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Presented  to  the 

UNIVERSITY  OF  TORONTO 
LIBRARY 

by  the 

ONTARIO  LEGISLATIVE 
LIBRARY 


1980 


THE 


MASTERPIECES 


OF 


FRENCH  ART. 


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THE 


^ 


MASTERPIECES 


Q7  ^ 


8O2OT 


OF 


FRENCH   art" 


ILLUSTRATED. 


BEING 


A  BIOGRAPHICAL  HISTORY  OF  ART  IN  FRANCE,  FROM   THE   EARLIEST 
PERIOD  TO  AND  INCLUDING  THE  SALON  OF  1882. 


BY 

LOUIS    VIARDO 


AND   OTHER   WRITERS. 


1/ 


EDITED  BY  WM.  A.  ARMSTRONG. 


VOL.   I. 


PHILADELPHIA: 

GEBBIE  &  CO.,  Publishers. 
1883. 


COPYRIGHTED. 


^^^ 

^.^" 


LIST  OF  PHOTOGRAVURES  AFTER  PAINTINGS. 


VOLUME     I. 

TITLE.  AKTISI.  tOCATIOS   OT  THB  ORIOtyAL. 

BLANCHE  BARETTA Lodise  Abbeua Theatre  Couiedie-Fr»ii(;ai5e,  Pari*. 

TERRACE  OF  THE  VILLA  DORL\  PAMFILE Auquste  Asastasi Gallery  of  the  Luxembourg. 

YOUTH Jeas-Eknest  Aubekt Museum  of  Laon,  Franco. 

SARAH  BERNHARDT Iules  Bastien-Lep.vqe Theatre- Fruiii;aig,  Pariii. 

FORTUNE  AND  THE  CHILD Paul-Jacque-Aime  BAUDiiy Gallery  of  the  Luxembourg. 

PERSEUS  AND  ANDROMEDA Charles- fiDOUARD  de  Beaumo.vt    ....  Salon  of  186C. 

THE  CAPTAIN'S  SHARE     Charles-^douard  de  Beaumo.vt    .   :   .   .  Gallery  of  the  Luxembourg. 

THE  GARDEN  OF  MONSIEUR  LE  CURE Etienne  Prosper  Berhe-Bellecol-r     .   .  Salon  of  1875. 

MARGARET  TEMPTED James  Bertra.nd Salon  of  187G. 

MARGARET  BETRAYED James  Bertrand Salon  of  1878. 

OOCOS  LAST  RATION Pierre-Marie  Bevle Salon  of  1878. 

MASSACRE  OF  THE  MAMELUKES Ale.xasdre  Bida Gallery  of  the  Luxembourg. 

THE  CASTLE  TERRACE,  XVth  CENTURY Joseph  Celestin  Blakx Salon  of  1860. 

PLOUGHING  IN  NIVEKNAIS     Rosa  Bonheur Gallery  of  the  Luxembourg. 

THE  BIRTH  OF  VENUS William-Adolpue  Bouguereau     ....  Gallery  of  the  Luxembourg. 

PROMENADE  IN  THE  STREET  OF  TOMBS,  POMPEII  .  Gustave-Bodolphe  Boulangek Gallery  of  M.  Leon  Andr«,  Pari*. 

THE  DAY  OF  BAPTISM Gustave  Beion Salon  of  1875. 

WAITING ULYssE-Louis-AtTGUsiE  Butis Salon  of  1875. 

PORTIA:   SCENE  FROM  "MERCHANT  OF  VENICE"   .  Alexandre  Cabasel Salon  of  1881. 

THE  ENGLISH  PROMENADE  AT  NICE Joseph  C.^stigliose Gallery  of  the  Prince  of  Saxe-Coberg,  Vienna 

EPISODE  IN  THE  SIEGE  OF  NAUMBURG Jaroslav  Cermak Salon  of  187fi. 

A  GOOD  POINT  OF  VIEW Vincent  Chevilliard Salon  of  1874. 

SMOKE  AFTER  VESPERS Vincent  Chevilliard Salon  of  1872. 

POOR  LOVE FRANgois-Ci.AUDius  CompteCalix     .    .    .  Salon  of  1870. 

MARIE   TOUCHET Pierre-Charles  Comte Gallery  of  M.  Leroy,  Paris. 

LES  CONFETTI Pierre  de  Cosinck Salon  of  187;^. 

THE  WOMAN  AND  THE  PAROQUET Gu.stave  Courbet Salon  of  18GU. 

MANON  LESCAUT P.-A.-J.  Daonan-Bouveret Collection  of  Hon.  H.  P.  Morton,  New  York. 

EMBARKATION  OF  MANON  LESCAUT Charles-Edoiard  Delort Gallery  of  M   Lofevre,  Chateau  de  Chamant. 

THE  PASSING  REGIMENT £douard  Detaille Corcoran  Gallery,  Washington.  [France. 

THE  MARSEILLAISE  HYMN Gustave  Dore Salon  of  1870. 

CHARITY L.-Sdouard  DuBUFE Salon  of  1844. 

MADAME  CROIZETTE Carolus  Dl'EAS Theatre-Frangais,  Paris. 

RETURN  OF  THE  FISHERS  AT  LOW  TIDE Fkak50is'Nicol.\s-A.  Feyen-Perrin  .    .    .  Salon  of  1880. 

THE  WARM  HAND  .       Jose  Frappa Salon  of  187(5. 

FALCON  CHASE  IN  ALGERIA EcofiNE  FiioME-vris Gallery  of  the  Luxembourg. 

THE  DAY  OF  THE  FETE Jules  Garxier Gallery  of  Mr.  Richardson,  Glasgow,  Scot. 

THE  TRIBUTE  TO  THE  MINOTAUR Auquste  Gendron Gallery  of  M.  Courtin,  Paris. 

THE  TWO  AUGURS Jean  Leon  Gerome Salon  of  1861. 

ALCIBIADES  at  THE  HOUSE  OF  ASPASIA Jeas-Leos  GiiROME Salon  of  1861. 

THE  WALL  OF  SOLOMON Jean-Leos  GeromE" Salon  of  1868. 

PHRYNE  BEFORE  THE  TRIBUNAL Jean-Leos  Gerome Salon  of  1861. 

THE  PLAIN  OF  THEBES Jean-Leon  Gerome Salon  of  1857. 

THE  XBDUCTION  OF  AMYMONE     Felix-Henri  Giacommotti Gallery  of  the  Luxembourg. 

THE  GOD-MOTHER'S  GARDEN Firmin  Girard Gallery  of  Mr.  T.  H.  Howell.  Brooklyn. 

EPISODE  IN  THE  SIEGE  OF  SARAGOSSA Jules  Qirardet Gallery  of  Mr.  James  Galbraith,  Glasgow,  Scot 

THE  DEVIS.A Pierre-Francois-Euoese  Giracd  .   .   .    .  Gallery  of  the  Luxembourg. 

THE  CONJURATION Pierre-Paul-Leon  Gl.uze Gallery  of  the  Luxembourg, 

HERCULES  AND  OMPHALE Marc-Charles-Gabriel  GlErBE    .    .   .    .  Museum  of  Nenfchatel. 

PRESENTING  THE  TROPHY  OF  THE  FOOT Jean-Richard  Qoobie Gallery  of  Mr.  J.  H.  Stebbins,  New  York. 


LIST  OF  WOOD  ENGRAVINGS  AFTER  PAINTINGS. 


VOLUME    I . 

TITLE.  AETISI.  lOCATIOS   OF   THE  OBIOIIAL. 

I'OBTRAIT  OK  TIr\ry  II • Fraru^  Clouct Gallery  of  the  Louvre 1 

Pleasures  OF  THIS  Gardes Pierrt  ihgnard Salon  of  Saint-Cloud 2 

The  liAST  Judgment Jean  Cousin Gallery  of  the  Louvre 2 

TiiE  Perfect  MA.STEB Eiutache  Le  Sueur Gallfiry  of  Rohan  Cliubot 4 

Hercules  Combatisg  the  Cestaurs Bon  Boulloyne Gallery  of  the  Louvre » 

SuaAHSAH  AT  THE  liATii Jcan-BaptuU  SajiUrre Gallery  of  the  Louvre 10 

T-fE  Offeriso  TO  Venus Joteph-Marie  V'lcn Gallery  of  Dresden     10 

Danjou Ifyacinike  liiyaud Gallery  of  Versaille* • .  12 

Lajoue  AHD  Family Jacque$  Lajouc Gallery  of  Versailles 16 

Hercules  Df^troyino  Caous Fraru;ois  Le  Maine Gallery  of  the  Lonvro 18 

TuE  Valley  or  Tempe Francuqxu  Uilet Gallery  of  ihe  Louvre 20 

Game  Guarded  DY  A  Doo Franjou  Detportct Gallery  of  tha  Louvre 20 

CuriD  QuiTTiso  PsYcnE T^uu  David Gallery  of  iho  Ixjuvre 20 

Death  OF  ViROiNiA Ouillaume-OuUlon  LdJii^re Gallery  of  the  Louvre 20 

IUrboijr  OF  RiPETTA,  Rome JIabcrt  Jtobsrt Gallery  of  the  Louvre 2S 

DiooESEs  Throwino  Away  nis  Bowl yieolat  rbuttin Gallery  of  the  Louvre 22 

Tbajak  Givi)»3  Audience Noel  Coj/pel Gallery  of  the  Louvre 21 

Tub  Sauine  VVomes iMuit  David Gallery  of  the  Ixjuvre 24 

P'iBST  Chapter  OF  THE  Order  OF  THE  Holy  Gucir Jean  Fran^i*  de  Troy Gallery  of  the  Louvre 28 

SroRMiNO  OF  CossTANTlNE ITorace  Vernet Gallery  of  Versailles 28 

The  Ratiiers CLaude-Jotrph  Virnct Gallery  of  the  Jjouvre 30 

Tin:  Bl.vcksmith  AT  nis  FoRiiR The  Brother*  Le  Nain Gallery  of  the  Louvre 32 

Vknus  Bisdini  the  Wings  of  Ldvj; E'.iz.-Louite  Vtyte-Lehrun Gallery  of  the  Iiouvre 32 

Pygmalion  and  Galatea Anne-Ijonit  Oirodri-Trioton  .   .   .       .  Formerly  in  the  Soramariva  Collection  .    .    .  32 

BosAPABTE,  as  Fibst  Consul Jean- BaptitU  Ittihcy Gallery  of  the  Louvre 32 

liELisARius /Vonfot*  Gerard The  Ifcrmitage.  St.  Petersburg 3(5 

Education  OF  Achilles Jean- BaptitU  Itegnauh Gallery  of  the  Louvre 30 

Kntrance  OF  IIrsby  IV.  IKTO  Pari.s Fran^i*  Oerard Gallery  of  the  Louvre 33 

Napoleon  ON  THE  Rattle-Ground  OF  Eylau Antoiiu-Jean  Ore Gallery  of  the  L"uvre 42 

Justice  AND  Divine  Vengeance  PuBSiiiNQ  Crime I'icrre  Pradhon Gallery  of  tlie  Louvre 4t 

The  Raft  OF  the  Medusa Theodore  Oerieault Gallery  of  the  Louvre 41 

Monastery  BY  THE  Mediterranean  Sea Loui»-Anyusle  ComU  de  Forbin    .    .    .  Gallery  of  tho  Louvre 4d 

The  Return  op  Marcus  Sextus Pierre- Xareiue  Oucrin Gallery  of  the  Louvre 50 

LocusTA  Trying  Poison  on  a  Slave Xavier  Siyalon Mu<eura  of  Nimes 50 

Assassination  op  the  Duke  op  Guise Paul  Delarorhe Gallery  of  Uie  Duke  d'AumaIn 62 

Entrance  OF  Alexander  INTO  Rabylon Charlet  Le  Brun Gallery  of  the  Louvre 52 

Arrival  OF  THE  Reapers  IN  the  Pontine  Marshes L-opoll  Robert Gallery  of  the  Louvre 5(J 

TiiE  Death  OF  Roland Achille-Etna  llichallon Gallery  of  the  Louvre 53 

Don  Quixote  AND  S.vNcno  Panza Alex.-Oahrid  De  Cimpt Gallery  of  Baron  Gutavede  Rothschild,  Paris  62 

The  Sleep  OP  Endymion A:ine-Louit  OirodttTrioton Gallery  of  the  Louvre G2 

Evening Jean-BaptitU  Qirot Museum  Bruyas,  Montpellier,  France     ...  G4 

Lion  Devo"ring  A  (loAT Eugene  Delacroix Gallery  of  the  Luxembourg 66 

Charles  V.  AT  the  Monastery  OF  Smnt-Just J istph-NicoUu  Robert- Fleury    .    .    .    .  Gallery  of  M.  £mile  Poreire.  Paris  .   .....  06 

Claude,  N.  Poussin,  and  O.  Poussin  in  the  Roman  Ca.mpagn.v  J<:an-Baptitte-Aitgiute  Lcloir    ....  Salon  of  1861 TO 

Stella  at  Rome,  in  1093 Claudius  Jacquand SaJon  of  1877 70 

A  Sea  Port  at  Sunset Clawle  Lorraine Gallery  of  the  Louvre 72 

The  Spring  at  Ne?lette,  Normandy EmUe  Van  Marcke Gallery  of  Mr.  Alex.  Brown.  Philadelphia    .  72 

The  Inn  INTHE  FoiEST Jean- Louis- Ernat  Missonier    .    .    .    .  Gallery  of  Sir  Richard  Wallace,  Paris    ...  74 

Ths  Ordsr  OF  ths  Day Jean- Louis- Ernest  Mcissonir    .    .    .    .  Gallery  of  Mr.  W.  H.  Vanderbilt.  New  York  74 

A  Spartan's  Education Louis  Mussini Gallery  of  the  Luxembourg 78 

Rome  in  its  Decadence Thomas  Couture Gallery  of  tlic  Luxembourg 80 

Orpheus Frani;ois- Louis  Fran^ais SaloT)  of  1863 82 

Arab  Gavalieb  Starting  for  the  Fantasia Henri  RegnauU Salon  of  1867 82 


A  COMPLETE  HISTORY  OF  FRENCH  ART. 


The  modern  French  School  of  painting  so  incontestably  leads  the  van  of  con- 
temporary art,  that  to  select  it  as  the  topic  of  an  illustrated  work  needs 
no  excuse  and  no  explanation.  To  make  a  theme  of  an  art- nationality 
now  in  the  full  career  of  success,  with  masters  honored  the  world  over, 
and  monuments  accepted  as  standards  everywhere,  might  be  considered 
somewhat  humiliating  for  an  American  writer,  whose  compatriots  have  not 
yet  conquered  the  attention  of  the  earth  at  large  by  their  success  in  the 
craft  of  design.  But  rightly  considered,  the  topic  is  encouraging.  French 
art  started  amid  the  same  deprivation  of  works  of  Greek  sculpture,  of 
gems  and  vases  and  museum-curiosities,  of  galleries  filled  with  Cimabues 
and  Bellinis  and  Durers,  as  American  art.  It  began  with  the  absence — 
|»orhap8  a  healthy  absence — of  any  models  but  natural  objects,  any  traditions 
but  what  might  be  called  autochthonic  experience.  Much  more  than 
America,  France  was  a  sort  of  intellectual  backwoods  when  it  began  to 
breed  painters. 

Nor  do  I  know  any  more  quaintly  fascinating  and  stimulating  experience  than  to  go  through  the 
mighty  galleries  of  sumptuous  paintings  in  the  Louvre, — past  all  the  Rubenses  and  Veroneses  and  the 
like, — to  commune  awhile  with  the  early  genius  of  Clouet.  I  have  lingered  long  in  that  pinched-up 
corner  of  a  pincfaed-up  room,  to  inspect  him.  With  one's  eye  still  shaking  in  one's  head  from  the  strong 
vibrations  given  to  it  by  the  color-pieces  of  the  Venetian  school,  one  comes  upon  the  little  group  of 
his  pictures — rigid,  timid,  minutely  picked-out  in  detail,  almost  without  light  and  shade  on  the  flesh, 
deprived  of  the  sense  of  life  and  motion,  with  staring,  beady  eyes  and  frozen  attitudes,  with  the  painted 
gems  and  pearls  in  their  golden  settings,  all  made  out,  fraction  by  fraction,  almost  like  the  chasing  of  the 
jeweler's  tool,  with  cast-iron  velvets,  and  satins  of  hammered  tin, — smooth,  ignorant,  conscientious  and 
■oulless,  like  Chinese  portraits  I  Yet,  when  these  parchment-like  records  were  perpetrated,  Titian  had 
already  painted  the  glowing  portrait  of  Francis  I.  in  an  adjacent  room,  and  Leonardo,  La  Belle  Ferroniere, 
his  mistrem !  What  an  anachronism,  the  uprising  of  a  set  of  portraits  like  missal-paintings,  ajier  the 
life-breathing   heads  of  a  Titian   or  a  Leonardo  were  executed  I      Step  over  to  inspect  the  last-mentioned 


MKTRAIT   or   MIOTV   ■. 


-2  A    COMPLETE   HISTORY   OF  FRENCH  ART. 

likenesses.  The  Ferroniere  has  the  unquiet  watchfulness  of  expression  proper  to  Leonardo — his  balance 
of  the  nervous  system  just  ready  to  start  into  movement,  in  fact  the  full  endowment  of  his  intense, 
but  controlled  vitality.  The  Titian,  of  Francis  I.,  is  easy,  smiling,  lordly,  sumptuous,  with  flesh  in  full 
morbidezza,  draperies  sketched  and  expressed  with  disdainful  ease,  a  collar  of  golden  links  flashing, 
scintillating,  coruscating — expressed  by  gushes  of  light,  rather  than  expressed  by  tool-touches,  like  the 
jewelry  of  honest   Clouet. 

Tliere  are  other  Titians,  other  Leonardos,  close  by,  still  further  endowed  with  the  finished  splendour 
of  their  genius ;  but  to  point  the  accurate  and  diametrical  contrast,  I  have  availed  myself  of  portrait- 
works  devoted  to  Clouet's  own  king  and  a  contemporary,  orders  presumably  given  before  the  orders 
executed  by  Clouet,  and  showing  that  the  French  court-painter  rose  stiff  and  frozen  in  the  full  blaze 
of  summer,  just  when  the  hot  sap  was  rushing  in  the  perfect  blossoming  of  the  renaissance  all  around 
him.  No  country  can  be  more  palpably  behind  the  age,  more  cold  in  the  hot  blast  of  a  contemporary 
conflagration,  than  was  France,  whose  position  in  the  arts  to-day,  leaves  classic  Italy  so  far  behind.  A 
succinct   account   of  this   originator   of  French   oil-painting   will    now  be  in   order. 

