'lil,  448. 
Breton.  Emil,  341. 

—  Jules,  8S6,  841-42. 
Breton,  Gilles  le.  70-2. 
flrongniftrl,  A.  T.,  466. 
Broi,Ke,  Salomon  de,  121. 
Bruant.  Libiral,  170. 
Brun,  1*— ace  Le  Brun. 
Bullant.  Jean,  49.  64-G. 
BuBtB,  46,  84.  220,  233,  238.  493,  500. 

—  at  Comedie  Fran^aise.  233. 
Butin,  Ulj-sse,  379. 


ClBlNEL,  A.,  400-1. 

Cabat.  Louis,  322. 
Cafiieri,  Jacques.  232. 

—  Jean  Jacques,  233. 

—  Philippe  I..  232. 

—  Philippe  IL,  232. 
Caillebotto.  4B3. 
Cain,  A.  N.,495. 
Canova,  2.58.471. 
Camavalot,  Hotel.  79.  12*. 
Carol us-Duran,  Ch.A.  M..  828,895-97, 

440. 
Carpeaux.  J.  B.,  492-94. 
Carrier- Bel  louse,  A.  E,,  496.' 
Carrifire,  Eugtno,  422-23.  -   -- 

Cartellier,  P.,  473,  481. 
Catherine  de  Medicia,  Queen,  60,  83-4 

102. 
Catherine  of  Rusnia,  Empress,  226. 
Cazin,  J.  C.  119-21. 

—  —    Mme..  506. 

—  Michel,  491. 
Cellini.  Benveouto,  46,  77. 
Chalgrin,  459. 

Ch&mbord,  chateau  de,  50-8,  173. 
Cliambigas,  Pierh<  1.,  72. 

Pierre  It.,  IS. 
CliampmartLn.  289. 
GhantiUy,  chateau  lic,  65,  129. 
Chaplain.  J,  C.  467  491. 
Chaplin,  ChnrleB,  401-2. 
Chapu.  S.  M.  A.,  38H,  498. 
Chardin,  3.  B.  S.,  207. 
Qhtkiles  VIII.,  38,  40-1, 43,  45. 

—  tomb  of  children  of.  46,  67. 


Charles  IX.,  38,  64. 

Charles  X.,  206. 

Charlet.  N.  T.,  344,  346-49.  352, 

Charpentiec,  Alei..  491. 

Chartres.  Cathedral,  26,  30,  S3. 

Chaasetiau.  Theodore,  417.     '■■'' 

Chauchard.    M.,   coll.    of,  ^818,    817, 


Chinard,  J.,  472. 
Chintreuil,  Ant..  319. 
Chriatopho,  E.  L.  A.,  493,  496. 
Classic  revival  ander  David.  464,^457, 
471. 

—  revival  under  Louis  XIV.,  161.' 

—  re\1val  of  the  Benaisaance,  37. 
Ck-isii-n.  thc.3SC-!i7 

~     and  Romantics.  206,  276,  278, 
286-8,  292,  294.  864. 

Claude  LorraJD,  140-43. 

ClfStnger  J  B.  A.,  476. 

ClodioD.  235.36. 

Clouet,  Francois,  96-100. 
I      —    3f»a.  93-5. 

Cluny,  Abbey  of,  16,  280, 
I  Cogniet!  Leon,  369-70, 
]  Colbert,  167-68,  162. 
:  Colombe,  Michel.  43-4. 

Colour,  Se-2.0rj,  418.  432,  441-12. 

—  Courbet  on— seeCourbet. 
I     —     Delacroix  on,  293. 

:     —    Ingres  on,  278. 
GommisBion     des     Monuments     hi>- 
toriques,  452-53,  463,  465,  466. 


ICOIQ 

Con  til 


„  Hi- 


I,  310. 


id  Art,  212-45. 
Cordier.  Charles,  190. 
Cormsn,  P..  372. 
Comeille  driven,  102-1. 
Corot,  Camille",  30o,  306,  309,  310-12. 
Cortot,  J.  P..  471. 
CotteC,  Charles,  126. 
Oourbet.  Gi.Htavc.  di;r>,  331-3S,  488. 

—  —     hifi  colour,  a33. 
Courtois,  Gustave,  831. 

—  Jacques,  151. 
Cousin,  Jean.  43.  100-3. 
Couatou,  Gultlaume.  ES7. 

—  Nicholas,  227. 
Couture.  Guillaume  M.,  225. 

—  Thomas,  436, 
Coypel,  Antoine,  218. 

—  Cbarlea  Ant.,  216. 

—  Noel,  218. 
Coysevox.  Ant.,  164,  183-86. 
Ccoiat  and  Watteao,  198, 


INDEX. 


513 


D. 

3UVERET,  P.  A.  J.,  381-82. 

3S,  505. 

*.  E.,  323, 

in,  506. 

puis,  J.  B.,  491. 

Charles  J.,  317-19. 

igers,  P.  J.,  462,  47679. 

lis,  242,  256,  262-67,  480. 

and  Gros,  273. 

son,  E.  B.,  404. 

Alex.  G.,  382. 

art — see  Art. 

paintings — see  Painting. 
G.  E.,  433,  440-41. 

Eugene,  286,  290,  291-96, 
)5. 

Paul,  300-1,  374. 

J.  E.,  391,  418. 

Prince  Anatolo,  353-54. 

c  spirit,  the,  13,  325,  344. 

idrien,  342,  409. 

reton,  Mme.  Virginie,  342. 

A..,  465. 

3.  A.,  378. 

;,  Martin,  178. 

IS,  Pierre,  225. 

Francois,  199. 
idouard,  358-60,  363,  409. 
lug.,  296-97. 
80,  479. 

^sercsse,  49,  75,  80-1,  247. 
Poitiers,  49,  62-3,  80. 

Pefia,  V.  N.,  314-16. 
30-91,  210,  216,  229,  238. 
ter^s  sculpture  at,  35. 
of  the  peasant,  325. 
^.  H.,  206. 
lix,  459-61. 
ph^e,  491. 
broise,  113. 
il,  497-98. 
laude-Marie,  428. 
mard,  428. 
llaume,  428. 
aspar — see  Poussin,  G. 
louis,  473. 
lillaume,  127. 
38,  308-9. 
s,ncisquc,  476. 
sters,  364. 

L.  F.,  468-69. 

E. 

t9,  64-5,  79. 
.lace  of  the,  221. 
St,  346-47,  350,  365. 
e,  257,  269. 


English  Pre-Raphaelites,  407. 
Exhibitions,  public,  241-42. 
Exhibition,  universal,  1889, 454, 467-68. 
—    —    1900,  454,  468. 


P. 


Fain,  Pierre,  69. 

Falguidre,  J.  A.  J.,  501-2. 

Fantin-Latour,  J.  T.,  421-22,  443. 

Febvre,  Claude,  164. 

Feudal  system,  16. 

Feuqui^res,  Cmtsse.  de,  147,  229. 

Flameng,  M.  A.,  380. 

Flers,  Camille,  306-7. 

Fontaine,  P.  F.  L..  466-57. 

Fontaine  des  Innocents,  80. 

Fontainebleau,  70,  72,  111,  116,  226, 

459. 
Formig*^,  J.  C,  467. 
Fosse,  Charles  de  la,  154-55,  163. 
Foucquet,  Jean,  39,  88-92,  428. 
Fragonard,  J.  H.,  189,  212-16. 
Fran(;ais,  F.  L.,  322. 
Francois,  Bastion,  66-8. 