FRAN(;;OIS  CLOUET  was  born  at  Tours,  the  city  of  Rabelais,  in  the  year  1510,  when  Titian  wu 
thirty-three  years  old,  Raphael  twenty-seven,  and  even  Correggio,  a  painter  so  completely  modem  in 
feeling,  numbered  six  years  of  life.  His  father,  Jehan,  (1518-1541)  had  come  over  from  Flanders, 
bringing  the  secret  of  oil-painting  derived  from  John  Van  Eyck.  The  clever  and  patient  Jehan  settled  in 
sunny  France ;  forgot  the  fogs  of  the  Low  Countries,  astonished  the  grandees  with  the  rich  and  \'i8cid  colors 
possible  to  oil-painting,  executed  their  portraits  according  to  his  lights,  was  made  court-painter  and  vald-de- 
cliainhre  to  Francis  L,  and  begat  his  son  Fran9ois.  What  tortures  his  soul  experienced  by  the  importation 
into  France  of  such  finished  painters  as  Pinturiccio,  Nicolo  Abbate,  Rossi,  and  Leonardo,  and  such  jacks- 
of-all-trades  as  Cellini,  he  has  left  no  memoirs  to  show.  Among  the  native  enamel-painters  like  Bernard 
Limousin,  and  modelers  like  Palissy,  he  did  well  "enough.  He  died  and  left  few  or  no  gallery-pictures 
of  uncontested  authenticity.  But  the  son,  Francois — named  after  the  great  king  with  fond  adulation — 
is  shown  at  the  Louvre  in  a  little  galaxy  of  paintings  of  quaintest  intere'fet.  One  of  them  shows  a 
Court  Ball;  it  is  a  precious  little  chronicle  of  palace  life  in  the  epoch;  Henri  III.,  then  king  is  shown, 
in  the  tight  trunk-hose,  the  little  flying  velvet  cloak  on  one  shoulder,  associated  in  our  minds  with  the 
costume  of  Mephistopheles,  and  matchlessly  goblin-like  and  piquant:  the  queen-mother,  the  proud,  bigoted 
Catharine  de  Medicis,  with  young  Henry  of  Navarre,  are  present  at  the  festivities,  and  the  stiff  sixteenth- 
century  dames  and  spider-legged  gallants  are  going  through  a  formal  antique  dance.  Another  little 
picture  shows  the  Marruxge  of  Margard  of  Lorraine,  sister  of  the  Guises,  with  Duke  Anne  of  Joyeuse. 
On  a  larger  scale,  though  of  less  size  as  a  picture,  is  the  valuable  and  evidently  faithful  portrait  of 
Charles  IX.,  the  weak  young  king  who  precipitated  the  massacre  of  St.  Bartholomew.  This  priceless 
contemporary  document,  this  unchallengeable  portrait  by  the  court-painter,  though  no  larger  than  the  leaf 
of  a  common  book,  has  been  used  by  a  greater  number  of  modern  artists  than  tongue  can  tell,  as  the 
authority  for  a  quantity  of  subjects  in  which  Charles  and  the  massacre  are  to  figure;  Gallait,  for  example, 
has  employed  it  in  a  blood-curdling  picture  representing  the  boyish  king,  with  convulsed  features, 
listening  at  a  curtain  while  the  murders  are  going  on.  Other  portrait  subjects,  hung  near  by,  are  the 
likeness  of  Henri  II  (see  initial),  of  the  Duke  of  Guise,  called  the  scarred,  or  U  hahfre,  of  the  prudent 
chancellor  Michel  de  I'Hapital,  and  even  a  valuable  and  charming  one  of  Henri  lY.,  as  a  child — the 
warrior  of  the  League,  whose  portrait  recurs  so  many  times  along  with  Marie  de  Medicis  in  the  sumptuous 


'    FRANCOIS    CLOUET.  3 

series  by  Rubens  in  the  Long  Gallery,  is  seen  young,  small,  timid  and  queer,  in  this  faithful  documentary 
work  by  Clouet,  and  thus  serves  as  a  link  connecting  the  embryonic  birth  of  French  painting  with 
the  fullness  of  artistic  splendour  under  the  brush  of  the  other  Fleming.  Another  of  Clouet's  portraits  in 
the  group  is  Elizabeth  of  Austria,  the  queen  of  Charles  IX.,  a  work  as  minute,  delicate,  and  conscience- 
stricken  as  the  photograph-like  head  of  her  husband ;  and  thus  there  are  eight  small  miniature  works 
by  the  faithful  court-likeness-taker,  by  which  to  estimate  him,  all  together,  in  an  almost  unvisited  corner 
of  the  Louvre  collection.  Their  style  is  very  similar  to  that  of  Holbein.  French  art  is  so  far  almost 
Teutonic — not  a  breath  of  Italian  freedom  has  yet  come  to  spoil  its  virgin  stupidity.  There  is  not 
the  toss  of  a  sixpence  to  choose  between  the  little  Elizabeth  of  Aitstria  and  yonder  Holbein,  Ann  of 
Cleves,  kept  as  such  a  jewel  in  the  Salon  Carre,  and  supposed  to  be  the  one  which  beguiled  Henry 
VIII.  into  taking  the  lady  to  wife, — with  such  an  unlucky  subsequent  repudiation  of  the  "  Flanders 
Mare."   when   her   true   appearance   became   known. 

Our  Francois  Clouet  was  the  fourth  of  his  family, — born,  as  was  mentioned,  in  the  year  1510, 
he  died  in   1574. 

Wliile  standing  before  the  works  of  Clouet,  with  all  their  faithfulness  and  limitations,  I  have 
frequently  been  impelled  to  applaud  the  native  vigor  that  could  withstand  so  many  solicitations,  and 
die  with,  as  it  were,  the  old  oil-brush  of  Van  Eyck  in  the  fingers.  France  was  then  filling  up  with 
foreign  art.  Francis  I.,  (who  died  in  1547,  just  four  years  after  Holbein  sank  into  his  unknown  London 
grave)  had  been  especially  zealous  in  cramming  his  palaces  with  the  novelties  of  the  renaissance.  Even 
before  his  day,  the  military  expeditions  of  Charles  VIII.  and  of  Louis  XII.,  had  introduced  the  French 
to  the  civilization  of  Italy ;  and  with  the  campaigns  of  Francis  I.,  the  French  dynasties,  in  person, 
were  sDCcessively  made  acquainted  with  the  whole  of  the  Italian  peninsula,  from  Milan  down  to  Naples, 
and  were  inspired  with  the  most  fruitful  astonisiiment  before  the  buildings  and  decorations  of  tlie  Italian 
cities.  Soon  Francis  I.  brought  to  his  capital  the  great  works  which  even  now  remain  the  criterions 
— the  Holy  Family  of  Francis  I.,  by  Haphael ;  the  Joconde,  by  Leonardo ;  the  Charity,  by  Del  Sarto. 
Then  began  that  pregnant  counter-invasion  by  Italy  of  France,  which  was  to  sow  the  seed  of  a  future 
civilization.  Leonardo  went  at  the  bidding  of  the  French  monarch,  in  old  age,  and  with  his  health  in 
sach  an  enfeebled  condition  that  he  could  not  summon  resolution  to  finish  even  the  /St.  Ann  and  the 
Virgin,  which  exists  as  a  revered  embryo  in  the  room  of  honor  in  the  Louvre.  He  died  in  liis  exile, 
at  Cloux,  near  Amboise,  (May  2d,  1519,  after  a  French  residence  of  three  years),  where  the  fragments 
of  his  tombstone,  discovered  but  of  late  years,  alone  remain  to  enclose  the  voice  of  his  message  to  French 
art.  Del  Sarto,  too,  was  an  unproductive  visitor,  staying  but  for  a  short  time,  and  then  squandering 
the  money  given  him  by  Francis,  who  constituted  him  the  purveyor  for  purchasing  Italian  works  des- 
tined to  the  embellishment  of  France.  His  false  and  beautiful  wife, — the  model  for  the  fine  Charity 
purchased  by  King  Francis,  and  still  in  its  proper  place  in  the  Louvre — diverted  the  trust-money  and 
spent  it  on  her  pleasures.  These  two  invitations  of  Francis  were  barren.  But  Primaticcio,  one  of  the 
school  of  Raphael,  went  to  France  for  a  long  sojourn,  and  worked  on  the  decorations  of  Fontainebleau, 
while  Nicolo  del'  Abati  finished  the  frescoes  of  Primaticcio,  and  II  Rosso  was  their  intractable  coadjutor. 
The  date  of  Leonardo's  visit  to  France  was  1516,  (when  our  tenacious  little  Clouet  was  svs.  years  old) ; 
Del  Sarto  went  thither  in  1518;  Primaticcio  in  1531,  Rosso  in  1538,  and  Abati  in  1552,  while  Cellini 
for  much  of  the  same  space  of  time  worked  there  in  jewelry,  giving  a  lasting  lesson  to  French  disciples 
of  St.  Eloi.  Leonardo,  nor  Del  Sarto,  did  not  really  acclimate  themselves  or  become  workers  in  the  country 
they  visited ;    bat   the   others   did.      Primaticcio   executed   a   large    number    of   frescoes   at   Fontainebleau ; 


4  A    COMPLETE   HIS  TO  BY   OF  FRENCH  ART. 

though  the  greater  part  of  those  mural  paintings,  with  which  Francis  I.  wished  to  decorate  the  palace 
of  his  choice,  were  not  finished  until  after  the  monarch's  death.  Owing  to  jealousy,  an  ill  feeling  arose 
between  Primaticcio  and  the  Rosso,  or  Maitre  Roux,  as  the  French  called  him ;  the  latter  was  painting 
away  with  great  industry  and  in  full  royal  favor,  when  the  grudge  of  Primaticcio  formed  expression, 
and  the  good-natured  king  sent  Primaticcio  to  Rome  to  collect  antique  works  of  art.  While  thus 
enii)loyed,  the  death  of  II  Rosso  left  the  field  clear,  and  he  was  recalled  to  finish  some  paintings  which 
tlie  decease  of  the  latter  artist  left  uncompleted.  Rosso  had  brought  to  France  a  friend,  one  Francesco 
Pelligrino;  and,  while  working  industriously  on  the  Fontainebleau  frescoes,  became  the  loser  of  a  con- 
siderable sum  of  money;  he  charged  the  theft  upon  his  friend  and  assistant  Pellegrino,  who  was 
accordingly  put  to  the  torture,  but  declared  not  to  be  guilty.  That  he  should  have  accused  an  innocent 
man,  it  is  said,  caused  Rosso  such  remorse,  that  shortly  afterwards  (1541)  he  died,  by  putting  an  end 
to  his  own  life.  Upon  this  disaster  Primaticcio,  burying  his  jealousy  in  his  rival's  grave,  abandoned 
the  collection  of  Roman  marbles  for  Francis  in  Italy,  and  returned  to  complete  II  Rosso's  paintings. 
The  most  renowned  of  Primaticcio's  works  in  France  were  the  scenes  from  the  Odyssey,  in  the 
Fontainebleau  palace, — paintings  entirely  destroyed  in  1738  when  the  great  gallery  was  pulled  down  to 
make  room  for  some  new  apartments;  this  Raphaelesque  painter  enjoyed  a  French  career  coeval  with 
Ciouot's;  died  just  before  him,  in  1570,  after  painting  under  Henri  I.,  under  Francis  II.  (Imsband  of 
Mary  Queen  of  Scots),  and  Charles  IX.  He  was  made  by  Francis,  Abbot  of  St.  Martin  of  Troyes, 
and  given  a  revenue  of  eight  thousand  crowns.  His  assistant,  Abati,  helped  with  these  frescoes,  painted 
the  Advailurcs  of  Ulyfmes  and  other  works  from  the  Odyssey  designs  of  Primaticcio,  and  died  con- 
temporaneously with  him  in  Paris,  in  1571.  His  pictures  shared  the  fate  of  his  master's,  perishing 
in  1738,  whoa  the  building  was  removed  to  make  room  for  some  improved  architecture.  Such  fruit- 
cultivation  was  going  on  at  the  edge  of  the  woods  of  Fontjvinebleau — such  mounting  of  sap  and 
bursting  of  pulp  and  scattering  of  seed, — during  the  very  years  when  dry  and  faithful  Clouet,  adhering 
to  the  paint-brush  transmitted  from  old  Van  Eyek,  turned  out  his  Holbein-like  portraits  in  the 
French  method. 

A  life-size  Clouet,  representing  Charles  IX.,  and  accurately  copying  in  large  scale  tlie  one  in  the 
Louvre,  is  in  the  Imperial  Qnllery  of  Vienna,  bearing  the  inscription,  "  Charles  Villi.,  tres  chretien,  Roy 
de    France,  en   I'aage   de    xx   ans,  peinct   au  vif  par   Jannet,  1563." 

At  the  Louvre,  besides  the  masterly  portraits  of  Charles  IX.  and  his  queen,  of  undoubted  authen- 
ticity, there  are  several  other  pictures,  attributed  with  various  shades  of  doubt,  to  Clouet;  three  of  these 
represent  Francis  I.  The  largest  is  certainly  from  the  old  cahind  dore  of  Fontainebleau,  and  the  earliest 
inventory  attributes  it  to  "Jehannet;"  possibly  it  is  by  the  elder  painter  of  the  family,  the  Fleming; 
it  is  painted  on  a  gold  background,  rubbed  over  with  red.  A  second,  of  the  same  king,  was  painted 
on  a  walnut  panel,  and  removed  to  a  canvas  backing  in  1828 ;  it  was  then  attributed  to  Holbein ; 
an  analogous  portrait  is  in  England,  in  Lord  Ward's  collection,  assigned  to  Leonardo  da  Vinci.  A 
small  one,  not  resembling  Francis  at  all,  yet  bearing  the  legend,  "  Francois  I.,  Roy  de  Fr.,"  is  attributed 
to   Jannet   in   the   Louvre    Notice   of   1841,  but   is   entirely  doubtful. 

Back  of  the  Clouets,  as  we  regard  in  perspective  the  attainments  of  French  taste  among  the 
nations,  we  observe  the  works  of  glass-painters  and  missal-painters,  of  potters  and  enamellers,  such  as 
Limousin, — whose  style  matches  so  well  with  the  contemporary  Clouet's.  As  far  away  as  the  history 
of   France   extends    we   can   observe   some   trace   of  that   exquisite   fancy,  that   neatness   and   elegance    of 


JACQUEMIN   GBINGONNEUR.  5 

handiwork,  that  geniiis  for  manipulation,  which  in  its  modern  development  places  France  at  the  head  of 
art-production.  Emeric  David  reminds  us  that  even  in  the  time  of  Charlemagne  it  was  the  custom  to 
cover  the  walls  of  churches  with  paintings  {circuiiu  dextra  Icevaque,  intus  et  extra),  "in  order  to  instruct 
the  people,  and  to  decorate  the  buildings.  It  was  in  France  about  the  middle  of  the  ninth  century,  that 
painters  first  endeavored  to  represent  the  Almighty  Father  himself  in  human  form,  an  attempt  which 
was  not  made  in  Italy  before  the  thirteenth  century,  and  is  not  to  be  found  at  all  in  Byzantine  painting. 
Painting  on  glass  for  church  windows  was  likewise  invented  or  perfected  in  France.  A  great  number 
of  French  prelates  and  abbots  also  decorated  their  churches  and  monasteries  with  paintings  of  all  sorts ; 
amongst  these  were  the  bishops  Hincmar  of  Rheims,  Hoel  of  Mans,  Geoflroy  of  Auxerre,  and  the  abbots 
Angilbert  of  Saint-Riquier,  Ancesige  of  Fontenelle,  Richard  of  Saint- Venne,  and  Bernard  of  Saint-Sauveur. 
After  the  conquest  of  England  by  WilUam  of  Normandy,  the  French  carried  the  art  of  church 
decoration,  and  a  taste  for  it,  into  England  with  Lanfranc  and  Anselm  of  Canterbury.  Tradition  has  even 
preserved  the  names  of  several  celebrated  French  painters  of  the  Middle  Ages,  the  greater  part  of  whom 
were  monks,  belonging  especially  to  the  order  of  St.  Basil.  Of  this  number  were  Madalulphe  of  Cam- 
bray,  Adelard  of  Louvain,  Emule  of  Rouen,  Herbert  and  Roger  of  Rheims,  and  Thiemon,  who  was  also 
a  sculptor  and  professor  of  the  fine  arts.  But  these  crude  essays,  which  did  not  culminate  in  a  dis- 
tinctive national  style,  are  not  worthy  of  a  lengthened  account.  French  as  well  as  Spanish  art,  both 
the  papils  of  Italy,  can  only  be  said  to  have  really  commenced  after  the  slow  and  laborious  development 
of  the  Middle  Ages,  when  all  the  knowledge  possessed  by  antiquity  sprang  out  of  the  soil  at  one  time, 
and  produced  the  revival  known  by  tlie  name  of  the  Renaissance.  The  influence  which  Italy  exerted 
on  French  painting  made  itself  felt  as  eswly  as  the  middle  of  the  fifteenth  century — as  we  have  seen, 
under  Leonardo,  Del  Sarto,  Primaticcio,  Rosso,  and  Abati — although  it  was  nearly  a  hundred  years  later, 
before   the   French   school   may  be   said   to  have   commenced. 

RENt!  OF  ANJOU,  Count  of  Provence,  the  prince  successively  despoiled  of  Naples,  Lorraine,  and 
Anjoa,  and  who  consoled  himself  for  his  political  disgraces  by  cultivating  poetry,  music,  and  painting, — 
this  good  King  Rene,  who  was  bom  about  1408,  learnt  painting  in  Italy,  either  under  II  Zingaro  at 
Naples,  when  disputing  the  crown  of  the  Two  Sicilies  with  the  kings  of  Aragon,  or  under  Bartolommeo 
della  Gatta  at  Florence,  when  forming  an  alliance  with  the  Duke  of  Milan  against  the  Venetians.  "  He 
composed,"  says  the  chronicler  Nostradamus,  "  several  beautiful  and  elegant  romances,  such  as  La  Conquests 
de  la  Doulce  Merei,  and  the  MoHiJieinenl  He  Vaine  Plaisance,  but  he  loved  painting  in  particular  with  a 
pasnonate  love,  and  was  gifted  by  nature  with  such  an  uncommon  aptitude  for  this  noble  profession  that 
he  was  famous  among  the  most  excellent  painters  and  illuminators  of  his  time,  which  may  be  perceived 
by  several  masterpieces  accomplished  by  his  divine  and  royal  hand."  In  the  Cluny  Museum  there  is 
a  picture  by  Rene,  which,  although  not  worthy  of  being  called  a  "  divine  masterpiece  "  of  the  period  that 
had  produced  Fra  Angelico  da  Fiesole  and  Mesaccio,  is  yet  valuable  and  remarkable.  The  subject  is  the 
Preaching  of  the  Magdalen  at  MaraaUes,  where  tradition  asserts  that  she  was  the  first  to  proclaim  the 
Gospel.  In  the  background,  and  in  Chinese  perspective,  is  the  port  of  the  old  Phocian  colony ;  in  the 
foreground  is  the  audience  of  the  converted  sinner,  in  which  Rene  has  introduced  himself  wltli  his  wife 
Jeanne  de  Laval.      The  scene  is  well  conceived,  clear   and   animated.      Rene  died  in  1480. 

JACQUEIIN  OBINOONNEUB  painted  packs  of  cards,  to  afford  Charles  VI.  an  easy  amusement  in 
the    lucid   intervals  which  his  madness  allowed  hitn.      Gringonneur  has    been  called  tlio   invcnitor  of  cards; 


6  A    COMFLETE   HIHTORY   OF  FRENCH  ART. 

but  til  is  invention — which  is  also  attributed  to  another  ymavgier,  Nicolas  Pepyn — belongs  to  a  much  earlier 
period ;    it  dates  back  as  far  as  the  thirteenth  century. 

JEHAN  FOUijUET,  born  at  Tours  between  1415-1420,  painted  the  portrait  of  Pope  Eugenius  IV. 
at  Rome,  and  studied  the  Italian  artists  of  the  time  of  Masaccio.  .His  works,  or  at  least  those  of  them 
which  remain,  are  to  be  found  at  Munich,  Frankfort,  and  in  the  large  library  at  Paris ;  they  are  composed 
only  of  manuscript  ornamentation,  so  that  Fouquet  is  merely  a  superior  ymaigier. 