--    Martin,  66-8. 
Francois  I.,  King,  39,  60,  96,  105. 

—  —    Frederick  the  Great  on,  39. 

—  —    tomb  of,  85,  247. 

—  --    Heart  of,  86. 
Fromiet,  E.,  494-95. 
Fr^minet,  Martin,  114-16. 
French  character,  6. 

—  race,  3-4. 

—  soil,  6. 

—  spirit,  7. 
Friant,  E.,  403. 
Fromentin,  Eugene,  383-84. 


a. 


Gabriel,  Jacques  Ange,  222. 
Gadyer,  Pierre,  68. 
Gaigni^res,  collection,  103. 
Gaillard,  C.  F.,  398. 
Gaillon,  chateau  de,  41,  69,  70. 
Gardet,  Antoino,  491. 

—  Georges,  469,  496. 
Gamier,  Charles,  411,  466-67. 
Gell^e — see  Claude  Lorrain. 
Genevieve,  Ste.,  414. 

—  —    bibliothftque,  451,  461. 
Genoa,  181,  226. 

Genre  painting,  367,  369. 

Gerard,  Baron,  267,  269-71,  278. 

Gdricault,  Theodore,  286,  288-91,  348. 

Gerdme,  Jean  L^on,  868,  374-75. 

Gervex,  H.,  402. 

Gigoux,  J.  F.,  396. 

Girardon,  Francois,  164,  177-78, 


33 


514 


INDEX. 


Giraud,  P.  F.  G.,  474. 

Girodet  de  Roucy  Trioson,  267,  273. 

Gobelins,  the,  150,  151,  164,  212. 

Gceneutte,  Norbert,  448. 

Goujon,  Jean,  46,  60,  79-82. 

Gouthi^re,  236. 

Greece,  375-76. 

Greuze,  J.  B.,  191,  21618. 

Gros,  Baron,  271-4,  281,  292,  344,  347, 

352. 
Gu^rin,  Gillea,  176. 

—  Pierre  K,  274-5,  285. 

—  —    teaching,  275. 
Gui  de  Dammartin,  34. 
Guillain,  Simon,  127-29. 
Guillaume,  G.  J.  B.  E.,  500. 
Gillaumet,  G.  A.,  386. 
GuiUemet,  J.  B.  A.,  322. 


Hamon,  J.  L.,  373-74. 
Harpignies,  H.,  320-21. 
Hubert,  E.  A.  A.,  397. 
Honner,  Jean-Jacques,  376-77. 
Henri  II.,  38,  60,  62. 

—  —    Escalier  de,  65,  61. 

—  —    tomb  of,  61,  64,  66,  76,  82. 

—  III.,  38,  84. 

—  IV.,  107-11,  114-15,  121,  127. 

—  —    and  Art.  39,  107,  110. 
Henriette,  Mme.,  203. 
Hertford  House,  1,  261. 

Hire,  Laurent  de  La — see  La  Hire. 
Houdon,  J.  A.,  237-40. 
Huet,  Paul,  307-8. 
Huvd,  J.  J.  M.,  455. 


I. 


Idbac,  J.  C.  M.,  503. 
Impressionists,  the,  433-48. 
Ingres,  J.  D.  A.,  275-79. 
Institute,  the,  226,  246,  299,  303,  312. 
Invalidos,   Hotel  des,  151,   170,  173, 

179,  228. 
Isabey,  Eugene,  282-83. 

—    J.  B.,  269,  282. 
Italy,  influence  of,  37-45,  61, 90-1,  113. 
Ivories,  11,  31,  126. 
Iwill,  M.  J.,  323. 

J. 

Jacob,  259,  456. 
Jacque,  Charles,  319. 
Jacquet,  de  Grenoble,  127. 
Jaley,  J.  L.  N.,  475. 
Janet — see  Glouet. 
Jean  d' Arras,  32. 


Jean  de  Bologne,  127. 

—  de  Gambrai,  34. 

—  de  Li^ge,  34. 
Josephine,  Empress,  271. 
Josephus  of  due  de^Berry,  91. 
Jouvenet,  Jean,  156. 


Labrouste,  Henri,  461. 
La  Fosse — see  Fosse,  de  la. 
La  Hire,  Laurent,  de,  143. 
Lambert,  Hotel,  109,  150. 
Lanoret,  Nicholas,  196-96. 
Landscape,  classic,  303. 

—  modem,  303-5. 

—  in  decoration,  414. 

—  effect  on  modem  art,  804. 
Largilli^re,  Nich..  157-9. 
Laurens,  Jean  Paul,  870. 

Le  Brun,  Charles,  150-53,  177, 183. 

Lebnm,  Mme.  Vig^e,  249-51. 

Lefebvre,  Jules,  372. 

Lefuel,  H.  M.,  458. 

Leighton,  Lord,  318. 

Lely,  Sir  Peter,  158. 

Le  Lorrain,  Robert,  228,  230. 

Lemaire,  P.  J.  H.,  476. 

Le  Mercier,  Jacques,  122. 

Lemoyne,  Francois,  198-99. 

—  J.  B.,  229. 

Le  Nain,  the  brothers,  135-87. 

Le  Nepveu,  Pierre,  66-9. 

Lenoir,  Alexandre,  84,  86,  246-48. 

Le  NOtre,  173. 

Leroy,  Paul,  385. 

Lescot,  Pierre,  60,  69-61. 

Le  Soeur,  Eustache,  148-60. 

Le  Vau,  Louis,  162,  186-9,  171. 

Lhermitte,  L^on,  326,  340. 

Liberty  in  Art — see  Art. 

Libro  di  Verita,  141. 

Light,  study  of,  869. 382-86, 432, 44142. 

Lithographs,  347,  363. 

Lobrichon,  T.,  404. 

Louis  XI.,  38. 

Louis  Xn.,  38,  40-3,  62-4,  93. 

—  tomb  of,  76. 
Louis  XIII.,  Ill,  116,  128. 
Louis  XIV.,  105,  131. 

—  reign  of,  161. 

Louis  XV.,  201,  210,  221,  231. 

—  monument  of,  Reims,  231. 
Louis  XVI.,  221,  238. 
Louis-Philippe,  King,  349-60. 
Louvre,  the,  60, 109, 119.  122, 162, 166, 

168,  226,  464,  466-58. 

—  completion  of,  458-69. 

—  decorations    in,  166,  228,  274, 
295,  468-69. 


INDEX. 


515 


le,  Goujon  at,  80. 
3eum  of — see  Museums, 
oration  of,  223. 
Iptures  on,  50,  129,  223,  473, 
93. 

le  Rude,  477. 
,  E.  v.,  371. 

Guild  of — see  St.  Luke, 
irg  Gallery — see  Museums, 
kce,  121,  202. 

M. 

E,  the,  225,  456. 

lateau  de,  48,  68. 

ig..  464. 

Albert,  371. 

he — see  Guild  of  St.  Luke. 

louard,  433,  435-40. 

Francois,  123-25. 

\.  Hardouin,  170-73. 

•trait  of,  204. 