JEAN  COUSIN,  was  born  at  Soucy,  near  Sens,  about  1500.  Unfortunately,  he  waa  more 
occupied  with  painting  church  windows  than  with  his  easel ;  and,  as  he  devoted  a  part  of  his  time  to 
engraving,  to  sculpture,  and  even  to  literature,  he  has  left  but  a  small  number  of  pictures.  The  principal 
of  these  is  a  Last  Judgment,  and  it  is  doubtless  the  similarity  of  subject  rather  than  of  style  or  manner, 
which  has  given  its  author  the  name  of  the  "  French  Michelangelo."  Although  it  waa  the  first  picture 
by  a  French  artist  which  had  the  honour  of  being  engraved,  this  masterpiece  of  Jean  Cousin  was  for 
a  long  time  forgotten  in  the  Sacristy  of  Minimes  at  Vinceunes.  It  has  now  found  a  worthy  place  in 
the  Louvre.  As  far  as  a  number  of  small  figures  assembled  in  an  easel  picture  can  be  compared  to 
the  gigantic  figures  covering  the  wall  of  the  Sistiue,  so  much  may  Jean  Cousin  be  said  to  resemble 
Michelangelo.  The  whole  is  harmonious,  although  powerful  and  terrible ;  the  groups  are  skilfully  formed 
and  varied ;  the  jiude  figures,  a  new  thing  in  France,  are  well  studied  and  well  rendered,  and  these  raerite 
of  composition  and  drawing  are  enhanced  by  a  warm  Venetian  coloring,  and  still  more  so,  by  a  unity 
and  symmetry  of  thought  which  is  wanting  in  the  model.  As  Michelangelo  finished  his  celebrated  fresco 
in  1541,  it  is  probable  that  Jean  Cousin  treated  this  vast  subject  at  a  later  period,  for  he  would  have 
been  able  before  leaving  France  to  become  acquainted  with  the  Last  Judgment  of  the  Vatican  by  copies 
or  engravings,  amongst  others,  that  by  Martin  Rota.  But  his  version  of  the  same  subject  was  at  least 
a  very  free  one,  composed  of  different  details,  and  with  a  totally  different  spirit  running  tlirough  it. 
Jean   Cousin   lived   to    bo    nearly  ninety  years  of  age. 

MARTIN  FRlilMINET,  the  son  of  a  painter,  was  born  at  Paris  in  1567.  After  a  long  sojourn 
in  Italy,  he  brought  back  with  him  the  taste  which  prevailed  there  at  the  close  of  the  great  age,  a 
little  before  the  foundation  of  the  Carracci  school.  Leaving  the  calm  and  simple  beauty  which  Leonardo 
da  Vinci,  Raphael  and  Correggio  luwl  taught,  he  adopted,  like  the  mistaken  imitators  of  Michelangelo, 
an  ostentatious  display  of  the  science  of  anatomy,  and  a  mania  for  foreshortening.  At  the  same  time 
his  great  pictures  in  the  Louvre — both  the  Veniis  vxtitmg  for  Mars,  who  is  disarmed  by  Cupids,  or 
Ericas  abandoning  Dido  by  order  of  Mercury — are  remarkable  for  several  reasons.  In  the  first  place, 
because,  after  the  small  figures  of  Frauyois  Clouet  and  Jean  Cousin,  he  painted  his  figures  the  size  of 
life,  and  also,  that,  after  a  long  and  continuous  series  of  sacred  subjects,  he  produced  a  mythological 
scene.  Henry  IV.  appointed  Fr^minet  painter  to  the  court,  and  commissioned  him  to  decorate  the  ceiling 
of  the   chapel   at    Fontainebleau.      Fr^minet   died   at   Paris   in    1619. 

SIMON  VOUET,  the  son  of  a  painter,  was  born  in  Paris  in  1592  (?).  He  had  been,  from  his 
earliest  youth,  remarkable  for  his  precocious  talents ;  and  after  fourteen  years'  residence  at  Rome  he 
carried  with  him  the  lessons  of  the  Carracci  school  to  Paris.  In  his  great  composition,  the  Presentation 
in  the  Temple — in    the    Entombment,  the  Madonna,  the    Roman  Charity   (a   young   woman    feeding   an    old 


NIC0LA8  F0U88IN,  7 

man),  we  trace  clearly  the  influence  of  the  Bolognese  school,  although  he  possesses  neither  the  profound 
expression  of  Domenichino,  the  elegance  of  Guido,  nor  the  powerful  chiaroscuro  of  Guercino.  The  style 
of  his  masters  is  impaired  by  poorness  of  design  and  insufficiency  of  coloring — -in  short,  by  too  much 
haste ;  for  Vouet,  who  soon  became  the  first  painter  of  Louis  XIII.,  to  whom  he  gave  lessons,  over- 
whelmed with  honors  and  laden  with  orders,  accepted  labors  beyond  his  power  to  perform.  Pictures 
for  churches  or  palaces,  portraits,  ceilings,  wainscotings,  tapestry,  all  were  undertaken  in  order  to  keep 
the  work  fix)m  others ;  and  in  this  universal  monopoly,  his  early  talent,  instead  of  increasing  with  riper 
age,  continually  decreased.  We  must  do  him  the  justice  to  add  that  it  was  his  lessons  and  example 
which  taught  Eustache  Lesueur,  Charles  Lebrun,  and  Pierre  Mignard ;  and  that  thus,  like  the  Garracci, 
he   was   greater  through  his  pupils  than  through  his  own  works.      Vouet  died  in  Paris  in  1641. 

JACQUES  CALLOT,  the  son  of  a  noble  family,  was  born  at  Nancy  in  Lorraine  in  1592.  He  was 
an  enemy  to  all  discipline,  ahd,  in  order  to  give  free  course  to  his  fancy,  fled  from  his  father's  house 
in  the  train  of  a  troop  of  mountebanks.  Entirely  occupied  with  etching  according  to  processes  of  his 
own  invention — his  Beggars,  Gipsies,  loobies,  Devils  and  scenes  descriptive  of  the  Miseries  of  War,  Callot 
finished  but  a  very  small  number  of  paintings.  Thus,  while  he  has  left  fifteen  or  sixteen  hundred 
engravings,  both  large  and  small,  we  have  not  met  with  more  than  two  pictures  bearing  his  name,  the 
MUitary  ELcecuiion,  at  Dresden,  and  the  Village  Fair,  at  Vienna ;  both  are  on  copper,  with  very  small 
figures,  and  such  pale  coloring  that  at  the  first  glance  one  is  not  favourably  impressed.  Gailot's  talent 
has  remained  ao  thoroughly  tui  generis  that  he  has  had  no  descendants.  He  was  a  great'  artist,  who 
has  no   place   in   the   history  of  the   fine   arts,  even  of  his  own  country.      He  died  at  Nancy  in  1635. 

NICOLAS  FOUSSIMy  the  prince  of  the  French  school,  was  born  at  Andelys  in  Normandy  in  1594. 
He  was  deacende<l  from  a  noble  family  of  Soissons,  who  lost  their  property  in  the  civil  wars.  His 
fiatber  served  under  Henri  IV.  An  admirable  example  of  the  power  of  natural  taste,  Poussin,  who  was 
almost  without  a  master,  remained  a  long  time  without  a  patron.  Braving  poverty,  although  twice 
interrupted  by  it  on  his  way  to  Italy,  he  at  length  reached  Rome  on  foot  and  almost  destitute.  Here 
his  talent  was  first  developeil  before  the  masterpieces  of  past  ages;  and  although  at  a  subsequent  period 
the  king  recalled  him  to  Paris,  in  order  to  add  the  lustre  of  a  great  painter  to  his  own  fame,  Poussin 
soon  tired  of  the  annoyances  caused  by  the  Court  painters  and  the  Court  fools,  and  went  back  to  liis 
dear  hermitage  at  Rome,  which  he  did  not  again  leave — not  even  bequeathing  his  ashes  to  his  native 
country.  There,  in  solitary  study,  and  always  avoiding,  with  a  force  of  judgment  in  which  he  is  scarcely 
equalled,  the  bad  taste  of  his  country  and  of  his  time,  he  progressed  step  by  step  towards  perfection. 
Poossin  has  been  called  tlie  painter  of  intellect;  this  name  is  just,  especially  if  it  be  meant  to  convey 
the   idea  that  Poussin   can   only  be   understood   and   admired  by  high   and   cultivated   intellects. 

The  only  reproach  which  the  traducers  of  I'^oussin  in  the  French  school  have  been  able  to  bring 
against  him  is,  that  he  is  wanting  in  grace.  Certainly  in  the  execution  of  his  most  usual  subjects,  he 
showed  rather  the  gravity  and  austerity  natural  to  his  genius,  but  he  has  shown  grace,  and  even  jjlayful 
grace,  when  it  was  suitable.  To  be  convinced  of  this,  it  is  only  necessary  to  examine  some  of  liis 
numerous  bacchanalian  scenes.  Two  of  his  best  are  in  the  National  Galhsry  in  London.  One  is  a 
forcible  painting,  simply  called  a  Bacchanalian  Dance,  but  varied  and  full  of  pleasant  incident;  all  tlie 
figures  are  in  harmony,  from  the  nymph  tripped  up  by  the  satyr,  to  the  little  tipsy  childn'ii  quarreling 
for   the    cup    into    which    a   bacchante   is  squeezing  grapes.      The    other,  a  Bacclianalian  FcstivaJ,  although 


8  A    COMPLETE   HISTORY   OF  FRENCH  ART. 

less  finished  in  execution,  is  one  of  the  most  important  works  of  Poussin,  who  shared  the  love  of  the 
ancients  for  this  subject.  The  details  are  graceful  and  spirited,  and,  being  perfectly  harmonious,  form  a 
most  charming  comedy.  Here  we  see  the  fat,  tipsy  Silenus,  supported  with  difficulty  by  two  fauns; 
there,  a  gay  and  animated  dance ;  further  off,  an  insolent  ass  attacks  the  haunches  of  a  centaui",  who 
punishes  him  with  a  stick  for  his  impudence ;  then  a  laughing  female  satyr  endeavoring  to  ride  on  a 
refractory  goat.  In  fact,  all  the  ancient  comedy  is  revived,  so  that  we  could  almost  fancy  it  a  repre- 
sentation  of  one   of  those   gay  and  riotous  AteUanoe  brought  into  Rome  from  the  Campania. 

With  regard  to  the  other  subjects  treated  by  Poussin,  Paris  has  no  reason  to  envy  England  or  any 
other  country,  as  she  possesses  his  masterpieces.  We  will  first  speak  of  Poussin  s  portrait,  by  himself, 
taken,  when  fifty-six  years  of  age,  for  his  friend  Chantelou ;  the  only  one  which  he  would  have  painted 
if  his  patron  at  Rome,  Cardinal  Rospigliosi  (afterwards  Clement  IX.)  had  not  some  time  later  ordered 
another.  The  inscription  placed  on  the  tomb  of  Poussin,  In  tainUis  vivii  et  doquiiur,  might  also  be  written 
over  this  portrait,  for  we  can  clearly  trace  in  it  the  artist's  soul,  the  nature  of  his  genius,  and  the  character 
of  his  works.  We  find  in  the  modest  dignity  of  his  noble  countenance  a  powerful  intellect,  a  strong 
will,  and  that  great  power  of  application  which  justifies  the  saying  of  Buffon,  "  Genius  consista  of  a 
great  power  of  attention." 

At  the  Louvre  there  are  some  immense  pictures  by  Poussin,  with  full-length  figures :  the  LcUt 
Supper,  Francis  Xavier  in  India,  and  the  Virgin  appearing  to  St.  John.  His  only  painting  of  this  size 
out  of  France  is  the  Martyrdom  of  St.  Erasmus,  the  pendent  in  St.  Peter's  at  Rome  to  the  Martyrdom 
of  Sa7i  Processo,  by  his  friend  Valentin.  But  these  large  pictures  are  by  no  means  the  greatest  works 
of  Poussin.  Loving  to  restrict  a  vast  subject  to  a  small  space,  Poussin  seems  to  wax  greater  as  his 
difiiculties   increase,  and   his   best   works   are   certainly  simply  easel-pictures. 

Having  now  come  to  the  real  domain  of  Poussin,  we  may  classify  his  works  by  their  subjects, 
or,  as  he  himself  said,  by  modes.  He  designated  by  this  name,  in  the  manner  of  the  Greeks,  the  style, 
colour,  measure — in  fact,  the  general  arrangement  of  a  picture  according  to  its  subject.  The  religious 
compositions  are  taken  from  the  Old  and  New  Testaments.  Among  those  from  the  former,  we  must 
notice  the  charming  group  of  Rebecca  at  the  Well,  when  Eliezer,  Abraham's  messenger,  recognizes  her 
among  her  companions,  and  offers  her  the  ring ;  Moses  exposed  on  the  Nile  by  his  mother  and  sister ; 
Moses  saved  from  the  Water  by  Thermutis,  the  daughter  of  Pharaoh ;  the  Manna  in  the  Desert,  a  scene 
admirable  in  the  grandeur  of  the  whole,  and  the  interest  of  the  details ;  and  lastly,  the  Jwigm/ml  of 
Solomon. 

We  must  also  class  amongst  the  Old  Testament  subjects  the  four  celebrated  pendents  named 
Spring,  Summer,  Autumn,  and  Winier,  but  which  are  far  better  known  by  the  names  of  the  subjects 
chosen  to  represent  the  seasons  allegorically.  Spring  is  typified  by  Adam  and  Eve  in  Paradise,  before 
their  fall ;  summer,  by  Ruth  gleaning  in  the  field  of  Boat :  autumn,  by  the  Return  of  the  Spies  from  the 
Promised  Land,  bringing  back  the  wonderful  bunch  of  grapes,  which  two  men  can  scarcely  carry ;  winter, 
by  the  Deluge.  There  is  no  need  of  any  word  of  explanation  or  praise  for  this  picture ;  it  was  Poussin's 
last   work ;    he  was  seventy -one  years  of  age  when  he  painted  it,  and  he  died  soon  afterwards. 

Amongst  the  subjects  taken  from  the  Gospels  and  from  the  Acts  of  the  Apostles,  we  must  call 
attention  to  the  Adoration  of  the  Magi,  the  Repose  in  Egypt,  the  Blind  Men  of  Jericho,  the  Woman 
taken  in  Adultery,  the  Deaih  of  Sapphira,  the  St.  Paul  caught  up  into  the  Seventh  Heaven.  But  Poussin 
tlid  not  confine  himself  to  biblical  subjects,  which  he  treated  with  philosophical  freedom  and  in  a  purely 
human   character;    he   also,  like    all    the   great  masters,  treated  subjects  from  profane  history,  as  the    U't// 


AMBROISE   DUBOIS.  9 

of  Eadamidas,  in  England,  and  the  Bape  of  the  Sabines,  at  Paris ;  he  entered  the  regions  of  pure  mythology, 
as  may  be  seen  by  the  Death  of  Burydice,  and  the  Triumph  of  Flora,  at  Paris.  He  also  treated 
sometimes  of  allegory,  for  instance  the  Triumph  of  Truth,  which  he  left,  as  a  proud  homage  to  his  own 
genius,  when  he  quitted  France,  a  victim  to  envy,  without  hope  of  return.  Lastly,  he  penetrated,  as  we 
have  already  seen,  into  the  licence  of  bacchanalian  scenes.  But  whatever  he  undertook,  or  from  whatever 
source  his  subjects  were  taken,  Poussin  was  always  an  historical  painter. 

He  was  so  even  in  his  landscapes,  as  if  he  had  no  idea  that  nature  could  be  represented  alone 
and  without  man.  When,  by  the  power  of  his  genius,  he  has  revived  one  of  the  primitive  landscapes 
trodden    by  the   gods   and   heroes,  he   brings   into   it   the   giant  Polyphemus, 

"Sar  son   roc  assis, 
Giantuit  aaz   Tents  sea  amoureux   soucis;" 

and  when  he  is  painting  a  landscape  in  the  vicinity  of  Athens  ho  introduces  the  figure  of  the  cynic 
philosopher  Diogenes  throwing  away  his  bowl  as  superfluous  on  seeing  a  boy  drink  out  of  lils  hand. 
When  he  wishes  to  show,  in  the  smiling  and  pastoral  Arcadia,  the  image  of  earthly  happiness,  a  tomb 
amongst  the  flowers  reminds  us  that  life  must  have  a  termination.  Certainly,  in  this  career  of  historical 
landscape  painting.  Poussin  was  preceded  by  Annibale  Carracci  and  Doraenichino,  but  he  carried  it  much 
further  than  they  did. 

There  is  not,  perhaps,  in  any  school  of  painting,  a  master  the  mere  sight  of  whose  works  is  more 
capable  of  explaining  the  three  words  so  difficult  to  define,  though  so  often  repeated — style,  composition, 
an^  expression.  For  style  we  may  examine  the  Bavi8sem,ent  de  St.  Paul,  when,  in  his  ecstacy,  "  he 
heard  wonls  unlawful  for  a  man  to  utter."  This  magnificent  group,  crowning  a  delicious  landscape, 
reminds  us,  by  the  grandeur  of  the  figures,  of  one  of  the  masterpieces  of  Raphael,  the  Vision  of  Bzekiel. 
The  almost  inexplicable  science  of  composition  may  be  studied  in  the  Rebecca,  and  Moses  saved  from  the 
WaUr$:  it  is  carried  to  the  greatest  height  in  the  Shepherds  of  Arcadia,  a  charming  pastoral,  full  of 
deep  poetry  and  touching  morality.  To  surprise  the  secrets  of  movement  and  expression,  we  have  only 
to  look  at  tlie  Judgment  of  Snlommi,  the  Woman  taken  in  Adultery,  the  Blind  Men  of  Jericho.  For  the 
anion  of  these  different  and  superior  qualities  of  painting  we  must  come  to  the  Deluge,  where  art  may 
be  seen  to  perfection. 

Poussin  died  at  Rome  in   1665,  and  was  buried  in  the  church  of  San  Lorenzo. 

DrOHET,  (CASPAR),  calWl  Oaspar  Ponssln,  was  born  of  French  parents  in  Rome  in  1613.  The 
great  Nicholas  Poussin  married  Gaxpar's  sister,  and  Dughet  became,  under  the  instruct-on  of  his  brother- 
in-law,  an  excellent  landscape  painter.  His  subjects  are  usually  taken  from  the  picturesque  country  in 
the  neighbourhoofl  of  Rome.  He  died  in  that  city  in  1675.  There  are  six  of  his  best  works  in  the 
National  (Jallery,  London. 

DUBOIS,  CAIBROISE),  bom  at  Anvers  in  1543.  died  at  Fontainebleau  January  29,  1614,  according 
to  the  Registers  of  the  parish  of  Avon,  and  the  27th  day  of  December,  1615,  according  to  tlie  inscription 
on  his  tombstone. 