,  Francois,  78. 

oinette.  Queen,  234,  250. 

zinska.  Queen,  203,  205,  206, 

ledicis,  109. 
Marquis  do,  213,  221. 
P.,  383. 

ivaux  do,  184,  228. 
,  L.  H.,  503. 
niel,  170. 
1  I.,  169. 
Cathedral,  462. 
enri,  423-25. 
u,    reaction    against,    407, 

le. — see  Prud'hon. 

,  113,  127,  477,  486,  490-92, 

,  J.  L.  Ernest,  363-66. 
itonin,  502. 
Louis,  120. 
Calais  de,  162, 173. 

A.  E.,  306,  310. 
torges,  305-6. 
?»ierro,  145-48. 
i(^.  496. 
^ne,  465. 

I  Fran<;ois,  326-31. 
1, 12,  88-92,  282. 
Antoino  le,  36. 
.ude,  433,  441-42. 

J.  B.,  155,  229. 
[ouse,  155. 
,  F.,  321. 

Adolpho,  448. 
icy,  Constable  Anne  de,  64- 

s  des  Moris,  508-9. 


Monuments  Historiques,  Commission 

des,  452-53,  463,  465-66. 
Moreau,  Gustave,  417-19. 
Moreau-Desproux,  L.  P.,  227. 
Morel,  Jacques,  86. 
Morizot,  Mme.  Berthe,  433,  448. 
Morot,  Aim^,  345,  418. 
Mosnier,  Jean,  143. 
Musee  des  Monuments  Fran^ais,  246- 

48,  452. 
Museum  of  Comparative  Architecture 

— see  Trocadero. 

—  of  Decorative  Art,  452. 

—  St.  Germain-en-Laye,  372,  462. 
--    the  Louvre,  243-44,  272,  452. 

—  the  Luxembourg,  452. 

—  Natural  History,  468-69,  490. 

—  the  Trocadero,  248-49,  452,  463. 

—  Versailles,  163,  249,  452. 
Museums,  organisation  of,  243,  452. 

—  provincial,  248,  244,  249. 
Mysticism,  382,  408. 


N. 


Nain,  le,  brothers — see  Le  Nain. 
Napoleon  I.,  256,  365,  456,  471. 

—  and  David,  265-66. 

—  funeral  of,  458. 

—  wars    of,    271-72,  343-44,    347, 
366,  359,  366. 

Napoleon  UI.,  364,  437,  498. 

—  style,  454. 
Nattier,  J.  M.,  202-4. 
Naturalism,  9-11,  26-6,  118,  803,  312, 

406. 
Nature,  study  of,  303-4,  306,  309,  316, 

482. 
Nenot,  Paul,  467. 
Neo-Greeks,  13,  368,  373. 
Nepveu,  Pierre  le — see  Le  Nepveu. 
Neuville,  Alphonse  de,  360-63. 
Ndtre,  Le — see  Le  Ndtre. 
Ndtre  Dame  de  Paris,  23,  224,  463. 


0. 


Opeba  House,  New,  411-12,  466-67, 

493. 
Orientalists,  116,  294,  369,  382. 
de  rOrme,  Philibert,  40,  60,  61-4. 
Ossian,  poems  of,  267. 
Oudry,  J.  B.,  200. 


P. 


PfSTUM,  Temples  of,  222,  461. 
Painting,  classic,  260-79, 286-87,  802-3. 
—    decorative,   161,  199,  401,  406, 
411-12,  414-16. 


616 


INDEX. 


Painting,  genre,  367-88. 

—  historic,  800. 

—  impressionist,  429-48. 

—  landscape,  modem,  802-23. 

—  military,  ancient,  343-44. 

—  —    modem,  13,  343-66. 

—  of  moeurs,  368,  378. 

—  of  the  Peasant,  324-42. 

—  portrait,   12,    89,    147,   157-60, 
202-7,  389-404,  443. 

—  portrait,  the  two  methods  of, 
390-1. 

—  religious,  113, 149, 156,  408. 

—  romantic,  268,  284-301. 
Painters,  88-104,  113-19,  135-60,  191- 

219,  262-83,  288-301,  305-23,  326- 

42,  346-66,  369-88, 391-404, 409-28, 

435-48. 
Pajou,  233. 

Palais-Royal,  123,  227. 
Paris,  siege  of,  357,  359,  362,  387,  394, 

439. 
Parthenon,  marbles  of,  478. 
Pater,  J.  B.  Joseph,  197. 
Patey,  H.  A.  J.,  491. 
Pepin  d'Huy,  32. 
Percier,  Charles,  168. 
Perraud,  J.  J.,  476. 
Perrault,  Charles,  168. 

—  Claude,  167-68,  456. 
Perrdal,  Jean,  42, 93. 
Perrier,  Francois,  135. 
Peyre,  M.  J.,  226. 
Philippe-Auguste,  King,  9,  25. 
Philosophers,  the,  and  Art,  190-91. 
Pigalle,  J.  B.,  230-32. 

Pilon,  Germain,  82-85. 

Pils,  J.,  345,  356. 

Pissarro,  Camille,  444-45. 

Pius  IX.,  354. 

Plein-air,  school  of,  337,  434,  439. 

Pointelin,  A.  E.,  321. 

Poittevin,  Louis  lo,  323. 

Pompadour,  Mme.  de,  187,  201. 

Pompier,  260,  405. 

Portrait  drawings,  90,  96-8. 

Portraits,  89,  389-90. 

—  miniature,  88-9,  95,  99. 
Poussin,  Qaspard,  144. 

—  Nicholas,  137-40. 
Pradier,  J.,  474. 
Pr^ault,  Aug.,  476. 
Prieur,  Barthdlemy,  125. 
Primaticcio,  77. 
Protais,  P.  A.,  345,  355. 
Pmd'hon,  Pierre,  211,  279-82. 
Puech,  D.,  503. 

Pnits  de  Moise,  Dijon,  35-6. 

Pujet,  Pierre,  180. 

Puvis  de  Chavannes,  P.,  413-16. 


QuESTEL,  C.  A.,  462. 

B. 

Raffbt,  D.  a.  M.,  344,  351-55. 
Realism,  405,  437. 

—  reaction  from,  405-6,  4S7. 
Realists,  324,  334. 
Rcgnault,  Henri,  386-88,  499. 
Religious  art,  modem,  408. 
Renaissance  in  France,  the,  87. 

—  causes  of,  89,  41. 

—  painters,  88,  90. 

—  architects — see  Architecture. 

—  sculptors — see  Sculpture. 

—  tombs,  44,  76,  483,  497. 
Renan,  Ary,  299,  425-26. 
Rene,  King,  39-40. 

Renoir,  Pjerre  Auguste,  442-44. 
Renouf,  Emil,  379. 
Revolution,  the,  241,  253. 

—  and  Art,  241-49, 452. 

—  destruction  during,  245. 

—  and  schools  of  Art,  249. 
Rheims,  sculpture  at,  25,  30. 
Ricard,  L.  G.,  397,  398. 
Richelieu,  Cardinal,  108,  110-12, 116, 

118,  122-23. 

—  chateau  de,  110. 
Richier,  Ligier,  86-7. 
Richmond,  170. 
Rigaud,  Hyacinth,  159-60. 
Riviere-Theodore.  L.  A.,  496. 
Robert,  Hubert,  172,  213,  252-54. 
Rodin,  Auguste,  490,  506-7. 
Roll,  Alfred  P.,  380-81. 
Romantic  movement,  13,  267,  284-88, 

474. 
Romantics,  the,  275,  303,  306. 
Rome — see  Academy  of. 
Roty,  Oscar,  11,  492. 
Rouen,  Goujon  at,  79. 

—  Palais  de  Justice,  53. 
Rousseau  de  la  Rottidre,  236. 