The  name  of  his  preceptor  is  unknown,  but  when  he  came  to  Paris  in  1568  at  the  age  of  twenty- 
five,  he  was  then  known  to  be  an  expert,  his  productions  having  obtained  for  him  great  popularity.  He 
wa«i  employofl  at  Font^iinebleau,  as  well  as  the  Louvre,  and  obtained  from  Henry  IV.  the  positions  of  painter- 


10  A    COMPLETE   H 18 TORY   OF  FRENCH  ART. 

.ordinary  and  king's  vakt-de-c/tambre.  Naturalized  in  1601,  and  apjx)inted  painter  to  the  Queen  Marie  de 
Medicis  in  1606,  he  afterwards  worked  at  the  Luxembourg  under  the  regency  ot"  that  princess.  Amhroise 
Dubois  was  interred  in  the  Church  of  Avon,  a  viUage  situated  at  tlie  end  of  the  park  of  the  Castle  of 
Fontainebleau,  and  his  tombstone  is  still  to  be  seen.  He  instituted  a  school  of  painters  who  resided  at 
Fontainebleau.  Among  his  most  esteemed  pupils  were,  besides  his  two  sons,  Jean  and  Louis  Dubois; 
Paul  Dubois,  his  nephew ;  Ninet,  (Flemish),  and  Mogras  of  Fontainebleau.  Of  the  numerous  works  which 
Ambroise  executed  at  Fontainebleau,  nothing  remains  but  a  few  paintings  in  the  high  chapel  of  8t.  8a- 
turniii,  the  sequel  of  the  paintings  of  the  History  of  Th6ig6ne  and  of  Charicl4e,  and  a  few  of  the  History 
of  Tancr^de  and  Clorinde,  which  had  been  executed  for  the  apartments  of  the  Queen,  Marie  de  Medicia. 
The  Gallery  of  Diana,  entirely  decorated  by  this  artist,  was  destroyed  during  the  Empire ;  but  a  few 
fragments  of  his  paintings,  placed  on  canvas  and  repainted  under  Louis  PhilipjK;,  have  been  restored  at 
the  Castle  in  1840.  About  the  middle  of  the  XVHI^  century,  the  grandson  of  Fr^minet  allied  himself 
to  the  grandson  of  Ambroise ;  from  this  alliance  originated  a  family  who  adopted  the  name  of  Dubois  de 
Fr^minet.  Jean  Dubois,  (first  of  that  name),  painter  to  the  king  obtained  in  survivance  of  his  mother, 
widow  of  Ambroise,  the  care  of  the  paintings  executed  by  his  father,  at  the  Castle  of  Fontainebleau,  a 
position  which  brought  an  income  of  1,200  livres.  December  26,  1635.  Louis  XIII.,  accepting  the 
resignation  of  his  painter,  Claude  de  Hoey,  who  had  the  care  of  the  paintings  and  of  the  old  tableaux  of 
the  chambers,  parlors,  galleries  and  closets  of  Fontainebleau,  gave  this  new  charge  in  survivance  and  at  a 
salary  of  1,200  livres,  to  Jean  Dubois,  his  nephew,  without  prejudice  to  the  first  appointment,  which  he 
kept.  Letters  patent,  dated  October  26,  1644,  limited  Jean's  occupation  to  the  sole  charge  of  the  paintings 
of  Ambroise,  his  father,  reducing  at  the  same  time  his  salary  to  1,000  livres.  July  14,  1651,  his  former 
charge  was  restored,  and  again  placed  him  on  the  increased  pay  he  had  received  at  first,  and  to  which  was 
added,  at  an  additional  salary  of  200  livres,  the  care  of  the  Chapel  of  the  Trinity,  painted  by  Fr^minet, 
entrusted  since  October  26,  1644,  to  his  brother  Louis;  finally  the  porter's-lodge  to  the  stables  of  the 
Queen,  at  the  same  castle,  was  also  placed  in  his  charge.  He  died  at  Fontainebleau,  in  1679,  aged 
seventy-seven  years.  Louis  Dubois,  other  son  of  Ambroise,  received  by  Letters  Patent  of  October  26,  1644, 
the  maintenance  of  Fr(^rainet's  works  in  the  Chapel  of  the  Trinity  at  Fontainebleau,  for  which  services  he 
received  200  livres,  but  having  on  July  14,  1651,  conferred  upon  him  the  pension  of  2,000  livTes  which 
Fr^minet,  fils, — his  half  brother  on  the  mother's  side — enjoyed,  and  who  had  died,  he  resigned  in  favour 
of  his  brother  Jean.  Jean  Dubois,  (second  of  that  name),  son  of  Jean  (the  first),  was  also  porter  to  the 
stables  of  the  Queen,  under  Louis  XV.,  and  is  found  comprised  among  the  officers  on  the  muster-roll  of 
the  castle  of  Fontainebleau,  (commissioned  February  21st,  1674),  for  the  survivance  of  the  charge  possessed 
by  his  fatlier,  of  the  maintenance  of  all  the  paintings  at  the  castle  and  its  dependencies.  It  seems 
that  the  salary  had  been  much  reduced  in  later  years,  as  it  appears  in  the  following  extract  taken  fi-om 
the  Report  of  Accounts  at  the  Royal  Buildings  in  1673 :  "  To  Jean  Dubois,  painter,  having  the  care 
and  cleaning  of  the  paintings,  frescoes  as  well  as  those  in  oil,  both  ancient  and  modern,  in  the  parlors, 
apartments  and  closets  of  the  castle  of  Fontainebleau,  the  sum  of  600  livres  for  his  salary  for  the  year 
1673,  to  the  care  of  restoring  those  damaged  and  cleaning  the  frames  of  said  paintings,  and  to  furnish 
wood,  charcoal  and  brushwood  to  burn  in  said  parlors,  apartments,  galleries  and  closets,  wherein  are 
contained  the  said  paintings,  for  the  purpose  of  their  preservation."  He  died  at  Fontainebleau,  in  his 
forty-ninth  year.  Louis  Dubois,  brother  to  the  last-mentioned,  was  also  painter-ordinary  to  the  king  at 
Fontainebleau,  and  Porter  to  the  House  of  Fountains.  He  died  at  the  above-mentioned  castle.  April  12, 
1702,  aged  fifty-six. 


JACQUE8   8  TELL  A.  11 

BLANCHARD,  (JACQUES,)  born  at  Paris  in  September,  IBOO.  Died  in  the  same  city  in  1638. 
Wa3  pupil  of  Nicolas  BoUery,  his  uncle,  painter  to  the  king.  At  the  age  of  twenty  he  went  to 
Italy,  but  stopped  at  Lyons  four  years,  working  under  the  tutorship  of  Horace  le  Blanc ;  went  to  Rome 
in  October,  1624,  remaining  there  eighteen  months,  from  whence  he  journeyed  to  Venice,  where  he  made 
a  special  study  of  Titian's  works,  after  a  two  years'  stay,  spent  some  time  in  Turin  and  Lyons  before 
establishing  himself  in  Paris.  Here  he  piinted  for  his  reception  at  the  Academy  of  Saint  Luc,  a  Saint 
John  in  the  Island  of  Patnws,  which  established  his  reputation.  Blanchard  had  the  faculty  of  working 
with  great  facility,  and  his  .fiTo/y  Families  were  much  sought  after.  Most  of  hie  works  have  been  destroyed, 
still,  quite  a  number  have  been  engraved  and  are  to  be  found.  Grabriel  Blanchard,  son  of  Jacques, 
boni  in  Paris  in  1650,  died  April  30,  1704,  pupil  of  his  uncle,  Jean  Baptiste  Blanchard,  was  known  as 
Blanchard  the  nephew.  Jean  Baptiste  Blanchard,  known  as  the  uncle,  an  elder  brother  of  Jacques,  historical 
painter,  bom  in  Paris  in  1595,  went  to  Italy  with  his  brother,  was  received  Academician  June  30,  1663, 
and   died   April   5,  1665,  without  leaving  anything  worthy  of  note. 

PEBRIER,  (FRANCOIS,)  sumamed  le  Bourguignon,  (the  Burgundian),  painter  and  engraver,  born  at 
8aint-Jean-de-Lorne,  (in   Burgundy),  in    1590,  died  at   Paris,  in  July  1656. 

To  ascertain  the  place  of  his  birth,  as  well  as  the  date  of  his  death,  we  will  follow  the  intelli- 
gence furnished  by  the  Register  of  the  Academy,  observing  in  the  meantime,  however,  that  Guillet  de 
fiaiot-Qeorges,  who  has  written  of  that  artist  an  historical  memoir,  claims  that  he  was  born  at  Mdcon. 
F6libi6n  and  Gu^rin,  perpetual  secretaries  of  the  Academy,  both  give  him  Salins  (in  Franche-Comt6),  as 
birth-place,  and  the  last  above-mentioned  adds  that  he  died  in  May,  1650.  Perrier  was  the  son  of  a 
jeweler,  but  an  irresistible  inclination  for  painting  prevented  him  from  embracing  his  father's  calling. 
While  very  young  he  left  his  parents  and  went  to  Lyons,  where  he  executed  a  few  paintings  for  the 
Chartreux.  Desirous  of  studying  the  works  of  Italian  artists,  he  submitted  to  dire  necessity  in  order 
to  obtain  the  necessary  wherewithal  to  accomplish  his  project,  and  for  this  purpose  consented  to  lead  a 
blind  man,  who  was  going  to  Rome.  In  the  city  he  entered  a  painter's  establishment — a  dealer  in 
paintings — who  had  him  copy  those  of  the  best  masters.  Lanfranc,  with  whom  he  became  acquainted, 
employed  hira,  and  he  was  greatly  benefited  by  the  advice  he  received.  After  remaining  for  a  length 
of  time  at  Rome,  he  returned  to  France  in  1630,  stopped  at  Lyons,  and  made  a  great  number  of 
paintings  at  the  Chartreux;  then  traveled  by  way  of  Mdcon,  where  his  two  brothers  were  living,  one 
a  painter,  the  other  a  sculptor.  The  works  which  he  executed  in  those  cities  began  to  establish  his 
reputation.  Finally  he  came  to  Paris,  and  painted  after  the  designs  of  Vouet,  but  seeing  that  tliis  artist 
obtained  nearly  all  the  large  works,  he  returned  to  Italy.  It  was  during  this  stay  he  engraved  that 
collection  of  antique  statues,  better  known  than  his  paintings.  After  remaining  ten  years  in  Rome,  he 
returned  to  Paris,  where  he  established  himself  permanently,  and  accomplished  some  masterpieces.  He 
was  one  of  the  ancient  twelve,  who  founded  the  Academy  of  Painting  and  Sculpture,  opened  February 
1,  1648.      Among  his  pupils,  Le  Brun  and  his   nephew  are   the   most  noted. 

STELLA,  (JACQUES,)  born   at   Lyons   in    1596,  died   at   the    Louvre,  April  29,   1657. 

The  Stella  family  originated  in  Flanders.  Jacques  was  only  nine  years  old  when  his  father, 
Fran9ois  Stella,  returning  from  Italy,  died  very  young  at  Lyons,  where  he  had  established  himself.  Jacques 
Stella  manifested  early  a  strong  and  great  disposition  for  the  arts.  At  twenty  he  went  to  Florence, 
and  the  Grand  Duke,  CJ6me  de  Medicis,  after  having  employed  him  decorating  at  the  feasts  celebrated 
in   honour   of  the  marriage  of  his  son,  Ferdinand,  made  him  an  aHache  of  his  court,  gave  him  a  lodging 


12  A    COMPLETE   HI8T0RY   OF  FRENCH  ART. 

and  granted  him  a  pension,  similar  to  that  which  he  was  giving  to  the  celebrated  engraver,  Jacques 
Callot.  Stella,  after  a  seven  years'  stay  at  Florence,  went  to  Rome  in  1623,  accompanied  by  his  brother, 
Fran9oi8  Stella,  a  painter,  inferior  to  himself.  He  remained  twelve  years  at  Rome,  studied  the  antiques,  made 
numerous  large  and  small  paintings,  and  was  intimate  with  Poussin,  whose  style  he  tried  to  imitate.  His  pupils 
were  George  Charraeton  and  Antoine  Bouzonnet,  alias  Stella,  his  nephew,  who  followed  entirely  in  his  style. 

HIRE  or  HYRE,  (LAURENT  DE  LA),  painter  and  engraver.     Born   at   Paris,  February  27,    1606, 

died  December  28,  1656. 

Hire's  father,  Etienne  de  la  Hire,  who  had  followed  the  profession  of  jjainter,  and  executed  some 
fair  specimens  in  Poland,  taught  him  the  first  lessons  in  drawing,  made  him  learn  the  rules  of  perspective, 
architecture,  and  sent  him  to  Fontainebleau  to  study  the  works  of  the  great  masters  collected  there.  He 
copied  after  Lc  Primatice,  whom  he  greatly  admired,  and  executed  several  designs  in  the  style  of  that 
master.  He  spent  some  time  at  the  school  of  Lallemand,  a  painter  then  in  high  repute,  after  which 
he  painted  a  great  number  of  masterpieces,  was  employed  by  Cardinal  Richelieu  and  other  notables,  by 
whom  his  works  were  in  demand.  He  was,  in  1648,  one  of  the  twelve  who  founded  the  Royal  Academy 
of  Painting  and  Sculpture,  and  who  took  the  title  of  "  Ancienla,"  and  exercised  the  functions  of  professors. 
During  the  last  days  of  his  life  he  became  possessed  of  a  great  fancy  for  painting  landscapes  embellished 
with  architectural  designs,  and  small  easel  paintings,  of  a  careful  execution.  De  la  Hire  had  for  pupils 
Cliauveau,  an  engraver  of  merit,  and  his  eldest  son,  named  Philippe,  born  March  18,  1640,  died  April  21, 
1718,  who  studied  painting  but  a  short  time,  and  applied  himself  exclusively  to  astronomy.  He  became 
Royal  Professor,  and  held  also  a  similar  position  at  the  Academy  of  Sciences.  Hire's  works  have  been 
engraved  by  Chauveau,  Rousselet,  Boulanger,  Daret,  Lasne,  de  la  Court  and  Faitorne.  He  had  a  younger 
brother,  named    Louis,  who   was   a   talented   painter,  so   says   Mariette. 

FRESNOY,  (CHARLKS  ALPHOXSE  DU),  painter   and   writer,    born   at  Paris   in    1611,   died   in   the 

village   of  Villiers-le-Bel,  near  Paris,  in  1665. 

His  futlier,  who  was  an  apothecary,  desired  he  should  study  medicine,  but  young  Du  Fresnoy  soon 
abandoned  a  vocation  for  which  he  had  no  taste,  and  gave  his  whole  attention  to  the  study  of  the 
ancient  languages,  mathematics  and  painting.  During  two  years  Perrier  and  Vouet  were  his  guides.  He 
went  to  Italy  in  1633*,  and,  deprived  of  all  means  of  support,  painted  at  Rome,  various  ruins  and 
architectural  pictures,  to  enable  him  to  live.  After  sojourning  two  years  in  that  city,  his  "  studio-mate," 
Mignard,  from  Vouct's,  met  him ;  the  two  friends  delighted  finding  each  other,  lodged  together  and  lived 
in  common.  Du  Fresnoy,  a  less  practical  painter  than  Mignard,  but  more  erudite,  devoted  himself  to 
poetry,  and  commenced  his  Latin  poem  on  painting,  entitled,  "  De  Arte  Graphica,"  which  he  completed 
some  years  after.  This  didactic  poem,  which  has  done  more  to  establish  Du  Fresnoy 's  reputation,  than 
his  paintings,  has  been  translated  in  French,  by  De  Piles,  his  friend,  and  also  into  several  other  languages. 
He  went  to  Venice  and  remained  there  eighteen  months,  then  sent  for  Mignard  ;  the  two  friends  worked 
together  for  seven  or  eight  months.  Mignard  returned  to  Rome  and  Du  Fresnoy  to  Paris;  executing 
a  number  of  paintings  while  living  with  his  friend  Mr.  Potel  in  that  city,  he,  after  Mignard's  return, 
took  lodgings  with  him,  nor  did  they  separate  until  a  short  time  previous  to  his  death,  when  he  removed 
to  his  brother's  house.  Absorbed  in  the  composition  of  his  poem,  Du  Fresnoy  has  only  produced  some 
fifty  paintings  in  all,  including  the  copies  made  after  Titian  and  the  other  masters.  He  had  no  pupil, 
and  only  one  engraving  is  known  to  have  been  made  from  his  designs,  by  Francois  Poilly,  and  that  is 
Leander  Swimming  axiross  the  Hellespont. 


NOEL    COY  PEL.  13 

COURTOIS,  (JACiJUES),  surnamed  "  The  Burgundian"  painter  and  engraver,  born  at  St.  Hippolyte 
(Franche-Comt6),  in    1621,  died   at    Rome,  November  14,   1676. 

His  father,  Jean  Courtois,  who  was  a  painter,  gave  him  the  preliminary  instruction  of  the  art. 
At  fifteen  he  went  to  Italy,  and  at  Milan  became  the  friend  of  the  Baron  Vatteville  (a  Burgundian 
like  himself),  who  was  mestre-de-camp  to  the  king,  followed  the  army  for  three  years,  sketching  the 
battles,  marches  and  sieges  in  which  he  took  part.  From  thence  he  journeyed  to  Bologna,  and  entered 
the  studio  of  Jerome,  a  painter,  native  of  Lorraine,  became  acquainted  with  Guido,  who  was  so  much 
pleased  with  his  works,  that  he  took  him  in  charge  and  gave  him  valuable  advice.  L'Albane,  also 
became  his  friend,  and  shortly  after  he  traveled  to  Florence,  and  Sienna,  and  then  to  Rome.  He  was 
received  in  the  Convent  of  t^  Oroix-en-Jerusalem,  and  in  one  year  painted  several  historical  pieces,  which 
won  him  the  praises  and  friendship  of  Pi6tre  de  Cortone,  and  Pierre  de  Laar.  He  had  not,  to  this  time, 
confined  himself  to  any  particular  style,  when  the  sight  of  the  Battle  of  Oonstantine,  at  the  Vatican, 
revealed  to  him  his  real  vocation.  After  seven  years  of  married  life,  he  lost  his  wife,  daughter  of  the 
Florentine  painter,  Orazio  Vajani,  and  was  suspected  of  poisoning  her.  About  1655  he  retired  with  the 
Jesuits,  and  became  one  of  them,  painting  several  pieces  of  sacred  subjects  for  their  convent.  He  has 
often  signed  his  name  in  Italian,  Giacomo  Oortese.  He  was  known  to  Italian  authors  as  "  il  padre  Jacopo 
Cortesi."  Guillaume  Courtois,  painter  and  engraver,  was  a  brother  of  Jacques,  born  in  1628,  died  at 
Rome,  in  1679.  Besides  Guillaume,  Jacques  had  another  brother,  a  monk  and  a  good  painter,  whose 
first  name  is  unknown ;  nothing  is  known,  biographically,  of  him ;  his  paintings  were  for  the  cloisters 
belonging  to  his  order. 

OOYPEL,  (NOEL,)  painter  and  engraver,  born  at  Paris,  December  25,  1628,  died  in  the  same  city, 
December  24,  1707. 

Coypel's  first  studies  were  made  with  Poncet,  a  painter  at  Orleans,  who  was  a  pupil  of  Vouet. 
Coypel,  when  fourteen,  left  him  to  enter  the  studio  of  Quillerier  (or  Guilleri^).  He  made  rapid  progress, 
and  although  but  eighteen,  was  employed  at  the  decorations  which  were  being  prepared  for  the  Opera  of 
Orpheus.  Charles  Errard,  who  had  charge  of  the  decorations  which  were  being  executed  at  the  Louvre, 
employed  him,  and  from  that  time  he  invariably  received  a  share  of  the  king's  orders.  It  was  in  this 
manner,  he,  in  1655  painted  several  pieces  for  the  king's  apartments,  the  Louvre,  and  Cardinal  Mazarin, 
the  ceiling  of  the  queen's  apartments,  at  the  marriage  of  Louis  XIV.,  and  a  number  of  other  important 
works.  Being  extremely  busy,  he  deferred  his  reception  at  the  Academy,  from  the  6tli  of  September, 
1662,  (when  he  had  presented  himself  for  admission),  to  March  3,  1663,  and  gave  his  presentation-piece.  The 
Murder  of  Abel,  a  long  time  afterwards.  He  was  appointed  adjunct-professor  in  1664,  and  professor 
March  Ist  of  the  same  year;  worked  at  the  Palais-Royal,  and  obtained,  in  1672,  lodging  at  the  Louvre, 
and  was  appointed,  under  Colbert's  superintendence,  director  of  the  Academy  of  Rome.  He  was  admitted 
April  13,  1673,  to  the  Academy  of  St.  Luc.  He  was  subsequently  elected  adjunct-rector,  July  2,  1689, 
and  Rector,  July  1,  1690;  director  of  the  Academy,  August  13,  1695,  in  the  stead  of  Pierre  Mignard, 
deceased,  and  again  Rector  in  1702.  At  seventy-seven  he  undertook  the  fresco  work  at  the  Church 
of  the  Invalides.  This  difficult  and  painful  work  was  the  cause  of  the  long  illness,  of  which  he  died 
on  the   eve   of  Christmas,  which   day  would   have   been   the   anniversary  of  his   birth. 

The   Louvre  contains  of  his  works  the  following : — 

Solon  upholding  the  Justice  of  his  Lawa  against  the  Objections  of  the  Athenians. 

Ptolemy  Philadelphus  Liberates  the  Jews,  as  a  token  of  gratitude  for  the  translation  of  the  Holy 
Books  by  the  fifventy. 


14      .  A    COMPLETE   HISTORY   OF  FRENCH  ART. 

Trajan  holding  Public  Receptions. 

Foresight  of  Alexander  Severus,  in  causing  a  distribution  of  wheal  to  the  Roman  poptdation,  during 
a  famine.  > 

FOSSE,  (CHARLES  DE  LA),  born   at,  Paris  in    1636,  died   in   the   same  city,  December  13.  1716. 