—  Tht^odore,  312-14. 
Roybet,  369. 

Rubens,  influence  of,  271,  278,  286. 
Rude,  Francois,  479-84. 
Ruprich-Robert,  V.  M.  C,  465. 


S. 


St.  Bernard,  17. 

St.  Denis,   church  of,    21,   245,  24*^ 

462-63. 
St.  Eustache,  church  of,  227. 
St.  Germain-en-Laye,  72-3,  111,  37^ 

465. 


INDEX. 


617 


ke,  Guild  of,  181-82. 
Vlarceau,  Bon^  de,  504-5. 
^on,  Abb^  de,  218. 
George,  808,  476. 
re,  J.  P.,  156. 
in,  Jacques,  129. 
Andrea  del,  45. 
jeot,  L.  C,  467. 
3r,  Ary,  299-800,  818. 
rships,  travelling,  423,  451. 
of  the  Batignolles,  489,  448. 
8  of  Sculpture — see  Sculpture. 
Drs — see  Sculpture, 
ure,  1100  to  1900,  9-11. 
before  the  Renaissance,  28-86. 
Renaissance,  74-87. 
under    Henri    IV.    and    Louis 
[II.,  118,  12680. 
under  Louis  XIV.,  174-86. 
of  the  18th  century,  220,  227-40. 

—  19th  century,  470-509. 
early  provincial  schools  of,  26- 

• 

Lenoir  and,  247. 

Byzantine    influence  on,  24-5, 

• 

Viollet-Le-Duc  on,  26-82. 

71. 
;,  P.O.,  475. 

Alfred,  447. 
,  M.  A.,  228. 
,  Glaux,  35. 

Eustaujhe  le — see  Le  Sceur. 
»t,  J.  G.,  223-25. 
the,  as  Builder,  449,  451, 458-64. 

—  as  Educator,  461. 

—  as  Curator,  462-58. 
,  first  royal,  82. 
Jacques,  118. 

fe.  Painting  of — see  Genre. 
Tas,  Pierre,  219. 

T. 

SBT,  N.  F.  O.,  368,  878. 
,  Jean,  53,  66. 
iet,  Andre,  335,  388. 
,  M.,  297,  482. 

James,  427-28. 
^,  Louis,  205. 
ne,  42-3,  47. 

school  of,  10,  43. 
ion,  respect  for,  489. 


Trianon,  le  Grand,  171. 
—    le  Petit,  221,  258. 
Trinquesse,  L.,  215. 
Troyon,  Camille,  816-17. 
Tuileries,  Palace  of  the,  51, 68, 65, 166, 
466,  498. 


V. 


Van  Loo,  Carle,  204,  211. 
Vau,  Louis  le — see  Le  Vau. 
Vaudoyer,  L^on,  461-62. 
Vaudremer,  E.  J.  A.,  467. 
Vaux-le-Vicomte,  166,  175,  495. 
Velasquez,  886,  892,  896,  412. 
Vendome  Column,  884,  480. 
Vendome,  Place,  170, 172. 
Vemet,  Claude  Joseph,  219. 

—  Horace,  846,  849-61. 
Versailles,  Palace  of,  171-72,  222. 

—  decoration  of,  151,  165,  168-64, 
188-84,  198,  209,  282. 

—  of  Louis  XnL,  111,  171. 

—  of  Louis  XIV.,  131,  151, 162-64, 
167,  171-72. 

—  pictures  at,  103-4,  250,  845. 
Victoires,  Place  des,  172, 179. 
Vien,  Joseph  Marie,  254-66. 
Vigde-Lebrun,  Mme. — See  Lebrun. 
Vinci,  Leonardo  da,  45,  280. 
Viollet-Le-Duc,  E.,  224,  462-64. 
Visconti,  Louis,  457-68. 

Vollon,  Antoine,  867,  877. 
Voltaire,  assis,  239. 

—  and  Bouchardon,  280. 

—  nu,  281. 

—  and  the  Si^le  Louis  XIV.,  105. 
Vouet,  Simon,  115-17. 

VuiUefroy,  F.  D.,  822. 


w. 


Wailly,  Ch.  de,  226. 

Wales,  portraits  of  Prince  of,  889,  860. 

Washington,  statue  of,  289. 

Watteau,  Antoine,  188, 191-95,  209. 

Wednesbury,  166. 

Werwe,  Claux  de,  36. 

Y. 

Yon,  C.  E.,  822. 
Yvon,  Adolphe,  402. 


ABBBDRBN  UNIVXRSITY  PRI88 


i 

1 , 


! 


H  Classifteb   Catalogue 

OF  WORKS  IN 

iENERAL    LITERATURE 

PUBLISHED   BY 

LONGMANS,  GREEN,  &  CO. 

39    PATERNOSTER   ROW,    LONDON,    E.G. 

JD  93  FIFTH  AVENUE   NEW  YORK,  and  ^2  HORNBY  ROAD,  BOMBAY. 


CONTENTS. 


MIi\TON  LIBRARY  (THE)-    - 

jRAPHY,        PERSONAL        ME- 
)IRS,   &c. 

LDREN'S  BOOKS 

SSICAL  LITERATURE  TRANS- 
ITIONS, ETC.         .        .        .        - 

KERY,    DOMESTIC     MANAGE- 

iNT,  &c. 

LUTION,        ANTHROPOLOGY, 


PAGE 
10 

7 

25 
18 

28 
17 

21 


nON,  HUMOUR,  &c.   . 

:,  FEATHER  AND  FIN  SERIES     12 

TORY,       POLITICS,       POLITY, 
>LITICAL  MEMOIRS.  &c.    -        -      3 

>IGUAGE,    HISTORY   AND 
:IENCE  OF    -        -        .  -     16 

'GMANS'    SERIES    OF   BOOKS  j 

)R  GIRLS 26  I 

^UALS    OF   CATHOLIC   PHIL- 
lOPHY 16  ' 


MENTAL,  MORAL,  AND  POLITICAL 
PHILOSOPHY 

MISCELLANEOUS  AND  CRITICAL 
WORKS 

MISCELLANEOUS    THEOLOGICAL 
WORKS      

POETRY  AND  THE  DRAMA    - 

POLITICAL   ECONOMY  AND  ECO 
NOMICS 

POPULAR  SCIENCE  - 

SILVER  LIBRARY  (THE) 

SPORT  AND  PASTIME      - 

STUDIES    IN    ECONOMICS    AND 
POLITICAL   SCIENCE  - 

TRAVEL  AND  ADVENTURE,  THE 
COLONIES,  &c.         -        .        -        - 

VETERINARY  MEDICINE,  &c. 