His  father,  who  was  a  jeweler,  employed  Chauveau,  draughtsman  and  engraver,  to  instruct  him 
in  the  first  elements  of  design.  Young  De  la  Fosse  then  entered  at  Le  Brun's  studio,  where  he  remained 
until  twenty-two  years  of  ago,  went  to  Italy,  studied  Raphael,  and  the  antiques,  and  copied  the  Sacrijice  of 
Ma^H  at  the  Vatican,  which  he  sent  to  the  celebrated  amateur  Jabach,  and  made  several  drawings  which 
his  father  showed  to  Colbert,  superintendent  of  buildings,  who  was  so  well  pleased  with  them  that  he 
obtained  for  him  the  king's  pension  to  continue  his  studies  in  Italy ;  on  his  return  to  France,  after 
spending  some  three  years  in  Venice,  he  painted  a  number  of  remarkable  works :  pictures,  frescoes,  ceilings, 
etc.,  etc.,  in  churches,  the  castles  at  Versailles,  Meudon,  and  elsewhere.  He  was  received  at  the  Academy, 
June  23,  1673 ;  was  appointed  adjunct-professor,  tSeptember  2,  on  his  picture,  The  Abdtiction  of  Proserpine 
by  Pluto,  wlilcli  was  a  masterpiece,  and  became  professor,  October  6,  1674;  counsellor-ancient  profeaaor, 
January  26,  1692;  director,  April  7,  1699;  adjunct- rector,  July  2,  1701;  rector,  July  24,  1702;  chancellor. 
September  28,  1715 ;  He  painted  Lord  Montague's  palace  in  London,  assisted  by  Rousseaa  and  Baptistc- 
Monnoyer,  in  the  flowers  and  the  architecture  of  this  great  undertaking.  Delighted  by  the  work,  George 
III.,  who  had  twice  visited  him  while  working,  proposed  to  have  Hampton  Court  decorated  in  like 
manner,  but  he  was  unable  to  avail  himself  of  the  generous  offer  of  this  sovereign.  His  works 
have  been  reproduced  by  Thomassin,  Chatillon,  Ch.  Simonneau.  Audran,  P.  Picart  and  Ch.-N.  Cochin, 
who  has  engraved  the  paintings  of  the  dome  of  the  Invalides.  He  exhibited  at  the  salons  of  1699 
and   1704. 

CORNEILLE,  (MICHEL),  called   the   Elder.      Painter  and  engraver,  bo'rn   at  Paris  in  1642.  died  at 

Gobelins,  August   16,  1708. 

He  was  the  son  of  Michel  Corneille,  one  cff  the  ancient  twelve  of  the  Academy  of  Painting.  At 
an  early  age  his  father  taught  him  to  copy  intelligently  the  works  of  the  great  masters;  He  won  a  prize 
for  painting,  was  appointed  pensioner  at  the  school  of  Rome ;  but  he  soon  left  the  Academy,  to  have 
no  restraint  to  the  study  of  antiquities  and  of  paintings,  which  pleased  him  best.  The  Carrachii  were  his 
favorite  masters.  Upon  his  return  from  Italy  he  was  admitted  to  the  Academy,  September  19,  1663. 
His  presentation  picture  was  The  Apparition  of  the  Lord  Jesus  Christ  to  St.  Peter,  after  His  Resurrection. 
on  the  border  of  the  Sea  of  Tiberia.fi,  now  in  the  Museum  of  Rennes.  He  did  quite  a  number  of  pieces, 
among  whioli  were,  a  painting  offered  by  the  jeweler's  association  to  the  Church  of  Notre  Dame,  copied 
in  tint  for  Mignard,  whose  daughter  he  had  expected  to  marry.  Finally  he  painted  for  the  king  at 
Versailles,  Trianon,  Mendou  and  Fontainebleau,  and  was  employed  for  a  long  time,  with  his  brother  Jean 
Baptiste  and  other  young  rhen,  by  Jabach,  the  famous  amateur,  in  reproducing  a  part  of  the  drawings 
contained  in  his  magnificent  collection,  copies,  which,  according  to  Mariette,  he  would  sell  as  originals. 
He  had  but  one  pupil,  Desormeaux.  who  did  him  but  little  honour.  Miohei.  CorneAlle.  (father  of  the 
preceding),  painter  and  engraver,  born  at  Orleans  in  1603,  died  in  Paris,  July  16,  1664.  Brought  to 
Paris  by  Simon  Vouet's  re})utation,  who  was  first  painter  to  the  king,  he  placed  himself  under  his  instruc- 
tion and  became  one  of  his  best  disciples,  and  mkrried  one  of  his  nieces.  He  was  one  of  the  twelve 
artists  who  in  1648  founded  the  Royal  Academy  of  Painting  and  Sculpture,  and  called  themselves,  the 
ancients. 


ETIEKNE   ALLEGE  A  IN.  -       15 

I'OLOXBEL,  (.NICOLAS),  born    at    8otteville,    near    Rouen,   in    1646,   died   in   Paris,   May  27,    1717. 

It  has  been  wrongfully  stated  by  biographers  that  he  was  the  pupil  of  Eustache  le  Sueur,  from 
the  fact  that  he  was  only  nine  years  old  when  that  celebrated  artist  died,  in  1655.  Colombel  journeyed 
to  Italy,  remaining  in  Rome  for"  a  long  time,  studying  with  assiduity  Raphael  and  Poussin's  works,  of 
which  he  only  and  ever  remained  a  cold  imitator.  Having  achieved  success  with  some  of  his  paintings 
in  Rome,  he  was  received  at  tlie  Academy  of  St.  Luc  in  1686.  In  1692  lie  sent  four  paintings  to 
Paris,  to  become  known,  and  arrived  himself  in  that  city  in  1694.  Pierre  Mignard.  then  first  painter 
to  the  king  and  director  of  the  Royal  Academy  of  Painting  and  Sculpture,  caused  him  to  be  received 
Academician,  March  6,  1694.  He  gave  for  his  reception  picture.  The  Lores  of  Mars  and  Rhea, 
He  was  nominated  adjunct-professor,  August  27.  1701,  and  professor,  June  ;W.  1705.  The  king 
employed  him  at  various  works  at  the  Menageries  of  A'ersailles  and  Meudon.  He  has  also  made  several 
paintings  for  churches,  and  portraits.  Colombel,  wished  to  imitivte  Poussin,  whom  he  had  taken  as 
model;  he  died  without  having  even  wished  to  make  a  pupil,  nor  have  any  one  to  help  him.  Claude  Dufloc 
and  Michel  Dossier  have  engraved  several  of  iiis  compositions.  He  e.\hibiteil  in  the  salons  of  1699 
and  1704. 

HALL^  (CLArDE-GUT),  bom   at   Paris   in    1651,  died   in    the   same  city  November  5,   1736. 

His  preceptor  was  his  (JAther,  Daniel  Hall«^.  He  won  the  first  prize  at  the  Academy  in  1675, 
(the  subject  of  the  composition,  was  the  Transgression  of  Adam).  He  was  received  Academician  December 
28,  1682,  on  a  painting  of  the  He-establishment  of  the  Catholic  Religion  in  the  Oity  of  Strasburg.  He 
obtained  saccessively  the  grades  of  adjunct-professor,  September  26.  1693;  professor,  July  24,  1702;  adjunct- 
rector.  May  6,  1730;  rector.  May  30,  1733.  Made  a  number  of  wall  paintings,  but  few  easel  ones. 
Hall^  was  interred  at  Saint  Sulpice.  His  works  have  been  engraved  by  E/lelinck,  Thomassin,  Charles 
Bimonneaa,  and  exhibited  in  the  salons  from  1699  to  1704.  Daniel  Hall(5,  the  father,  died  at  Paris. 
in  1674,  at  an  advanced  age.  The  date  of  his  birth  is  not  recorded,  but  it  is  known  that  he  served 
an  apprenticeship  of  five  years  at  Rouen  in  1631,  under  Robin  Bunel.  Daniel  Hall6  has  produced  a 
number  of  notable  paintings.  Noel  Halle,  son  of  Claude  Guy  Hall^,  born  at  Paris  September  2,  1711, 
died  June  5,  1781.  His  father  was  desirous  of  his  studying  architecture,  but  the  great  taste  and  ability 
displayed  by  him  for  painting,  soon  won  the  case  in  his  favour.  He  obtained  the  second  prize  at  the 
Academy  in  1734,  on  a  painting  of  Delilah  ctiiting  Samson's  hair,  then,  in  1736,  the  first  bronze — the 
subject  of  the  competition  being.  Crossing  the  Red  8ea.  After  his  four  years  of  pension,  spent  in  Rome, 
he  was  ordered  to  copy  for  the  king  several  of  Raphael's  frescoes  in  the  Vatican,  which  were  intended 
for  the  manufactory  of  the  Gobelins.  On  his  return  to  France  he  was  received  at  the  Academy  in  1747, 
admitted  May  31,  1748,  elected  adjunct-professor  July  6th  of  the  same  year;  profes.sor.  July  5,  1755, 
adjunct-rector,  September  27,   1777,   treasurer  the  same  year,  and  rector,   March  3,   1781. 

ALLEORAIN,  CETIBHHE),  painter  and  engraver,  born  at  Paris  in  1653.  died  in  the  same  city 
April  1st,   1736. 

He  was  adniitted  to  the  Academy,  October  30,  1677,  and  gave  as  his  reception  piece,  a  landscape, 
The  Flight  into  Egypt.  His  style  is  somewhat  analogous  to  that  of  Francisque  Millet.  Gabriel  Allegrain. 
his  son  and  pupil,  was  bom  at  Paris  in  1670,  died  February  24,  1748,  admitted  to  the  Academy,  September 
26,  1716,  on  a  landscape,  also,  of  The  Flight  into  Egypt.  He  exhibited  in  the  salons  of  1737,  1738, 
1739,  1740.  1745  and  1747.  He  was  the  father  of  Gabriel-Christophe  Allegrain,  sculptor  to  the  king, 
who  died  in   1795,   and   whom    most   authors  erroneously  state  as  being  the  son  of  Etienne. 


16  A    COMPLETE   HISTORY   OF  FRENCH  ART. 

BERTIN,  (NICHOLAS,)  born  in  Paris,   1667,  died  in  the   same  city,  April   11,    1736. 

He  was  only  four  years  of  age  when  his  father,  who  was  a  sculptor,  died.  His  brother,  also  a 
sculptor  to  King  Louis  XIV.,  and  valei-de-chamhre  of  the  Prince  Cond(5,  noticing  his  taste  for  drawing, 
instructed  him  in  the  first  elements  of  that  art,  and  after  he  had  attained  the  age  of  ten  and  a  half 
years,  placed  him  with  Vernansalle,  painter  of  the  Academy.  He  afterwards  entered  Jouvenet's  studio, 
then,  lastly,  that  of  Bologne.  He  made  such  rapid  progress  under  the  tuition  of  this  last  preceptor,  that 
at  the  age  of  thirteen,  he  took  the  first  prize  in  painting,  which  was  a  gold  medal  valued  at  1,200 
livres ;  his  picture  represented  The  Comtruction  of  Noah's  Ark.  M.  de  Louvois,  then  Superintendent  of 
Buildings,  sent  him  as  the  king's-pensioner  to  Rome,  where  he  remained  four  years,  returning  to  France 
after  having  studied  for  some  time  the  masters  of  the  Lombardy  School.  He  tarried  at  Lyons,  where 
he  painted  for  a  few  amateurs,  and  arrived  in  Paris  in  1689.  He  was  accepted  at  the  Royal  Academy 
of  Painting  and  Sculpture,  December  30,  1702,  and  received  as  Academician,  April  28,  1703,  giving  as 
his  presentation  picture,  Hercvdes  delivering  Promethev^a.  He  was  elected  adjunct-professor,  June  30,  1705, 
professor,  October  26,  1715,  and  adjunct-rector.  May  30,  1733.  After  the  death  of  Louvois,  the  Due 
d'Antin,  who  succeeded  him  as  Superintendent  of  Buildings,  caused  Bertin  to  be  appointed  Director  of 
the  Roman  Academy ;  but  he  declined  the  position.  He  worked  a  great  deal  for  the  decorations  of 
Versailles,  Trianon  and  Meudon.  He  also  painted  for  several  churches,  and  his  works  were  much  sought 
after  by  the  electors  of  Mayence  and  Bavaria.  Among  his  pupils  Toqu6  is  especially  noticeable.  His 
pieces  have  been  engraved  by  Chereau  the  younger,  N.  Tardieu,  Duchange,  Duflos,  B.  Picart,  Horthemels 
and   N.   Cochin.       He   exhibited    in   the   salon   of   1704. 

CLAUDE  GEL!^E  of  Lorraine,  usually  called  (laiide  Lorraine,  was  bom  of  very  poor  parents  at 
Cha,teau  de  Chamagne,  a  village  in  the  Vosges,  in  1600.  When  quite  a  lad  he  was  apprenticed  to  a 
baker  and  pastry  cook,  and  before  he  was  twenty  years  of  age  accompanied  some  fellow-workmen  to  Rome 
and  became  the  servant  of  Agostino  Tassi,  a  landscape  painter  of  eminence.  It  is  said  that  young 
Claude  prepared  his  master's  dinner  and  ground  his  colours ;  at  all  events,  from  Tassi  he  first  acquired 
that  love  of  art  which  rendered  his  name  so  famous.  He  received  lessons  also  from  Sandrart,  who  was 
at  Rome  at  the  same  time.  His  earliest  pictures  and  etchings  bear  dates  varying  from  1630  to  1670. 
Claude  died  at  Rome  in   1682,  an  1   was  buried  in  the  church  of  La  Trinity  de'  Monti. 

Although  he  did  not  resemble  Poussin  in  learning,  as  he  scarcely  knew  how  to  read  or  to  sign 
his  name,  Claude  at  all  events  resembled  him  in  his  pertinacity  at  work,  his  power  of  application,  and, 
in  his  own  fashion,  by  his  depth  of  thought,  as  well  as  by  his  correctness  of  observation.  He  also 
received  a  surname,  the  Raphael  of  Landscape  Painting.      And  this  surname  is  for  once,  appropriate. 

Less  fortunate  than  with  the  works  of  Poussin,  France  has  not  retained  the  best  of  Claude's  pictures. 
There  was  formerly  in  the  Louvre  one  of  his  principal  works,  universally  admired  and  celebrated.  It 
was  called  the  Ford.      This  beautiful  picture  has  perished  under  the  hands  of  restorers. 

Let  us  see  what  remains.  In  the  first  place,  there  are  two  small  pictures,  in  the  form  of  the 
lunettes  of  Annibale  Carracci,  a  calm  Landscape  and  a  Marine  piece,  glittering  with  the  TQ,ys,  of  the 
noonday  sun,  which  Claude  alone,  like  the  eagle,  dared  to  face ;  then  an  interesting  view  of  the  Oampo 
Vaccino  at  Rome  (that  is  to  say,  the  ancient  forum  where  the  affairs  of  the  world  were  formerly  transacted, 
now  used  as  a  cattle  market) ; — then  two  pendents,  also  a  Marine  piece  and  a  Landscape  of  rather  larger 
dimensions,  lighted  by  the  rays  of  the  rising  sun ;  then  two  other  still  larger  pendents — Marine  pieces — 
warm   and  golden   in   the   setting   sun.      The   figures   they   contain,    by    the   pencil  of  some   of  the   usual 


CLAUDE   GELEE.  17 

assistants  of  Claude — Guillaume  Courtois,  Jean  Miel,  Filippo  Lauri,  or  Francesco  AUegrini — are  intended  to 
show  in  one  the  Landing  of  Cleopatra  at  Tarsus,  where  she  had  been  summoned  by  Mark  Antony ;  in 
the  other,  Ulysses  restoring  Chrt/seis  to  her  Father.  These  two  marine  pieces  are  in  the  style  that 
Claude  was  especially  fond  of,  in  spite,  or  perhaps  on  account  of,  its  extreme  difficulty,  and  which  belongs 
especially  to  him,  as  no  one  since  his  time  has  dared  to  practice  it;  the  sea  in  the  distance,  shut-in  in 
the  foreground  by  two  rows  of  palaces  and  gardens,  which  form  a  port  in  perspective,  and  the  sun  beyond, 
low  on  the  horizon,  illuminating  the  surface  of  the  waves  which  are  agitated  by  the  breeze. 

These  works  are  worthy  of  Claude,  and  suffice  to  show  his  claim  to  be  considered  the  first 
landscape-painter  of  the  world,  or  perhaps,  more  correctly,  as  the  most  skilful  composer  of  landscapes, 
the  greatest  poet  of  nature,  who  adorned  it  with  the  language  which  speaks  to  the  eye.  Yet  these 
fine  works  have  not  the  importance  of  some  of  those  of  which  France  has  been  deprived.  Besides  the 
Embarkation  of  the  Queen  of  Sheba  (known  as  the  "  Bouillon  Claude,")  the  National  Gallery,  London,  pos- 
sesses the  Embarkation  of  St.  Ursida,  and  another  marine  piece,  a  Seaport  at  Sunset,  with  palaces  in  the 
'foreground,  a  wonderful  masterpiece;  and  eight  landscapes  with  figures,  representing  Hagar  in  the  Desert: 
David  in  the  Cave  of  AdvUam ;  the  Death  of  Procris ;  I/arcissus  falling  in  love  with  his  own  image — an 
exquisite  work,  a   sort   of  summary  of  all   the   familiar   marvels   of  Claude, — and   four   others. 

The  Museo  del  Rey,  among  nine  works  by  his  hand,  has  two  of  importance.  One  shows  us  an 
Aitchoret  ai  Prayer  in  one  of  those  barren  and  rocky  desert  landscapes  always  given  as  the  retreat  of 
the  first  Christian  hermits,  such  as  St.  Paul  the  Hermit,  St.  Antony  and  St.  Jerome.  In  the  other  picture 
is  seen  another  victim  of  voluntary  penance,  the  Magdalen,  kneeling  before  a  cross  supported  by  the  trunk 
of  a  tree.  This  is  also  a  desert,  but  one  more  suited  for  a  woman,  more  gracious  and  inviting.  Between 
the  rocks,  where  sheets  of  water  fall  in  natural  cascades,  and  the  clumps  of  trees,  which  overshadow  the 
valley  to  which  the  repentant  sinner  has  retired,  a  vast  horizon  is  seen,  where  in  the  extreme  distance 
there  may  be  seen  the  edifices  of  a  great  town,  the  sight  of  which  would  doubtless  make  her  sigh  with 
repentance  and  shame.  Passing  on  to  St.  Petersburg,  we  find  a  magnificent  series  of  four  pendents,  which 
the  Hermitage  obtained  from  Malmaison,  with  the  ArquSusiers  of  Teniers  and  the  Cow  of  Paul  Potter. 
They  are  called  Morning,  Noon,  Evening  and  Night.  We  will  not  attempt  any  insufficient  description  or 
superfluous  praise ;  it  is  enough  to  say  that  this  precious  series  of  paintings  equals  the  naost  famous 
masterpieces  at  Madrid,  Paris,  or  London. 