WORKS  OF  REFERENCE - 


FAOB 


29 

32 
19 

16 

27 
10 

17 

8 
10 

25 


INDEX 

Page 

t  (Evelyn)       -  3, 18 

T.  K.)      -        -  14 

E.  A.)      -        -  14 

d  (A.  H.  D.)    -  3 

I  (Eliza)   -        -  28 

le  (J.  H.)  -        -  7 

ylus          -        -  18 

r(A.  C.)  -        -  II 

3arle  (Earl  of)  -  10 

(Grant)    -        -  14 

jham  (F.)          -  21 

(S.)          -        -  3 

r(R.)         -        -  12 

V  (F.)        -        -  21 

MW.)      -        -  8 

)phanes    -        -  18 

)tle   -        -        -  14,  18 
trong     (G.     F. 

age)          -        -  19 
E.J.  Savage)  7.  iQi  29 

d  (Sir  Edwin)  -  8, 19 

Dr.  T.)     -        -  3 

jurne  (Lord)    -  3 

MH.)        -        -  28 

y(W.J.)-        -  16 
r  du  Lys  {A  uthotofyzg 


OF    AUTHORS    AND    EDITORS. 


Page 
8,  10 


t 


(Rev.  J.) 


i-Powcll  (B. 
iot(W.)  - 
ell  (R.)     - 


25 

-    7.  U 

H.)        3 

7.  16.  39 

3 


Bain  (Alexander) 
Baker  (Sir  S.  W.) 
Balfour  (A.  J.)  -  11,32 

Ball  (John)       -        -  8 

(J.T.)        -        -  3 

Baring-Gould   (Rev. 

S.)  ...  37,29 

Barraud  (C.  W.)  -  19 
Baynes(T.  S.)-  -  29 
Beaconsfield  (Earl  of)  21 
Beaufort  (Duke  of)  -  10,11 
Becker  (W.  A.)  -  18 
Beddard  (F.  E.)  -  24 
Bell  (Mrs.  Hugh)      ■        19 

(Mrs.  Arthur)   -  7 

Bent  (J.  Theodore)  -  8 
Besant  (Sir  Walter)-  3 

Bickerdyke(J.)  -  11 
Bicknell  (A.  C.)  -  8 
Bird  (R.)  -  -  -  32 
Bland  (Mrs.  Hubert)  20 
Boase  (Rev.  C.  W.)  -  4 
Boedder  (Rev.  B.)  -  16 
Boevey  (A.  W.  Crawley-)  7 
Bosanquet  (B.)  -  14 
Boyd  (Rev.  A.  K.  H.)  99,  32 
Brassey  (Lady)         -         9 

(Lord)  3,  8,  z I,  16 

Bray  (C.  and  Mrs.)  •  14 
Bright  (Rev.  J.  F.)  -  3 
Broadfoot  (Major  W.)  10 
Br6ggcr(W.  C^       -         8 


Page 
Browning  (H.  Ellen)  9 
Buck  (H.  A.)  -  -  II 
Buckland  (J  as.)  -  25 
Buckle  (H.  T.)  -  -  3 
Buckton  (C.  M.)  28 
Bull  (T.)  -  -  -  28 
Burke  (U.  R.)  -  -  3 
Burrows  (Montagu)  4 
Butler  (E.  A.)  -  -  24 
(Samuel)  -        -  18, 29 

Cameron  of  Lochiel  12 

Campbell  (Rev.  Lewis)  32 

Camperdown  (Earl  of)  -7 

Cannan  (E.)      -       -  17 

Channing  (F.  A.)      -  16 

Chesnev  (Sir  G.)      -  3 

Chishohn  (G.  G.)  -  25 
Cholmondeley-Pennell 

(H.)        -        -        -  II 

Churchill  (W.  Spencer)  9 

Cicero       -        -        -  18 

Clarke  (Rev.  R.  F.)  -  16 

Clodd  (Edward)        -  17 

Clutterbuck(W.  J.)-  9 

Coleridge  (S.  T.)      •  19 

Comparetti  (D.)       -  30 

Comyn  (L.  N.)         •  26 

Conington  (John)    -  18 

Conway  (Sir  W.  M.)  11 
Conybeare  (Rev.  W.  J.) 

&  Howson  (Dean)  97 


Coolidge  (W.  A.  B.) 
Corbett  (Tulian  S.)  - 
Corder  (Annie) 
Coutts  (W.)      . 
Coventry  (A.)  - 
Cox  (Harding) 
Crake  (Rev.  A.  D.)  - 
Creirhton  (Bishop)- 
Crozier  (J.  B.)  • 
Cuningham  (G.  C.)  - 
Curcon  of  Kedleston 

(Lord)    - 
Castance  (Col.  H.    - 
Cutts  (Rev.  E.  L.)    - 


Dallinger  (F.  W.)    - 
Davidson  (W.  L.)  14, 
Davies  (J.  F.)  - 
Deland(Mr8)  - 
Dent  (C.  T.)     - 
Deploige(S.)    - 
De  Salts  (Mrs.) 
De  Tocqueville  (A.)  • 
Devas  (C.  S.)    - 
Dickinson  (G.  L.)    - 
Diderot     - 
Dougall  (L.)      - 
Douglas  (Sir  G.)      - 
Dowden  (E.)    - 
Doyle  (A.  Conan)     - 
Dreyfus  (Irma) 


P«ig» 

8 

3 

% 

IX 

10 

as 

3*4 

7.  14 

3 

3 

12 

4 


4 

16.3a 
18 

21,  26 
XI 

17 

28,39 

3 
16 

4 
21 

21 
19 
31 

ai 
30 


INDEX     OF 

Du  Bois  fW.  E.  B.)  - 
Dufferin  (Marqcis  of) 
Dunbar  (Mary  F.)    - 

Eardley-Wilmot  (Capt. 

S.)      -       -       - 
Ebrington  (Viscount) 
EUis  (1  H.)      - 

(R.  L.)       -        - 

Evans  (Sir  John)     • 

Farrar  (Dean) 


Fitzwygram  (Sir  F.)  lo 

FoUnrd  (H.  C.)        -  12 

Ford  (H.)  -        -       -  12 

Fowler  (Edith  H.)   -  21 

Foxcroft  (H.  C.)       -  7 

Francis  (Francis)     -  12 

Freeman  (Edward  A.)  4 

Fre8hfield(D.  W.)   -  11 

Frothingbam  (A.  L.)  30 
Froude  Qames  A.)  4, 7, 9, 21 

Furneaux  (W.)         -  24 

Galton  (W.  F.) 
Gardiner  (Samuel  R.) 
Gathome-Hardy  (Hon. 

A.  E.) 
Gerard  (Dorothea)  - 
Gibbons  (I.  S.) 
Gibson  (Hon.  H.)     - 

(C.  H.)      - 

(Hon.  W.) 

Gilkes  (A.  H.)  • 
Gleig  (Rev.  G.  R.)    - 
Goethe 
Gore-Booth  (Eva)    - 

(Sir  H.  \V.)       - 

Graham  (P.  A.)         - 13, 

(G.  F.)       - 

Granby  (Marquis  of) 
Grant  (Sir  A.)  • 
Graves  (R.  P.)  - 
Green  (T.  Hill) 
Greener  (E.  B.) 
Greville  (C.  C.  F.)    - 
Grey  (Maria) 
Grose  (T.  H.)   - 
Gross  (C.) 
Grove  (F.C.)    - 

(Mrs.  Lilly) 

Gurdon  (Ladv  Camilla) 
Gwilt  (J.)  -    '    - 

Haggard  (H.    Rider)  21, 

Hake  (O.)  - 

Halliwen-Phillipps(J.) 

Hamlin  (A.  D.  F.)    - 

Hammond  (Mrs.  J.  H.) 

Harding  (S.  H.) 

Harte  (Bret)      - 

HartinK(J.  E.)- 

Hartwig  (G.)     - 

Hassall  (A.)       - 

Haweis  (Rev.  H.  R.)    7 

Heath  (D.  D.)  - 

HeathcotelJ.  M.and 
C.  G.) 

Helmholtz  (Hermann 
von)    - 

Henderson      (Lieut- 
Col.  G.  F.) 

Henry  (W.) 

Henty  (G.  A.)  - 

Herbert  (Col.  Kenney) 

Hewins  (W.  A.  S.)    - 

Hill  (Sylvia  M.) 

Hillier  (G.  Lacy)      - 

Hime(Licut.-Col.H. 
W.  L.) 

Hodgson  (ShadworthH.)  14 


AUTHORS 

Hunt  (Rev.  W.)  .  4 
Hunter  (Sir  W.)  -  5 
Hutchinson  (Horace  G.)  11 

Ingelow  (Jean  -  19,  76 

,  ames  (W.)       -       -  14 

eiTeries  (Richard)   -  30 

erome  (Jerome  K.)  -  22 

ohnson  (J.  &  J.  H.)  30 

Jones  (H.  Bence)     -  as 

16,  21  i  ]  ordan  (W.  L.)         -  16 

[  owett  (Dr.  B.)         -  17 

]  oyce  (P.  W.)   -      5,  22,  30 

ustinian  :        -        -  14 


AND     KUlTORS—eontinuH 


4 

XI 
20 

8 

12 
12 

14 
30 


17 
4 

12 
26 
12 
»3 
14 

32 

21 

8 

19 
«9 
II 
21 
16 
12 

7 

M 

4 

4 

26 

14 
4 
II 
10 
21 

25 

22 
II 

8 
30 

4 

4 
22 

12 

24 

6 

30 
14 

II 
24 

II 
26 
12 

17 
21 
10 


Holroyd  (Maria  J 

Homer 

Hope  (Anthony) 

Horace 

Hornung  (E 

Houston  (D. 

Howell  (G.) 

Howitt  (W.) 

Hudson  (W. 
HulUh(f.) 
Hume  (David)  - 


.) 


W.) 
F.) 


H.) 


7 
18 
22 

18 

22 

4 
16 

9 
24 
30 
M 


Kant(L)    -        -        •  14 

Kaye(SirJ.  W.)      -  5 

Kerr  (Rev.  J.)   -        -  11 

Killick  (Rev.  A.  H.)  •  14 

Kingslev  (Rose  G.)  -  30 

Kitchin'(Dr.  G.  W.)  4 

Knight  (E.  F.)  -        -  9,11 

K6stlin(J.)                -  7 

Ladd  (G.  T.)     -        -  15 
Lang  (Andrew)  5, 10. 11, 13, 

17,  18,  19, 20,  22,  26,  30.  32 
Lascelles  (Hon.  G.) 

10,  II.  12 

Laughton  (|.  K.)      -  8 

Laurence  (F.  W.)     -  17 

Lawley  (Hon.  I  .)     -  11 

La>-ard  (Nina  F.)     -  19 

Leaf  (Walter)   -       -  31 

Lear  (H.  L.  Sidney)  -  29 

Lecky  (W.  E.  H.)'    -  5,  19 

Lees  (J.  A.)       -        -  9 

Lejeune  (Haron)       -  7 

Leslie  (T.  E.  Cliffe)  -  16 

Lester  (L.  V.)   -        -  7 

Levett-Veats  (S.)      -  22 

Lillic  (A.)-        -        -  13 

Lindlev(J.)       -        -  25 

LodKe'(H.  C.)  -        -  4 

Loftie(Rev.  VV.  J.)  -  4 
Longman  (C.  J.)    10,12,30 

(F.  \V.)      -        -  13 

(G.  H.)      -        -  II,  12 

Lowell  (A.  L.)  -        -  5 

Lublx>ck  (Sir  John)  - 

Lucan 

Lutoslawski  (W.)     • 

Lyall  (Edna)     - 

Lyttelton  (Hon.  R.  H.) 

(Hon.  A.)  - 

Lytton  (Earl  of) 


Macaulay  (Lord) 
MacColl  (Canon) 
Macdcmald  (G.) 
(Dr.  G.) 


5,6, 


A.) 


17 
18 

»5 
22 

ID 
II 
19 


»9 
6 

9 

20,  32 

30 
18 
6 
16 
H.  A.)i2 
13 


16 
5 

7 
i' 

7 
32 
»3 
25 


Page 

Montagu  (Hon.  John 

Scott) 
Moore  (T.) 

(Rev.  Edward)  - 

Morgran  (C.  Lloyd)  - 
Moms  (W.)      -    30,  aa, 


(Mowbray) 
Mulhall  (M.  G.) 

Nanscn  (F.)      - 
Nesbit  (E.) 
Nettleship  (R.  L.)    - 
Newdigate  -  Newde- 

gate  tLady) 
Newman  (Cardinal)  - 


la 
as 
14 
17 

31 
II 

17 

9 
ao 

14 

8 
aa 


.•""i 


18 

22 

9 
II 

31 
23 


Macfarren(Sir  G 
Mackail  (J.  W.) 
Mackinnon  (J.) 
Macleod  (H.  D.) 
Macpherson  (Rev 
Madden  (D.  H.) 
Maher  (Rev.  M.) 
Malleson  (Col.  G.B.) 
Marbot  (Baron  dc)   - 
Marquand  (A.)  • 
Marshman  (I.  C.) 
Martineau  (Dr.  James) 
Maskelyne  (J.  N.)     - 
Maunder  (S.)    - 
Max  M tiller  (F.) 

7,8,15.  16.  22.  30,  32 

(Mrs.)        -        -  9 

Mav  (Sir  T.  Erskine^  0 

Meade  (L.  T.)  -  -  26 
Melville  (G.  J.  Wh:.te)  22 
Merivale  (Dean)       -  6 

Mernmi.i  H.  S.)  -  22 
Mill  (lames)      -        -        15 

(John  Stuart)    -  15,  17 

Milncr  (G.)  -  -  31 
A/i'ss  .SfoUv  {A  iithor of)  26 
Moffat  (D.)  -  -  13 
Molcsworth  (Mrs.)  -  26 
Monck(W.  H.  S.')  -  15  \ 
Montague  (F.C. ^     -         i" 


Ogle(W.).        -        - 
Oliphant  (Mrs.) 
Oliver  (W.  D.) 
Onslow  (Earl  of) 
Orchard  (T.  N.) 
Osbourne  (L)    - 

Park  (\V.) 
Parr  (Louisa)    - 
Payne-Gallwey    (Sir 

R.)       -        -        -  II,  13 

Peek  (Hedley)  -        -  11 

Pembroke  (Earl  of)  -  11 
Phillipps-Wolley  (C.)  10.  22 

Pitman  (C.  M.)  -  11 
Pleydell-Bouverie  (E.  O.)  1 1 

Pole(W.)-        -       -  13 

Pollock  (\V.  H.)        -  II 

Poole  (W.H.  and  Mrs.)  29 

Poore  (G.  V.)    -        -  31 

Potter  (J.)         -        -  16 

Praeger  (S.  Rosamond)  26 

Prevost  (C.)      -        -  11 

Pritchcit  (K.  T.)       -  11 

Proctor  (R   A.)      13.  24,  28 

Quill  (A.  W.)    -        .  18 

Raine  (Rev.  James)  -  4 
Ransome  (Cyril)  -  3, 6 
Rauschenbusch-Clough 

(himma)      -        -  8 

Rawlinson  (Rev.  Canon)  8 

Rhoadcs  (J.)     -        -  18 

Rhoscomyl  (O.)        -  23 

Ribblesdale  (Lord)  -  13 

Rich  (A.)  ...  18 

Richardson  (C.)        -  12 

Richman  (L  It.)        -  6 

Richmond  (Ennis)    *  31 

Richter  (J.  Paul)      -  31 

Rickaby  (Rev.  John)  16 

(Rev.  Joseph)   -  16 

Ridley  (Sir  E.)  -        -  18 

Riley  (J.  W.)     -        -  20 

Rof^et  (Peter  M.)      -  16,  25 

Rolfsen  (N.)  -  -  8 
Romanes  (G.  J.) 