But  Claude  is  not  merely  to  be  found  in  public  museums ;  many  of  his  pictures  are  in  private 
cabinets,  especially  in  England,  where  the  great  landscape-painter  is  much  admired.  We  did  not  see  more 
than  six  pictures  by  Claude  in  Italy — where  he  passed  the  whole  of  his  long  artistic  life,  and  where  he 
died  at  the  age  of  82 — while  in  London  alone,  we  counted  more  than  fifty.  By  means  of  her  gold, 
England  has  obtained  nearly  all  his  works,  leaving  only  a  few  specimens  for  the  rest  of  the  world,  The 
cabinet  of  the  Marquis  of  Westminster  contains  as  many  as  the  museums  of  France  or  Madrid.  Two 
pendente  in  this  collection  are  the  largest  pictures  known  by  Claude.  This  size  adds  to  their  intrinsic 
value.  The  subject  of  one  is  the  Worship  of  the  Oolden  Calf,  that  of  the  other,  the  Sermon  on  the  Mount. 
Neither  scene  is  in  a  desert;  both,  on  the  contrary,  have  all  the  luxury  and  splendour  of  Italian  scenery. 
In  the  former,  the  landscape  is  flat,  of  immense  depth,  broken  by  clumps  of  trees  and  sheets  of  water. 
One  of  the  assistants  of  Claude  put  in  the  golden  calf,  adored,  not  by  Jews,  but  by  a  small  group  of 
people  clothed  in  Grecian  costume.  In  the  second,  a  rock  crowned  by  several  trees  rises  in  front  of  a 
large  plain  which  extends  as  far  as  the  eye  can  reach.  Under  these  trees  stands  Christ,  in  the  midst  of 
his  disciple?,  and  from  there  addresses  to  the  crowd  assembled  at  the  foot  of  thi.s  natural  pulpit  His  won- 


18  A    COMPLETE   HIS  TOBY   OF  FRENCH  ART. 

derful  discourse  on  human  brotherhood.  The  figures  in  these  two  pictures  are,  in  this  case,  very  beautiful, 
and  do  honour  to  the  assistant  painter,  whether  it  were  FiHppo  Lauri,  Francesco  Allegrini,  Guillaume 
Courtois,  or  any  other.  As  for  the  landscapes  themselves,  no  language  could  describe  the  brilliancy  of  the 
sky,  the  beauty  of  the  earth,  the  scientific  aerial  perspective,  the  happy  contrast  of  light  and  shadow,  the 
majesty  of  the  whole,  in  short,  everything  that  can  delight  the  eye,  "  Claude  Lorraine,"  wrote  Gbethe, 
*'  knew  the  material  world  thoroughly,  even  to  the  slightest  detail,  and  he  used  it  as  a  means  of  expressing 
the  world  in  his  own  soul." 

A  series  of  sketches  which  he  made  for  his  pictures  are  pre8er%'ed  in  a  book  which  he  called  Liher 
Veritatis ;   these   are   now  in  the  possession  of  the  Duke  of  Devonshire.     They  were  engraved  by  Earlom 
in  1777. 

VALENTIN,  (MOiiSE),  was  born  at  Colomiers  en  Brie  in  1600.  He  attended  the  school  of  Simon 
Vouet  for  some  years,  and  then  went  to  Italy,  where  he  was  a  friend  of  Poussin  and  of  Claude.  He 
died  of  a  fever  in  1632.  A  rival  of  Ribera  in  the  imitation  of  the  turbulent  Caravaggio,  Valentin 
deserted  entirely  the  traditions  of  French  art,  and  only  belongs  to  the  French  school  from  the  circum- 
stance of  his  birth.  At  the  Louvre,  in  the  Trihuie  Money — which  is  not  treated  like  that  by  Titian 
— in  the  Judgment  of  Solomon — very  unlike  that  by  Poussin — in  the  Four  Evangdiats — far  inferior  to 
the  8t.  Mark  of  Fra  Bartolommeo — Valentin  displays  the  same  incapability  as  his  model  Caravaggio  of 
making  his  works  equal  to  their  titles ;  and,  like  Caravaggio  also,  when  he  treats  simple  and  common- 
place subjects,  as  in  his  two  Family  Concerts,  which  appear  to  be  held  in  very  suspicious  places,  amongst 
courtesans  and  hravi,  he  shows  wonderful  energy  and  execution.  But  to  judge  Valentin  justly,  and  to 
appreciate  the  loss  art  sustained  in  his  early  death,  occasioned  by  the  excesses  of  a  fiery  temperament, 
we  must  be  acquainted  with  his  better  and  nobler  works,  which  show  thought  and  reflection ;  the  Mar- 
tyrdom of  St.  Lavrrence  in  the  Museum  of  Madrid,  and  the  Martyrdom  of  San  Procesao,  in  the  Vatican. 
We  then  see  what  progress  his  talent  might  have  made  with  the  example  and  advice  of  Poussin,  and 
what  certain  excellence  he  would  have  attained  at   a  riper   age. 

BOURDON,  (SEBASTIEN),  another  of  the  French  disciples  of  Italy,  was  born  at  Montpellier  in 
1616  (?).  He  received  his  first  education  from  his  father,  who  was  a  painter  on  glass,  and  when  still  a 
boy  was  taken  by  his  uncle  to  Paris,  where  he  studied  art  for  some  years.  At  eighteen  years  of  age  he 
went  to  Italy,  and  painted  both  at  Rome  and  Venice.  He  afterwards  returned  to  Paris,  and  painted 
there  his  celebrated  picture  of  the  Crucifixion  of  St.  Peter.  In  1652  he  was  prevailed  upon  to  visit 
Sweden,  and  executed  several  important  works  for  Queen  Christina.  He  again  returned  to  Paris  and 
died  there  in  1671  (?).  Without  having  taken  any  direct  lessons  from  Poussin  during  his  residence  at 
Rome,  Bourdon  succeeded,  after  several  attempts  in  an  easier  style,  in  adopting  the  style  and  manner 
of  the  master,  and  becoming,  like  Gaspar  Dughet,  the  happy  imitator  of  the  painter  of  Andelys.  Although 
with  less  depth  and  grandeur  than  Poussin,  he  possesses  his  scientific  correctness  and  sentiment. 

LESUEUR,  (EUSTACHE),  the  son  of  a  simple  artisan,  never  quitted  Paris,  where  he  was  born  in 
1617,  and  where  he  died  in  1655.  Driven  from  the  court  bji  Lebrun,  as  Poussin  had  been  by  Vouet, 
he  lived  in  voluntary  solitude ;  and  it  was  when  shut  up  in  the  convent  of  the  Carthusians,  where  he 
died  so  young,  that  he  produced  his  principal  works.  He  was  thus  able  to  obtain  the  independence 
necessary  for  an  artist,  and  could  give  free  scope  to  his  genius.  Tliough  he  lived  but  few  years,  he 
displayed   all    the   brilliant   qualities   to   which   Poussin    only  attained   at    a   riper   age — wisdom,    grandeur, 


CRARLE8  LEBRUN.  19 

power  of  expression,  depth  of  thougtt,  and  a  touching  sensibility  and  tenderness,  which  sometimes  raises 
him  to  the   subUme. 

Lesueur  has  left  all  his  works  at  Paris.  The  Louvre  has  obtained  fifty  of  these,  including  all  of 
any  importance.  There  he  may  be  seen  from  his  austere  and  studious  youth  to  his  early  death ;  from  the 
dwk  and  fantastic  History  of  St.  Bruno,  which  he  commenced  in  1647,  when  thirty  years  old,  to  the  gay 
and  laughing  History  of  Love,  which  was  his  last  work.  Although  he  modestly  gave  the  title  of  sketches 
to  the  pictures  which  compose  the  legend  of  the  founder  of  the  Carthusians,  the  History  of  /St.  Bruno 
forms,  as  a  whole,  the  chef-d'oeuvre  of  this  master.  Without  going  into  a  detailed  explanation  of  these 
twenty-two  pictures,  all  alike  in  shape  and  size,  we  shall  merely  direct  special  attention  to  the  first,  the 
Preaching  of  Raymond  Diocres ;  to  the  third,  the  Resurrection  of  the  Canon,  who  half  opens  the  cover 
of  his  coflSn,  during  the  service  for  the  dead,  to  announce  to  those  present  that  he  is  lost ;  to  the  four 
following,  representing  the  Vocation  of  St.  Bruno,  who  is  calling  to  his  friends  to  retire  from  the  world, 
and  is  directed  by  a  vision  of  three  angels;  to  the  tenth,  the  Journey  to  La  Chartreuse,  where  St. 
Bruno  is  pointing  out  the  place  to  be  occupied  by  the  Convent  in  the  midst  of  the  wildest  desert  of 
the  Alps  (painted  perhaps  by  Patel) ;  and  lastly,  the  twenty -first,  the  Death  of  St.  Bruno,  a  masterpiece 
of  pathetic   expression. 

When  Lesueur  was  intrusted  with  a  part  of  the  decorations  of  the  mansion  of  the  president 
Lambert  de  Thorigny,  the  Salon  des  Muses  and  the  Salon  de  l Amour  fell  to  his  share.  He  had  to  pass 
from  the  Christian  to  the  mythological  poem,  from  austere  asceticism  to  worldly  grace ;  and  this  complete 
change  of  mode,  as  Pousain  would  have  called  it,  was  not  too  great  for  his  genius.  In  the  six  paint- 
ings representing  the  History  of  Love;  and  in  the  five  pictures  in  which  the  nine  Muses  are  grouped, 
Lesaeor  merely  gave  a  difiFerent  direction  to  his  mind,  to  his  scientific  combinations,  passionate  expression, 
and   natural   grace.      He   varied   his   style   without   ceasing  to   be   himself. 

But  between  the  two  extreme  modes  required  by  the  subjects  of  a  series  of  pictures  for  a  Car- 
thusian convent,  and  for  the  sumptuous  mansion  of  a  millionaire,  Lesueur  painted  many  separate  compositions 
of  an  intermediate  and  varied  style,  although  they  were  all  on  religious  subjects,  in  which  he  shows 
all  the  fulness  and  pliancy  of  his  genius.  Of  these  are — the  Descent  from  the  Cross,  the  3fass  of  St. 
Martin,  the  brother  martyrs  St.  Oervasitis  and  St.  Protasius  refusing  to  worship  false  gods.  The  latter 
picture,  which  was  painted  as  a  pendent  to  the  works  of  Philippe  de  Champagne  on  the  same  legend, 
is  as  large  as  the  largest  works  of  Lebrun  or  Jouvenet.  To  this  number  also  belong  two  small  pictures, 
Chriat  d,  la  coUmne  and  Christ  hearing  the  Cross,  which  seems  to  us,  as  in  the  works  of  Poussin,  preferable 
in  style  and  perfection  to  larger  works.  The  Preaching  of  St.  Paul  at  Ephesus,  painted  in  1649,  and 
offered  to  Notre  Dame  of  Paris  by  the  guild  of  goldsmiths,  may  likewise  be  placed  here.  It  represents 
the  apostle  of  the  Gentiles  causing  the  books  of  magic,  the  books  of  curious  arts,  to  be  burnt  at  his 
feet.     This  has  been  very  rightly  placed  in  the  salle  des  chefs-d'oeuvre,  for  it  is  the  masterpiece  of  Lesueur. 

LEBRUN,  (CHARLES),  the  son  of  a  sculptor,  was  bom  at  Paris  in  1619.  As  he  showed  a  decided 
talent  for  drawing,  he  was  placed  under  Simon  Vouet,  with  whom  he  remained  for  some  years.  He 
then  went  to  Italy,  and  under  the  tuition  of  Poussin  studied  the  works  of  the  great  masters.  Shortly 
after  his  return  to  Paris,  Lebrun  received  the  patronage  of  Louis  XIV.,  who  made  him  painter  to  the 
court,  and  director  of  the  Gobelins  manufactory.  The  King  also  decorated  him  with  the  order  of  St. 
Michael.      Lebrun  died   in   Paris   in    1690. 

As   Velasquez   is   to   be  seen   in   the   Museum  of  Madrid,  so  Lebrun  is  to  bo  found  entirely  in  the 


20.  A    COMPLETE  HISTORY   OF  FRENCH  ART. 

Louvre.  Twenty-two  pictures  represent  him  there,  at  the  head  of  which  stands  the  History  of  Alexander. 
This  famous  series,  which  was  ordered  by  Louis  XIV.  in  1660,  and  which  was  completed  in  1668,  »« 
no  less  important  among  his  works  than  the  History  of  St.  Bruno  among  those  of  Lesueur.  To  make 
known  and  to  popularize  this  great  poem  in  five  cantos — the  Passage  of  the  Granicus,  the  Rattle  of 
Arbela,  the  Family  of  Darius  made  captive,  the  Defeat  of  Porus,  and  the  Triumph  of  Alexander  at 
Babylon — an  evident  allegorical  flattery  of  the  early  triumphs  of  the  great  Louis.  Lebrun  had  the  good 
fortune    to   have   it   engraved   by  Edelinck   and   Audran. 

The  other  great  paintings  of  Lebrun,  the  Day  of  Pentecost  (where  he  has  introduced  himself  in 
the  figure  of  the  disciple  standing  on  the  left);  the  Christ  with  Angels,  painted  to  immortalise  a  dream 
of  the  queen  mother;  and  the  Repentant  Ifagdalcn,  which  every  one  calls  Mademoiselle  de  la 
ValliSre ;  show  us  once  more  the  official  painter  suiting  himself  to  his  master's  tastes  like  a  skilful 
courtier.  He  is  more  natural  and  true  in  the  Stoning  of  St.  Stephen,  as  well  as  in  the  small  pictures 
on  profane  history,  Cato  and  Muiitis  Scoevola,  works  of  his  youth,  which  were  attributed  to  the  great 
Poussin.  At  last  when,  delivered  from  the  master's  eye,  he  descended  from  royal  pomp  and  reduced 
his  subjects  to  small  figures,  Lebrun  seems  to  ascend  in  art  in  proportion  as  he  becomes  humble  and 
modest.  If  any  one  look  at  three  small  pictures  representing  the  Entrance  of  Jesus  into  JeruMJUm; 
Jesus  on  his  way  to  Calvary;  and  a  Crucifixion,  especially  the  second,  which  reminds  us  in  its  subject 
of  the  Spasiino,  he  will  find  finer  and  more  varied  painting,  a  simpler  though  not  less  noble  style,  and 
a   deeper   and   more    touching   expression. 

BOULLONGNE,  (BON),  the   son   of  an   historical   painter,    Louis   BouUongne,    was   bom   at   Paris   in 

1649.  He  was  much  patronized  by  Louis  XIV.,  who  sent  him  to  Rome  to  study  the  old  masters. 
He  painted  many  of  the  decorations  of  Versailles.  He  died  at  Paris  in  1717.  His  younger  brother, 
Louis  BouIIougne,  the   younger,  was   also   a   good   painter.      He   died   in    1734. 

JOUYENET,  (JEAN),  the  son  of  a  painter,  was  born  at  Rouen  in  1644.  At  seventeen  years  of 
age  he  went  to  Paris,  where  he  quickly  rose  to  fame.  He  was  a  pupil  and  assistant  of  Lebrun,  and 
followed  his  style.  In  old  age  he  lost  the  use  of  his  right  hand  by  palsy,  and,  to  the  astonishment 
of  his  brother  artists,  painted  with  his  left  hand  the  Magnificat,  now  in  Notre  Dame.  Nearly  all  his 
pictures  were  of  sacred  subjects.  He  died  at  Paris,  in  1717.  Jouvenet's  art  is  theatrical,  carried  almost 
to  the  style  of  scene-painting.  By  what  other  name  could  we  call  the  enormous  sheets  of  canvas  on 
which  the  Miraculous  Draught  of  Fishes,  the  Christ  driving  the  Money-Changers  out  of  the  Temple,  and 
even  the  famous  Raising  of  Liazarm,  are  described?  The  dramatic  arrangement,  the  exaggerated  expres- 
sion, the  angular  drawing,  the  pale  and  almost  monochromatic  colouring,  all  make  his  works  resemble 
the  decorations  of  a  theatre,  only  intended  to  be  looked  at  from  a  distance  and  to  be  taken  in  at  a 
glance,  but  which  will  not  sustain  a  closer  examination.  It  is  only  fair  to  add,  however,  that  Jouvenet's 
less  ambitious  compositions,  such  as  the  Descent  from  the  Cross,  which  he  painted  for  the  Convent  of 
the  Capucines,  and  an  Ascension  for  the  Church  of  St.  Paul,  are  simpler  and  calmer  in  their  style, 
besides   being   better   in   every  other   respect. 

SANTERRE,  (JEAN  B.iPTISTE),  was  born  at  Magny,  near  Pontoise,  in  1651.  He  went  early  in 
life  to  Paris,  where  he  studied  under  BouUongne.  His  pictures  are  carefully  composed  and  harmoniously 
coloured.      He   died    in    Paris   in    1717. 

At  the  same  time  that,  in  order  to  flatter  the  pompous  taste  of  Louis  XIV.,  Jouvenet  was 
exaggerating    the    exaggeration    of  Lebrun,  there    was   one   artist   who   religiously  observed   the   worship   of 


NICOLAS   BE  LABGILLIEEE.  2i 

the  beautiful.  This  was  Jean  Baptiste  Santerre.  Like  Lesueur  before  him,  and  Prud'hon  after  him, 
he  escaped  from  academic  tyranny,  as  well  as  from  the  slavery  of  the  court.  He  sought  for  real 
greatness  more  than  for  fame  or  fortune,  and  found  it,  far  from  theatrical  effect,  in  delicacy  and  grace. 
Always  set  aside,  almost  unknown,  and  doing  scarcely  anything  but  studies,  which  he  destroyed  before 
his  death,  Santerre,  in  a  tolerably  long  life,  completed  but  few  works,  and  the  Louvre  has  only  succeeded 
in  obtaining  one,  the  modest  Susannah  at  the  Bath,  which  seems  to  make  the  link  in  the  chain  uniting 
Correggio   to   Prud'hon.      A  St.   Theresa  by  him   is   in  the   chapel   at   Versailles. 

PATEL,  (PETER),  who  was  born  about  the  middle  of  the  seventeenth  century,  is  a  painter  of 
whom  next  to  nothing  is  known.  His  Christian  name  is,  by  some,  said  to  be  Peter,  and  by  others, 
Paul.  Neither  the  date  of  his  birth  nor  that  of  his  death  is  undisputed.  He  is  supposed  to  have 
visited  Rome,  because  he  painted  scenes  near  that  city.  Patel's  Landscapes  are  executed  in  a  good 
imitation  of  Claude  Lorraine,  and  make  one  wish  that  one  knew  more  of  the  author.  Patel  had  a  son, 
who   was   also   a   painter. 

To  bring  into  one  gronp  the  best  portrait-painters  of  the  age  to  which  Louis  XIV.  has  given 
hia   name,  we   must   go   back   a   few   years,  and   commence   with 

HIGNABD,  (PIERRE},  although  born  in  1612  at  Troyes  in  Champagne,  was  called  the  "  Roman," 
because  after  having  studied  under  Simon  Vouet,  he  passed  twenty-two  years  at  Rome.  Pierre  Mignard 
was  not  merely  a  portrait-painter ;  he  also  painted  historical  pictures  and  even  in  the  dome  of  Val-de- 
OrAce  painted  frescoes  larger  in  size  if  not  really  greater,  than  that  of  Correggio  in  the  duomo  of  Parma. 
He  succeeded  the  disgraced  Lebrun  in  the  oflBce  of  king's  painter ;  he  was  ennobled,  made  a  Chevalier 
de  Saint-Michael,  a  professor,  rector,  director,  and  chancellor  of  the  Academy.  He  even  entered  into 
direct  rivalry  with  Lebrun  in  a  Family  of  Daritis  at  the  feet  of  Alexander,  now  in  the  Hermitage  of  St. 
Petersburg ;  and  in  the  Louvre  we  may  see  the  charming  Vierge  it  la  Grappe,  brought  from  Italy,  in 
which  he  imitated  the  style  of  Annibale  Carracci,  whilst  exaggerating  the  studied  grace  of  Albani.  But 
the  compositions  of  Mignard,  with  the  exception  of  this  Madonna  with  the  Grapes,  have  not  retained 
their  passing  celebrity ;  he  is  now  only  remembered  by  his  portraits,  to  be  found  in  the  galleries  of 
many  noble  fiamilies.  In  the  Louvre,  where  we  are  surprised  to  see  no  portrait  of  Louis  XIV.,  whom 
Mignard  painted  very  frequently  and  at  nearly  every  period  of  his  life  except  old  age,  there  are  a  great 
number  of  historical  portraits,  the  Grand  Dauphin,  the  Duke  of  Burgundy,  the  Duke  of  Anjou,  Madame 
de  Maintmnn,  and  Mignard  himself.  In  all  these  works — historical  paintings  as  well  as  portraits — he 
displays  the  same  cold  correctness,  the  same  skilfulness  in  the  art  of  Hattery,  the  same  care  in  minute 
details,  carried  to  the  extreme  which  has  made  his  name  a  proverb  in  France,  at  first  in  praise,  and 
now  in  blame ;  but  they  also  show  a  lightness  of  touch  and  vivacity  of  colouring  which,  in  that  period 
of  systematic  abandonment  of  colouring,  easily  rendered  him  the  first  colourist  amongst  the  court  painters 
'^f   France.      He    died   at   Paris   in    1695. 