8,  15,  17,  20,  3a 

(Mrs.)        -        -  8 

Ronalds  (A.)     •        •  13 

Roosevelt  (T.)  -  -  4 
Rossetti  (NIaria  Fran- 

cesca)     -        -        -  31 

(W.  M.)     -        -  20 

Rowe(R.  P.  P.)        -  II 

Russell  (Bertrand)    -  17 

(Alys)         -        -  17 

(Rev.  M.)  -        -  20 


Smith  (W.  P.  Haskett) 
Solovyoir(V.  S.)      - 
Sopbodes 
Soalaby(LncyH.) 
Speddin«(J.)    - 
Sprigge  (S.  Squire) 
Stanley  (Bishop)     -      1 
Steel  (A.  G.)     • 

(J.  H.)       .       - 

Stephen  (Leslie) 
Stephens  (H.  Morse) 
Stevens  (R.  W.) 
Stevenson  (R.  L.)    •  23.^ 
'Stonehenge'   - 
Storr  (F.)  - 

Stuart- Wort  ley  (A.  J .)  II, 
Stubbs  (J.  W.) . 
Suffolk  &  Berkshire 
(barlnf)     . 

Sullivan  (Sir  E.)       • 

U-F.)        -       - 

;  Sully  (James)    - 

1^  I  Sutherland  (A.  and  G.) 


■>5» 


12 

Z) 

U 
17 


Saintsbury  (G.) 
Samuels  (E.)     - 
Sandars  (T.  C.) 
Sar(;ent  (A.  J.)- 
Schreiner  (S.  C.  Cron. 

Wright)       -        -  10 

Sccbohm  (F.)    -        -  6. 8 

Selous  (K.  C.)   -        -  10 

Sewell  (Elizabeth  M.)  23 

Shake'^peare      -        -  20 

Shand  (A   L)     -        -  12 

Sharpe  (R.  R.)  -        -  6 
Shearman  (M.)          -  10,  11 

Sinclair  (A.)      -        •  11 

Smith  (R.  Bosworth)  6 

Siu\vY\vT.C.\  -        -  4 


(Alex.) 
Suttner  (B.  von) 
Swinburne  (A.  J.)     - 
S>mes  (J.  E.)    - 

Tacitus 

Tavlor  (Col.  Meadows) 
Tebbutt  (C.  G.) 
Thomhill  (W.  J.)     - 
Thornton  (T.  H.)     - 
Todd  (A.)  - 
Toynbce  (A.)     - 
Trevelvan  (Sir  G.  O.)     6 

(C.  P.) 

(G.  M.)      - 

Trollope  (Anthony)  - 
Tupper  (   .  L.)  - 
Turner  (H.  G.) 
T>-ndall(J.)        -      ■•  -     7 
Tyrrell  (K.  Y.)  - 
Tyszkiewicz  (M.) 

Upton(F.K.and  Bertha) 

Van  Dyke  (J.  C.)      - 
Verney  (Frances   Y. 
and  Margaret  M.) 
Virgil 

Vivekananda  (Swami) 
Vivian  (Herbert) 

Wakeman  (H.  O.)  - 
Wallord(L.  B.) 
WslkerdaneH.)  - 
WalUs  (Graham)  - 
Walpole  (Sir  Spencer) 
Walrond  (Col.  H.)  - 
Walsingham  (Lord)  • 
Walter  (J.) 

Warwick  (Countess  of) 
Watson  (A.  E.  T.) 

10, 11,1a.  13 
Webb  (Mr.  and  Mrs. 
Sidney) 

(T.  E.)       -        - 15 

Weber  (A.) 
Weir  (Capt.  R.) 
Weyman  (Stanley)  - 
Whately(  Archbishop)  1.1 

(E.Jane)  - 

Whishaw(F.)  - 
White  (W.  Hale)     -  2C 
Whiteiaw  (R.)  - 
Wilcockt«(J.  C.) 
Wilkins  «j.)     -       - 
Willard  (A.  R.) 
Willich(C.  M.) 
Witham  (T.  M.)       - 
WoodtRev.  J.  G.)   - 
Wood-Martin  (W.  G.) 
Woods  (Margaret  L^ 
Wordsworth  (Elizabetl 

(William)  - 

Wyatt(A.J.)    -        - 

Wyliea-H)    -       - 

Youatt  (W.)      - 

Zeller  (E.) 


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James.  —  T^^-ff  Will  to  Belief. 

Other  Essays  in  Popular  Philosoph 
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Max     Miiller. —  The    Science    of 

TnoiGiir.     By  F.  Max  Miiller.     8vo.,  215. 

yiiW,-- Ana  LYSIS  of  the  Phenomena 
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Macleod  (Henry  Dunning). 
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Mill. — Political    Economy.       By 
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Webb  (Sidney  and  Beatrice). 
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Romanes  (George    John). 

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Becker  (W.  A.),  Translated  by  the 
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Baynes.  —  Shakespeare    Studies , 

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30        MESSRS.  LONGMANS  &  CO.'S  STANDARD  AND  GENERAL  WORKS. 


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Charities  Register,  The  Annual^ 
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retary to  the  Council  of  the  Charity  Organi- 
sation Society,  London.    8vo.,  45. 

Comparetti.  —  The  Traditional 
Poetry  of  the  Fixxs.  By  Domenico 
CoMPARETTi,  Socio  delK  Accademia  dei 
Lincei,  Membre  de  r.\cademie  des  Inscrip- 
tions, &c.  Translated  by  Isabella  M. 
Anderton.  With  Introduction  by  Andrew 
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Drejrfus. — Lectures     ox     French 

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Haweis. — Music  and  Morals.  By 
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Hime. — Stray    Military    Papers. 

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HuUah. — The  History  of  Modern 

Music  ;  a  Course  of  Lectures.  By  John 
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Jefferies  (Richard). 
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Kingsley. — A  Handbook  to  French 

Art.     By  Rose  G.  Kingsley. 

Lang^  (Andrew). 
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Macfarren.  —  Lectures   on  Har- 
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Marquand  and  Frothingham.— ^ 

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Max  MUUer  (The  Right  Hon.  F.). 
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Morris  (William). 