LEFEVRE,  (CXAUDE),  was  born  at  Fontainebleau  in  1633.  He  was  a  pupil  of  Lesueur  and 
Lebrun,  and  painted  portraits  which  remind  ua  of  Philippe  of  Champagne.  He  visited  England  in  the 
reign   of  Charles    II.,  and    it   is    l)elieved    that   he    died    in    London    in    1675. 

DE  LARQILLIERE,  (NICOLAS),  though  born  at  Paris  in  1656,  received  his  early  education  in  art 
at  Antwerp,  where  his  father  settled  as  a  merchant.  He  visited  England,  and  painted  portraits  of 
Charles  II.,  James  II.,  and  many  of  the  nobility.  Louis  Quatorze  also  sat  to  him.  He  died  at  Paris 
in    1746. 


22  A    COMPLETE   HISTORY   OF  FRENCH  ART. 

RIGAUD,  (HYACINTHE),  the  son  of  an  artist,  was  bom  at  Perpignan,  in  1659.  Rigaud  has 
deserved  his  name,  the  French  Vandyck,  at  all  events  through  his  fertility.  Amongst  his  pictures  in 
the  Louvre,  Louis  XIV.  figures  in  the  front  rank ;  and  Bossuet,  who  seems  to  be  holding  a  court  in 
his  bishop's  robes  as  the  chief  of  the  church  and  the  king  of  eloquence.  They  are  known  everywhere, 
thanks  to  engraving ;  for  Rigaud,  no  less  fortunate  than  Lebrun,  who  had  been  engraved  by  Edelinck 
and  Audran,  found  the  illustrious  Pierre  Drevet  as  his  interpreter.  By  the  advice  of  the  jealous  Lebrun, 
Rigaud  became  and  remained  a  portrait  painter,  studying  from  nature,  and  seeking  truth  not  merely  in 
living  figures,  but  also  in  the  inanimate  objects  of  the  accessories.  He  has  been  reproached,  and  not 
without  reason,  with  having  given  such  amplitude  to  the  dresses  that  the  persons  always  seem  taking 
part  in  some  ceremony.  He  also,  like  Vandyck,  imparted  such  an  expression  of  nobility  and  dignity 
to  all  his  models  that  it  may  be  thought  he  usually  gave  it  gratuitously.  Under  his  pencil  even  the 
Cardinal   Dubois   assumes   the  moral  grandeur  of  an  upright  man.      Rigaud  died  in  1743. 

We  illustrate,  by  a  wood  engraving,  a  characteristic  example  of  Rigaud's,  from  the  Versailles 
Gallery — in  the  portrait  of  The  Marquis  de  Dangcau,  adorned  in  the  robes  of  the  order  of  "  The  Holy 
Spirit,"  the  grand  distinction  of  the  time  of  Louis  XIV.  Bruy^re  says,  "  Dangeau  was  not  only  a 
nobleman,  but  a  statesman  and  historian,  a  man  distinguished  for  his  ability,  modesty,  politeness,  hnnpsty 
and   goodness ;  all   these   characteristics   are   discernible   in    Rigaud's   admirable   portrait." 

COYPEL,  (ANTOINE),  the  son  of  Noel  Coypel,  an  artist  of  some  celebrity,  was  born  at  Paris  in 
1661.  He  accompanied  his  father  to  Rome,  and  studied  the  style  of  Bernini.  On  his  return  to  Paris, 
he  became  a  very  popular  artist,  and  was  much  employed  in  painting  royal  palaces.  He  treated  history 
in   a   theatrical   manner,  and   clothed   the  ancient  Greeks  in  silk  breeches.      Ooypel  died  at  Paris  in  1722. 

NAIN,  (LES  FRERES,  [the  brothers]  LE),  worked  about  the  middle  of  the  17th  century. 
No  biography  is  more  obscure  and  unsatisfactory  than  that  of  the  brothers  Nain,  whom  historians 
have  paid  no  attention  to  for  a  long  time ;  and  until  something  more  definite  can  be  had  which  will 
throw  available  Ijght  on  the  subject,  we  will  limit  our  information  to  the  dates  and  facts  furnished 
by  authentic  documents,  lately  found.  From  notes  and  manuscripts  of  M.  le  Len  on  the  city  of  Laon, 
recently  discovered,  quoted  by  Dom  Grenier,  friar  of  the  society  of  Saint-Maur,  among  the  papers  he 
had  collected  to  be  used  in  writing  a  History  of  Picardie,  we  learn  that  the  three  brothers,  Louis, 
Antoine,  and  Mathieu  lo  Nain,  born  at  Laon,  were  instructed  in  that  city  by  an  unknown  painter, 
who  taught  them  the  elements  of  painting  for  the  period  of  one  year.  They  afterwards  went  to  Paris 
and  lived  in  the  same  house.  Antoine,  who  was  the  oldest,  was  received  painter  March  16,  1629,  in 
the  Abbey  of  St.  Germain  des  Pr6s,  by  the  sire  Plantin,  a  lawyer,  who  was  its  bailiff.  He  excelled  in 
miniature  painting  and  small  pictures.  Louis  executed  bust  portraits.  Mathieu  had  been  appointed  painter 
to  the  city  of  Paris  August  22,  1633,  and  Lieutenant  of  the  militia  company  of  sire  Dori,  under 
Colonel  M.  de  S6ve.  The  three  brothers  were  received  at  the  Royal  Academy  of  Painting,  instituted 
by  a  decree  of  the  Council  of  State  (dated  January  20,  1648),  March  let  of  the  same  year.  Their 
letters  of  Reception  are  signed  by  le  Brun.  Louis  died  three  days  after  Antoine,  his  senior  brother; 
neither  were  married.  Mathieu  survived,  and  obtained,  September  13,  1662,  letters  of  " commiiiimtts" 
in  right  of  his  title  of  painter  to  the  Royal  Academy.  It  is  said  that  he  painted  the  portrait  of 
the  queen,  mother  of  Louis  XIII.  Such  are  the  facts  gleaned  from  Dom  Grenier's  documents.  The 
following  are  from  the  papers  found  at  the  Academy  and  School  of  Fine  Arts.  The  three  brothers 
Louis,  Antoine    and    Mathieu    are    registered  as  Academicians,  taking    part    in    the    seance   of   March,  164S. 


"     JEAN  BAPTISTE  JOSEPH  PATER  I3 

These  same  Registers  at  November  6,  1649,  only  mention  Mathieu  as  Academician.  According  to  a 
manuscript  preserved  by  the  school  of  the  fine  arts,  Louis,  the  elder  (and  not  Antoine.  as  Grenier 
states.)  painter  of  rustic  scenery,  surnamed  the-  Roman,  died  March  23,  1648,  at  55  years  of  age ; 
Antoine  the  younger  alias  the  chevalier,  also  painter  of  rustic  scenery,  died  two  years  after,  March 
25,  1648  (another  manuscript  has  that  date,  May  25,  1658,  but  this  is  evidently  a  clerical  error)  at 
the  age  of  70.  M.  Hultz,  secretary  of  the  Academy,  adopts  the  same  date  in  a  note,  but  states 
that  Antoine  was  only  60  at  the  time  of  his  death.  Finally,  Mathieu,  the  younger,  painter  in  the 
same  style  as  his  brothers,  died  August  20,  1677.  The  dates  of  admission  and  death  at  the  Aca- 
demy are  correct,  without  doubt,  but  such  is  not  the  case  with  that  of  their  births,  which  could  be 
deduced  from  their  age  at  the  time  they  died.  Great  confusion  exists  in  regard  to  the  aliases,  or 
surnames,  which  they  received,  since  that  of  chevalier  is  indiscriminately  given  to  Antoine  and  Mathieu. 
It  is  not  difficult  to  distinguish  and  recognize  a  painting  of  the  le  Nains.  The  sad  and  serious  ex- 
pressions of  the  faces  introduced  by  them,  even  in  rustic  scenes,  those  of  taverns  or  of  the  station 
or  guard-houses ;  the  type  of  heads ;  a  general  prevalence  of  a  greenish-gray ;  numerous  bright  lights, 
relieved  by  a  few  draperies  ordinarily  of  a  light  red ;  to  sum  up,  a  species  of  imitation  of  the  Spanish 
school,  are  the  characteristic  traits  of  their  style.  Still  we  are  unable  to  distinguish  which  one  of  the 
three  brothers  any  one  painting  is  by,  so  similar  in  style  are  they.  A  considerable  number  of  very 
large  paintings,  ceiling  and  domes  for  various  public  edifices  and  churches,  give  proof  of  their  artistic 
talent  in  reproducing  heads,  in  which  they  excelled.  Several  engravers  have  reproduced  their  works. 
The    Louvre   contains   four   paintings   by  this   family. 

WATTEAU,  (ANTOINE),  the  son  of  a  poor  thatcher  of  Valenciennes,  was  born  in  the  year  1684. 
He  was  placed  with  an  obscure  artist,  in  his  native  city,  and  for  a  long  time  painted  pictures  of  8t. 
Nicholaa  for  three  francs  a  week  and  his  soup.  In  1702,  he  went  to  Paris — where  the  scene-painter, 
Claude  Gillot,  introduced  him  to  the  green-room  of  the  opera — and  founded  a  school  of  painting ;  or 
rather,  he  was  so  superior  to  the  other  imitators  of  this  genre  that  he  has  been  called  its  foiinder ; 
yet  his  name,  whatever  amount  of  blame  he  may  have  incurred,  must  occupy  an  honourable  place  amongst 
those  of  French  artists.  It  was  in  the  hands  of  his  plagiarists — the  Van  Loos,  the  Paters,  Lancrets, 
Natoires,  and  the  long  train  of  their  followers — that  the  decay  was  most  manifest ;  that  art  was  moru 
degraded  and  dishonoured  in  ridiculous  and  licentious  paintings  of  aheepfolds  decorated  with  satin  ribbons; 
and   pictures   were   merely  used   as   ornaments   for   boudoirs. 

Watteau  only  attempted  very  small  genre  subjects ;  but  he  has  imparted  such  elevation  and  grandeur 
to  them  that  he  will  always  be  considered  far  above  a  mere  decorator  of  ladies'  boudoirs.  In  the 
work."*  of  this  painter  of  Felea  Oalanten,  besides  the  exquisite  colouring  taken  from  Rubens,  we  shall 
always  have  to  admire  his  invention,  fun,  wit,  and  even  propriety ;  for  we  feel  that  he  was,  as  hi? 
biographer   Gcrsaint   says,  a   "libertine   in    mind,  though   of  good   morality." 

The    Louvre    has    his   great  work  The   Embarkment  Jor   the   Isle   of   CyiKere. 

LANCBET,  (NICHOLAS),  a  painter  of  FetPH  Oalantes,  who  was  born  at  Paris  in  1690,  studied 
under  one  Pierre  d'Alin,  but  took  Watteau  as  his  model,  and  became  an  ignoble  disciple  of  that  master, 
though   in   his   own   time   his   works   were    very  popular.      He   died   in    Paris   in    1743. 

In  the  National  Gallery,  London,  is  a  series  of  four  paintings — mentioned  by  D'Argenville  among 
the  principal  works  of  Lancret.     They  are  the  four  ages  of  man — Infancy,  Youth,  Manhood  and  Old  Age. 

PATKR,  'JEAN   BAPTISTE  JOSEPH),    who    was    born    at    Valenciennes    in    1696,  went,    when    still 


24  A    COMPLETE   H 18 TORY   OF  FRENCH  ART. 

young,  to  Paris,  and  entered  the  studio  of  Watteau,  whom  he  copied  both  in  subject  and,  as  far  as 
possible,  in   style.      His    works   are   somewhat   scarce.      Pater   died    in    1736. 

BOUCHER,  (FRANCOIS),  who  was  born  at  Paris  in  1704,  was  one  of  the  most  popular  artists 
of  his  time,  was  appointed  painter  to  the  king,  and  acquired  a  great  reputation,  which  did  not  long 
survive  him.  Hu  died  at  Paris  in  1768.  Boucher  was  called  the  "  Painter  of  the  Graces,"  because, 
in  the  midst  of  landscapes  as  weak  and  false  as  the  scenes  at  the  opera,  he  introduced,  as  the 
shepherdesses  of  his  be-ribboned  sheep,  veritable  dolls,  without  modesty,  fat,  and  only  fresh-looking  from 
the  vermilion  of  their  toilette,  or  because  they  are  reposing  in  the  style  of  goddesses  on  clouds  of  cotton. 
How   surprised   the    Greeks    would   have   been    to   see   these   Graces ! 

DESPORTES,  (FRANQOIS),   who    was   the   first   in    France   to   make  a   special   domain    for   himself 

by  imitating   Snyders,    and   who   became    the   historiographer   of  the   hunts  of  Louis   XIV.,    was   born   at 

Champigneul  in  1661.  It  is  said  that  he  visited  and  painted  sporting  scenes  in  England.  He  died 
in   1743. 

VAN  LOO,  (JEAN  BAPTISTE),  the  grandson  of  an  artist,  was  bom  at  Aix  in  Provence,  in  1684. 
He  painted  in  public  buildings  at  Toulon,  Turin,  and  Rome,  and  was  made  a  member  of  the  Academy 
at  Paris.  In  1737  he  paid  a  visit  to  England,  and  was  patronized  by  Sir  Robert  Walpole.  He  painted 
many  portraits   of  the    nobility.      In    1742,  he   returned   to   his   native   land,  and   there   he  died   in  1746. 

OUDRY,  (JEAN  BAPTISTE),  whose  genre   was   the   same   as   that   of  Desportes,  was  born   at  Paris 

in  1686.  He  became  in  his  turn  the  historian  of  the  hunts  of  Louis  XV.  His  works,  which  are 
very  numerous  in  the  Louvre — Hunts  of  stags,  wolves,  boars,  pheasants,  and  partridges — and  also  simple 
portraits  of  dogs  and  groups  of  game,  show  that  he  had  neither  the  invention  nor  the  movement  of 
Snyders,  nor  tlie  exquisite  skill  and  touch  of  Fyt  and  Weenix.  But  the  habits  of  the  animals  have 
been  well  studied,  the  forms  are  well  given,  and  they  compose  very  good  hunting-pictures,  much  sought 
after   by  the   possessors   of  country  houses.      Oudry  died   at    Beauvais   in    1755. 

CHARDIN,  (SIMEON),  the  worthy  rival  of  Willem  Kalf,  the  painter  of  Dutch  kitchens,  was  bom 
in  1699.  Chardin,  who  was  a  powerful  colourist,  rivals  the  Dutch  school  in  the  vigour  of  his  tints. 
until  then  unknown  in  the  French  school.  "  Oh,  Chardin ! "  cries  the  enthusiastic  Diderot,  "  it  is  not 
colours  alone  that  you  mix  on  your  palette ;  it  is  the  very  substance  of  the  objects,  it  is  air  and  light 
with    which   you   paint."      Chardin   died   in   1779. 

VAN  LOO,  (CARLE),  the   younger  brother  of  Jean  Baptiste,  was   born  at   Nice  in    1705.      He  was 

the  best  of  the  four  painters  in  his  family,  and  showed  to  what  a  depth  of  decay  an  artist,  endowed 
by  nature  with  great  and  solid  qualities,  may  be  led  by  the  bad  taste  of  his  age.  Had  Carle  van  Loo 
been  born  two  centuries  earlier,  he  would  probably  have  been  one  of  the  masters  of  his  art.  In  his 
early  years  he  was  noted  for  his  correct  drawing,  his  severe  style,  and  his  antique  elegance.  "  He 
had  all  the  signs  of  genius,'  affirms  Diderot,  who  yet  calls  his  works  "masterpieces  of  dyeing;"  and 
no  painter  of  the  time  acquired  greater  renown,  fortune,  or  honours,  than  he.  Van  Loo  should  have 
restricted  himself  to  the  anecdotal  style,  or  to  genre  painting ;  but  he  attempted  history  and  sacred 
subjects,    and   failed   utterly.      He   died   at   Paris   in    1765. 

TO^UE,  (LOUIS),  born  in  1696;    died  at  the  Louvre,  February  10,  1772. 

His  father,  a  distinguished  architectural  painter,  placed  him  at  an  early  age  at  Nicolas  Bertin's 
school.       The    young  pupil  was    not    long    in    attracting    attention    by  his    great   ability  and    ease    in    paint- 


LOUIS- JEAN-FRANC0I8  LAGRENEE.  25 

ing  portraits.  He  continued  to  study  that  style,  and  was  received  at  the  Academy  August  13,  1731. 
He  was  directed  to  paint  for  his  reception  picture  the  portraits  of  Galloche  and  Lemoine  senior,  Sculp- 
tor, and  he  was  elected  Academician  January  30,  1734.  It  was  about  this  time  he  executed,  on  an 
order  from  the  court,  the  portrait  of  the  dauphin ;  and  after  tlie  marriage  of  that  prince  the  picture 
of  his  wife,  as  well  as  that  of  the  Queen.  He  became  counsellor  of  the  Academy  January  31,  1744. 
The  numerous  portraits  he  exposed  at  the  salon,  and  which  each  time  obtained  great  success,  extended 
his  reputation  abroad.  He  was  called  by  the  Empress  to  St.  Petersburg;  remained  there  from  1757 
to  1758,  and  painted  the  Empress'  picture,  engraved  by  Schmidt.  He  then  went  to  Stockholm,  then 
to  Denmark,  where  he  painted  the  Royal  family.  Back  to  Paris  in  1760.  The  Academy  presented 
him  with  a  picture  of  Charles  Coypel,  representing  the  destruction  of  the  Palace  of  Armida.  This 
painting  was  given  to  him  as  a  token  of  thanks  for  the  portraits  of  M.  de  Tournehem  and  of  the 
Marquis  de  Marigny,  directors  and  superintendents  of  the  king's  buildings,  which  he  had  presented  to 
the  Academy.  Toqu6  made  a  second  trip  to  Denmark  in  1769  and  received  the  title  of  Free  Associate 
of  the  Copenhagen  Academy.  His  design  is  correct,  his  touch  light,  his  color  agreeable,  without  a  great 
vigor:  he  painted,  singularly  well,  gold  and  silver  cloths,  and  flowered  satins  and  embroideries.  He  ex- 
hibited in  the  salons  from  1737  to  1759.  Several  of  his  works  have  been  engraved  by  Larmessin,  J.  C. 
Teucher,  Wille,  Dupuis,  Schmidt,  Cathelin,  Muller,  Daull»'\ 

Si'BLEYRAS,  (PIERRE),  Painter  and  Engraver,  born  at  Uzes  in  1699,  died  in  Rome  May  28, 
1749.  His  father,  Mathieu  Subleyras,  a  mediocre  painter,  after  having  taught  him  the  elements  of  paint- 
ing, sent  him  to  Toulouse  at  the  age  of  fifteen  and  placed  him  under  Antoine  Rivalz.  In  1724  Sub- 
leyras came  to  Paris,  and  advertised  himself  advantageously,  exhibiting  designs  for  ceilings  he  had 
executed  at  Toulouse.  He  competed  two  years  after  for  the  grand  prize  at  the  Academy  and  won 
it.  He  went  to  Rome  in  1728  as  king's  pensioner,  remained  there  seven  years  and  a  half,  and 
married,  in  1739,  Maria-Felice  Tibaldi,  celebrated  miniature  painter  and  sister  to  the  wife  of  Tr^mol- 
lidre.  He  was  received  a  short  time  after  at  the  Academy  of  St.  Luc  as  a  member.  He  executed 
a  large  namber  of  paintings  for  the  crowned  heads  of  Europe  and  the  Pope,  besides  numerous  churches 
and  public  buildings.  His  health  becoming  impaired,  he  traveled  to  Naples,  remained  there  seven 
months,  then  returned  to  Rome,  where  he  died  of  a  lingering  illness.      He  made  no  exhibits. 