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Orchard. — The  Astronomy  of 
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Richter.  —  Lectures  on  the  Na- 
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Rossetti.  — A   Shadow  of  Dante  : 

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SolovyoflF. — A  Modern  Priestess 
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Southey. — The  Correspondence  of 
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Stevens. — On  the  Stowage  of  Ships 

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Robert  White  Stevens,  Associate-Mem- 
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8vO.,    215. 

Turner  and  Sutherland. — The  De- 
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tions.    Crown  Svo.,  5s. 

Tyszkiewicz.  —  Memories  of  an 
Old  Collector.  By  Count  Michael 
Tyszkiewicz.  Translated  from  the  French 
by  Mrs.  Andrew  Lang.  With  9  Plates. 
Crown  Svo.,  65. 

Van  Dyke. — A  Text-Boon  on  the 

History  of  Pai.\ting.  By  John  C.  Van 
Dyke,  Professor  of  the  History  of  Art  in 
Rutgers  College,  U.S.  With  no  Illustra- 
tions.    Crown  Svo,  65. 

Warwick. — Progress  in  Women^s 
Educa  tionin  the  British  Empire  :  being 
the  Report  of  Conferences  and  a  Congress 
held  in  connection  with  the  Educational 
Section,  Victorian  Era  Exhibition.  Edited 
by  the  Countess  of  Warwick.    Cr.  Svo.  65. 

White. — An  Examination  of  the 
Charge  of  Apostacy  against  Words- 
worth.  By  W.  Hale  White,  Editor  of 
the  '  Description  of  the  Wordsworth  and 
Coleridge  MSS.  in  the  Possession  of  Mr. 
T.  Norton  Longman  '.     Crown  8vo.,  35.  6r/. 

Willard.  —  History  of  Modern 
Italian  Art.  By  Ashton  Rollins 
Willard.  With  Photogravure  Frontis- 
piece and  28  Full-page  Illustrations.  Svo., 
185.  net. 


32        MESSRS.  LONGMANS  &  CO.'S  STANDARD  AND  GENERAL  WORKS. 


Miscellaneous  Theological  Works, 

•»•  for  Church  of  England  and  Romcm  Catholic  Works  see  Messrs.  Longmans  & 

Special  Catalogues. 


Balfour.  —  T//£   Foundations    of 

Brurf  :  being  Notes  Introductory  to  the 
Study  of  Theology.  By  the  Right  Hon. 
Arthur  J.  Balfour,  M.P.    8vo.,  125.  bd. 

Bird  (Robert). 
A    Child's  Religion.     Cr.  8vo.,  25. 
fosEPHy    THE    Dreamer.      Crown 

8vo.,  55. 

Jesus  y       the       Carpenter       of 

Nazarrth.      Crown  8vo.,   55. 
To  be  had  also  in  Two  Parts,  price  2S,  6d. 

each. 
Part    L    Galilee    and   the    Lake    op 

Gennesaret. 
Part   IL  Jerusalem   and  the  Peraa. 

Boyd  (A.  K.  H.)    (*  A.K.H.B;). 

OCCASIONA  L  ANDImMEMORIA  L  Da  YS  I 
Discourses.     Crown  8vo.,  75.  bd. 

Counsel  and  Comfort  from  a 
City  Pulpit.      Crown  8vo.,  31.  td. 

Sunday  Afternoons  in  the  Parish 
Church  of  a  Scottish  Univrrsity 
City.    Crown  8vo.,  35.  td. 

Changed  Aspects  of  Unchanged 

TRUTHS.     Crown  8vo.,  35.  bd. 

Grader  Thoughts  of  a  Country 

Parson.  Three  Series.  Crown  8vo., 
35.  td.  each. 

Present  Day  Thoughts.     Crown 

8vo.,  35.  td. 

Seaside  Musings,  Cr.  8vo.,  3s.  6^. 
*  To  Meet  the  Day'  through  the 

Christian  Year  :  being  a  Text  of  Scripture, 
with  an  Original  Meditation  and  a  Short 
Selection  in  Verse  for  Every  Day.  Crown 
8vo.,  45.  td. 

Campbell. — Religion  in  Greek  Li- 
terature. By  the  Rev.  Lewis  Campbell, 
M.A.,  LL.D.,  Emeritus  Professor  of  Greek, 
University  of  St.  Andrews.     8vo.,  155. 

Davidson. — Theism,  as  Grounded  in 

Human  Nature,  Historically  and  Critically 
Handled.  Being  the  Burnett  Lectures 
for  1892  and  1893,  delivered  at  Aberdeen. 
By  W,  L.  Davidson,  M.A.,  LL.D.  8vo.,  15s. 

Gibson. — The  Abbe  de  Lamennais. 
and  the  Liberal  Catholic  MovE,\fENT 
IN  France.  By  the  Hon.  W.  Gibson. 
With  Portrait.     8vo.,  I2i.  td. 

Lang. — The  Making  of  Religion 

By  Andrew  Lang.    8v^,  ly^ 
10,000/ 1 /gg,  jLOO 

^0       14     AA    ^    30 


MacDonald  (George). 
Unspoken  Sermons.    Three  S< 

Crown  8vo.,  35.  td.  each. 

The    Miracles     of    our    I 

Crown  8vo.,  35.  6</. 

Martineau  (James). 
Hours    of   Thought    on   Sa 

'Phings  :  Sermons,  2  vols.  Crown 
35.  td.  each. 

Endeavours  after  the  Chri^ 

LiFR.     Discourses.     Crown  8vo.,  - 

The  Seat  of  Authority  ia 

ligion.    Bvo.,  I4J. 
Essays,  Reyieivs^  and  Addrl 

4  Vols.     Crown  8vo.,  75.  td.  each. 

Home  Pra  yers,  with  TVc?  Ser 

for  Public  Worship.     Crown  8vo., 

Max  Muller  (F). 
The  Origin  and  Groiyth  of 

GION,  as  illustrated  by  the  Religi 
India.  The  Hibbert  Lectures,  de 
at  the  Chapter  House,  Westr 
Abbey,  in  1878.     Crown  8vo.,  55. 

Introduction  to  the  Scien 

Krligion:  Four  Lectures  delivere< 
Royal  Institution.     Crown  8vo.,  3 

Natural  Religion.     The  G 

Lectures,  delivered  before  the  Uni 
of  Glasgow  in  1888.     Crown  8vo., 

Physical  Religion,      The  G 

Lectures,  delivered  before  the  Uni 
of  Glasgow  in  1890.     Crown  8vo., 

Anthropological  Religion. 

Gifford  Lectures,  delivered  before  tl 
versity  of  Glasgow  in  1891.     Cr.  S 

Theosophy,  or  Psycho  logic  a 

LIGION.  The  Gifford  Lectures,  dt 
before  the  University  of  Glasgow  i 
Crown  8vo.,  5s. 

Three  Lectures  on  the  VEi 
Philosophy,    delivered    at     the 
Institution  in  March,  1894.     8vo., 

Ramakhishsa  :  His  Life  and 

INGS.     Crown  8vo.,  55. 

Romanes. — Thoughts  on  Rel 

By  George  J.  Romanes,    LL.D., 
Crown  8vo.,  45.  td. 

Vivekananda. —  Yoga  Philos 

Lectures  delivered  in  New  York,  W 
1895-96,  by  the  SWAM!  VIVEKAN 
on  Raja  Yoga  ;  or,  Conquering  the 
Nature;  also  Patanjali*s  Yoga  Apl 
with  Commentaries.     Crown  8vo,  y. 


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