TEBNET,  (CLAtDE  JOSEPH),  the  celebrated  marine  painter,  was  born  at  Avignon  in  1714.  A 
whole  room  in  the  Louvre  is  devoted  to  his  works ;  there  are  nearly  fifty  of  them  ranged  on  the 
walls  round  his  bust  in  marble.  These  are,  in  the  first  place,  Views  of  the  Principal  Erench  Seaports, 
fiainted  in  1754  to  1765,  by  order  of  Louis  XV.;  an  ungrateful  task,  which  would  have  required  a  mind 
inexhaustible  in  its  resources.  There  is  a  large  number  of  Marine  Pieces,  properly  so  called,  in  which  he 
has  represented  the  sea  in  all  its  forms,  in  all  its  aspects,  in  the  south  and  the  north,  by  day  and  by 
night,  in  the  morning  and  in  the  evening,  with  the  sun  and  the  moon,  the  fog  and  fire,  in  rain  and  in 
fine  weather,  in  calm  and  tempest.  These  marine  pieces  certainly  do  not  possess  the  intoxicating  poetry 
of  Claude,  or  the  dreamy  poetry  of  Ruysdael,  or  the  powerful  reality  of  Willem  van  de  Velde,  or  Back- 
huysen.  Claude  Joseph  Vemet  died  in  1789.  He  had  a  son.  Carle  Vemet,  who  painted  battle-pieces,  and 
who  died  in  1836  at  the  age  of  seventy-eight,  who  was  the  father  of  the  celebrated  Horace  Vemet,  of 
whom  we  shall  speak  hereafter. 

LAGRElfilE,  (LOnS-JEAN-FRANCOIS),  called  L' Ain<^-  (the  elder),  born  in  Paris  December  30, 
1794,  died  at  the  Louvre,  June  19,  1805. 

He  was   pupil    to   Carl  Van  Loo,  made   the  voyage    to   Rome  as   king's  pensioner,  and  returned   to 


2Q  A    COMPLETE   HIS  TO  BY   OF  FRENCH  ART. 

Paris  in  1753,  was  received  at  the  Academy,  and  became  a  member  May  31,  1755;  gave  as  his  recep- 
tion piece  The  Abduction  of  Dejanire  by  the  Centaur  Nessus.  He  afterwards  obtained  successively  the 
following  grades:  adjunct-professor,  April  29,  1758;  Professor,  October  2,  1762;  adjunct-rector,  July  7. 
1781  ;  and  Rector,  September  3,  1785.  The  Empress  Elizabeth  Petrowna,  having  called  him  to  her 
court,  he  went  to  St.  Petersburg  in  1760,  took  the  place  of  Le  Ix)rrain  as  Director  in  charge  of  the 
Academy  of  Painting,  and  became  first  painter  to  the  Empress.  He  returned  to  Paris  in  1763.  The 
king  appointed  him  in  1781  Director  of  the  Academy  of  Rome,  and  he  obtained  from  the  same  source  a 
pension  of  2,400  livres,  (as  a  reward  for  his'  painting.  The  Widow  of  Malabar),  which  was  made  void 
by  the  Revolution  a  short  time  after.  In  July,  1804,  Napoleon  gave  him  the  cross  of  the  Legion 
of  Honor.  He  executed  a  great  number  of  paintings  for  the  royal  residences,  hotels  belonging  to  the 
notables  and  others.  Many  of  his  works  were  exported.  He  died  while  professor-rector  of  the  School 
of  the  Fine  Arts  and  honorary  member  of  the  Museum.  Most  of  his  works  have  been  engraved.  He 
exhibited  at  the  salons  from  1755  to  1798.  His  son  Anthelme-Franfois  Lagren6e,  born  in  Paris  in  1775, 
died  in  the  same  city  April  27,  1832 ;  was  Vincent's  pupil,  served  in  the  army,  and  went  to  Russia 
in  1823,  painted  for  the  Emperor  Alexander,  then  returned  to  France  and  devoted  himself  to  painting 
miniatures   and   imitations   of    cameos.      He   exhibited   from    1799   to  1819. 

BACHELIER,  (JEAN-JACqUES).     Born   in   1724.      Died   April   13,    1806. 

He  was  accepted  at  the  Academy  in  1751,  received  September  2,  1752,  as  a  painter  of  flowers, 
and  September  24,  1763,  as  an  historical  painter,  on  presentation  of  his  picture,  The  Death  of  Abel, 
for  which  he  was  authorized  to  substitute  A  Roman  Charity.  He  was  elected  adjunct-professor 
November  29th  of  the  same  year,  became  professor  July  7,  1770,  and  adjunct-rector  July  7,  1792. 
In  1765  Bachelier  expended  60,000  francs  in  founding  a  free  school  of  design  for  mechanics.  This 
institution  was  incorporated  in  1766  by  Letters  Patent,  granted  by  King  Louis  XV.,  and  is  still  in 
existence.  The  Count  of  Caylus  having  devoted  himself  to  the  research  of  processes  for  painting  in 
wax  or  encaustic,  Bachelier,  with  the  same  object  in  view,  made  a  great  many  experiments  and 
exhibited,  in  divers  Salons,  the  results  of  his  labors.  He  was  director  of  the  Sevres  Porcelain  Manu- 
factory, Life  Director  of  the  Academy  of  Painting,  Sculpture  and  Naval  Architecture  of  Marseilles,  and 
continued  to  the  time  of  his  death  to  superintend  the  institution  of  which  he  was  the  founder.  He 
exhibited  in  the  Salons  from  1751  to  1767. 

GREUZE,   (JEAN   BAPTISTE),   was   bom   at  Tournai   in    1725.      The  contemporary  literary  school 

of  the  day  inculcated  a  return  to  nature.  Greuze  listened  to  this  advice,  and  approached  nature,  not 
in  the  manner  of  Boucher,  by  ridiculous  pastoral  caricatures,  but  by  taking  his  figures  from  rural  life, 
and  tepresenting  simple  and  touching  village  scenes.  Diderot  says :  "  He  was  the  first  who  thought  of 
bringing   morality  into   art." 

Some  of  these  village  scenes  contain  merely  a  comic  incident,  such  as  The  Broken  Pitcher;  others 
rise  to  pathetic  drama,  like  the  Father's  Curse.  The  Village  Pride  is  of  intermediate  style,  more  simple 
atid  graceful,  and  may  be  considered  as  the  masterpiece  of  his  transition  style.  These  choice  works  are 
in  the  Louvre,  and  France  may  consider  herself  fortunate  to  have  secured  them  beforehand  from  the  ama- 
teurs, who  now  dispute  with  eagerness  for  the  slightest  sketches  of  a  painter,  whose  old  age  was  passed  in 
extreme  poverty,  He  died  at  Paris  in  1805.  The  gallery  of  Sir  Richard  Wallace  contains  twenty- 
two  paintings  by  Greuze,  several  of  which  have  been  engraved.  There  are  three  in  the  National  Gral- 
lery  of  London,  two  of   which  were  bequeathed  by  Mr.  Wynn  Ellis. 


JACQUES  LEWI 8  DAVID.  27 

TIEN,  (JOSEPH  MARIE),  was  born  at  Montpellier  in  1710.  He  studied  first  in  Paris,  and  it 
was  he  who  in  historical  painting  gave  the  signal  for  reform  when,  in  1771  to  1781,  he  directed  the 
French  school  at  Rome.  In  studying  the  works  of  the  earlier  ages  he  learned  to  understand  the  great- 
ness of  the  art  which  had  almost  perished.  He  endeavoured  to  return  to  the  style  of  the  great  mas- 
ters. To  Vien,  then,  belongs  the  honour  of  having  clearly  seen  the  evil  and  its  remedy,  and  of  having 
been  the  first  to  attempt  the  part  of  a  reformer,  which  was  accomplished  by  his  pupil,  Louis  David. 
This  honourable  attempt  may  be  seen  in  his  fine  composition,  8t.  Germain  of  Auxerre  and  8t.  Vincent 
of  Saragosaa  receiving  martyrs'  crowns  fix)m  an  angel ;  and  for  chastened  and  powerful  execution,  in  the 
Hermit  adeep.  It  is  said  of  this  last  picture  that  one  day,  in  his  studio  at  Rome,  the  hermit  who  served 
him  for  a  model  went  asleep  whilst  playing  on  the  viohn.  The  artist  took  his  portrait  in  this  attitude 
and  with  much  success. 

Vien  said:  "I  have  only  half  opened  the  door;  it  is  M.  David  who  will  throw  it  wide  open." 
Vien,  the  regenerator  of  painting  in  France,  died  at  Paris  in  1809. 

DOYEN,  (GABRIEL  FRANpOISE),  born  at  Paris  in  1726,  died  at  St.  Petersburg  June  5,  1806. 

Doyen  entered  Carle  van  Loo's  school  before  he  was  twelve  years  of  age,  and  won  the  prize  of 
Rome  at  twenty.  He  journeyed  to  Rome  in  1748,  copied  a  great  number  of  designs  from  the  Farn(5se 
Gallery,  especially  the  best  of  Lanfranc's  productions,  as  well  as  those  of  Bachiche  and  Pietre  de  Cortone, 
whom  he  greatly  loved.  Studied  Solim^ne  at  Naples,  then  visited  Venice,  Bologna,  Parma,  Plaisance  and 
Turin.  On  his  return  to  France  at  twenty-nine,  wishing  to  establish  a  reputation  by  producing  a  painting 
with  all  the  talent  he  possessed,  he  chose  for  his  subject  the  Deaih  of  Virginia,  which  proved  a  great  suc- 
cess and  caused  him  to  be  received  at  the  Academy  in  1758;  was  admitted  Aug.  23,  1759,  on  a  painting 
of  Jupiter  attended  by  Hthe;  obtained  an  adjunct-professorship  Aug.  29,  and  then  a  professorship  July  27, 
1776.  He  executed  a  number  of  works  of  great  merit,  among  which  may  be  mentioned  TJic  Plague  of 
the  Ardenta.  After  the  death  of  his  Tutor,  Van  Loo,  he  was  chosen  to  decorate  the  Chapel  of  St.  Gre- 
gory at  the  Invalides;  made  a  voyage  to  Russia,  and  was  received  with  distinction  by  Catharine  II.,  who 
endowed  him  with  a  pension  of  1,200  roubles,  gave  him  a  lodging-room  in  her  imperial  palace,  and 
appointed  him  Professor  of  the  Academy  of  Painting.  After  the  death  of  the  Empress,  her  successor, 
Paul  I.,  increased  his  pension  and  gave  him  several  large  and  important  works  to  execute.  Doyen 
remained  in  Rania  for  over  sixteen  years,  and  painted  until  eighty  years  of  age.  He  exhibited  at 
the  Salons   from  1759  to   1787. 

DAYID,  (JACQUES  LEWIS),  the  nephew  of  Fran9oi8  Boucher,  the  Fainter  of  the  Graces,  was  born 
at  Paris  in  1748.  He  accompanied  Vien  to  Rome,  and  with  him  studied  the  works  of  the  great  mas- 
ters. Following  the  rapid  incline  which  urges  every  reaction  to  an  extreme,  Lewis  David  resolved  to 
bring  art  not  merely  to  an  equality  with  the  finest  epoch  of  the  French  school  in  the  times  of  Poussin 
and  Lesueur,  or  the  finest  period  of  Italian  art  in  the  times  of  Raphael  and  Titian,  but  to  antiquity. 
In  order  to  delineate  Roman  subjects  and  Roman  manners,  he  sought  his  models  in  the  ruins  of  ancient 
Rome;    he  studied   the   statues   and   the   bas-reliefs, — Tacitus   and   Plutarch. 

As  long  as  David  painted  merely  in  his  studio  and  before  his  pupils,  his  works  and  lessons  were, 
in  some  degree,  a  public  good ;  by  the  severity  of  his  taste  and  forms,  by  the  admiration  of  noble 
thought*  and  fine  actions,  he  brought  back  art  to  dignity  and  true  grandeur.  But  when  the  Empire 
had  overthrown  the  Republic,  when  David,  painter  to  the  emperor,  had  become,  less  from  character 
than   from   position,    the   regulator  of    taste,    the    dispenser   of    favours — in   short,    the   prefect   of    the   de- 


28  A    COMPLETE   HIS  TOBY   OF  FRENCH  ART. 

partment  of  the  Fine  Arts — there  reappeared  the  usual  tyranny.  All  works  of  art,  from  the  histori- 
cal picture  down  to  ornamental  furniture,  all  works  of  literature,  from  the  epic  poem  to  the  couplet 
of  romance,  received  the  order  of  the  day,  a  watchword,  which  was  called  the  style  of  the  Empire. 
"  Art,"  says  Plato,  "  is  a  forest  bird  which  hates  the  cage,  and  can  only  live  at  liberty." 

We  will  rapidly  mention  the  best  works  of  David  to  be  found  in  the  Louvre,  placing  them  in 
chronological  order,  so  that  we  may  be  able  to  appreciate  the  modifications  made  on  the  talent  of  the 
painter.  The  Oath  of  the  Horatii  was  painted  at  Kome  in  1784.  It  is  said  that  Louis  XVL  ordered  this 
first  republican  picture.  When  it  was  first  produced,  it  was  as  if  David  had  passed  at  a  single  bound 
to  the  very  antipodes  of  the  licentious  paintings  with  which,  until  then,  both  the  court  and  the  town 
had  been  satisfied.  Its  appearance  caused,  indeed,  such  sensation,  even  in  the  frivolous  world  of  the 
Parisian  salons,  that  from  this  time  we  may  date  the  commencement  of  the  fashion  for  Roman  forms 
in  garments,  hangings  and  furniture.  The  second  republican  picture  is  that  of  Marcus  Bndus,  to  whom 
the  lictors  arc  bringing  the  corpses  of  his  two  sons,  whom  he  had  condemned  to  death.  In  this  work, 
dated  1789,  David  also  foretells  the  future,  for  this  horribly  grand  action  of  Brutus  seems  to  announce, 
alas!  the  frightful  hetacomb  which  the  France  of  1793  would  make  of  her  children.  It  is  as  well 
that  the  artist  placed  the  face  of  Brutus  in  the  shade  near  the  statue  of  Romulus  with  the  Wolf,  for 
the  struggle  in  him  between  the  heroism  of  the  citizen  and  the  grief  of  a  father  is  almost  too  great 
to  conceive,  and  the  human  mind  hesitates  to  decide  what  should  be  the  predominating  feeling  of  the 
unhappy  father.  He  next  painted  the  Sahine  Women  throwing  themselves  into  the  midst  of  the  con- 
flict between  the  Romans  and  the  Sabines :  it  was  after  having  passed  five  months  in  prison  after  the 
9th  Thermidor,  as  the  friend  of  Robespierre  and  St.  Just,  that  David  commenced  this  picture,  wishing 
to  commemorate,  it  is  said,  the  perilous  efforts  made  by  his  own  wife  to  save  him.  Between  tlie  Bruiua 
and  the  /Sabine  Women,  whilst  sitting  among  the  Convention,  David  had  sketched  out  the  Oaih  of  the 
Jeu-de-Paume,  a  vast  composition,  as  full  of  fire  and  energy  as  that  first  scene  of  the  great  drama  of 
the  Revolution,  and  he  had  also  painted  the  Deaih  of  Marat,  struck  by  Charlotte  Corday.  This  latter 
work  is  by  some  considered  his  masterpiece  in  point  of  execution. 

We  next  come  to  the  Leonidas  at  Thermapyhx.  Although  between  this  picture  and  the  SaMnea 
the  whole  interval  of  the  Empire  intervenes,  we  may  yet  call  them  twin  pictures.  What  has  been  said 
of  the  one  will  do  for  the  other,  weakened,  however,  in  execution.  All  the  details  of  Leonidas  are 
borrowed  from  the  narrative  of  the  fight  at  Thermopylae,  placed  by  the  Abb^  Barth^lemy  in  the  intro- 
duction to  his  "  Travels  of  Anacharsis  in  Greece."      David  has  simply  placed  his  narration  in  painting. 

The  works  of  David  which  we  have  just  been  considering  show  all  his  good  qualities  and  defects  in 
the  clearest  light.  On  one  hand  the  fine  subjects,  noble  sentiments,  austere  forms,  correct  drawing,  and 
chastened  painting ;  on  the  other,  in  the  composition  may  be  seen  an  academic,  or,  rather,  sculptural  stiflF- 
ness,  making  the  living  beings  look  as  if  cut  out  in  marble,  and  of  a  painted  picture  a  sort  of  bas-relief; 
and  in  the  execution  a  sad  and  monotonous  colouring,  increased  still  more  by  the  bad  distribution  of  light. 
In  addition  to  the  historical  pictures,  there  are  a  number  of  portraits.  One  of  the  most  celebrated  of 
these  is  that  of  Pope  Pius  VII.  It  is,  like  all  David's  portraits,  well  copied  from  nature,  and  full  of 
physical  life ;  but  the  breath  of  poetry  and  of  the  ideal  has  not  passed  over  the  brow  of  the  prisoner  of 
Fontainebleau. 

After  the  fall  of  Napoleon,  David  took  refuge  in  Brussels,  where  he  continued  to  paint  for  many 
years.  He  died  in  1825,  in  his  seventy-eighth  year.  His  chief  pupils  form  a  brilliant  assemblage  around 
him  in  the  Louvre. 


FJiAXgOIS   CASANOVA.  29 

LETHIEBE,  (GUILLAITME  GUILLON),  one  of  David's  pupils,  was  born  in  Guadeloupe  in  1760. 
He  is  represented  in'  the  Louvre  by  those  enormous  pictures,  nine  yards  in  length,  the  Death  of  Virgi- 
nia and  Death  of  the  Sons  of  Brutus.  These  pictures  were  exhibited  in  London  in  1816  and  received  with 
much  applause.      Lethi^re  died  in  1832. 

TRIOSON,  (ANNA  LOUISE  GIRODET),  was  born  in  1767.  His  most  important  works  may  be  found 
in  the  Louvre.  The  Revolt  in  Cairo,  a  theatrical  combat;  the  Interment  of  Atala,  describing  with  great 
simplicity  a  scene  from  Chateaubriand;  a  Scene  from  tite  J)eluge,  which  took  the  prize  in  1810;  a  fine 
group  of  nudes,  reminding  us  a  little  of  the  convulsive  enlacements  of  the  Laocoon,  but  which,  unfor- 
tunately, provokes  comparison  with  the  calm  masterpiece  of  Poussin ;  the  Sleep  of  Endymion,  an  agreeable 
mythological  scene,  offering  a  new  and  charming  idea.      Trioson  died  in  1824. 

GERARD,  (FRANCOIS),  was  born  at  Rome  in  1770.  His  celebrated  group  of  Cupid  and  Psyche 
may  dispute  the  prize  of  prettiness  with  the  Dido;  but  he  has  painted  larger  and  far  better  works 
in  the  Entrance  of  Henry  IV.  into  Paris,  and  his  Blind  Belisanus.  Gerard,  to  whom  many  of  the 
meet  illustrious  characters  of  Europe  sat  for  their  likeness,  was  rather  a  portrait  than  an  historical  painter, 
and  was  still  more  an  intellectual  man  than  an  artist  of  genius.  With  Gerard,  who  died  in  1837, 
ends  the  direct  school  of  David,  for  we  cannot  count  the  sad  and  frozen  imitations  of  those  who  are 
called  in  politics  the  queue  d'un  parti. 

DROUAIS,  (FRANCOIS-HUHERT),  born  at  Paris  December  14,  1727;  died  in  the  same  city 
October  21,  1775. 

He  received  his  precepts  in  painting  from  his  father,  Hubert  Drouais,  afterwards  studied  successively 
under  Xonotte,  Carl  van  Loo,  Natoire  and  Boucher.  He  presented  himself  at  the  Academy,  and  was  re- 
ceived at  twenty-seven  years  of  age  and  admitted  November  25,  1758,  on  the  portraits  of  Messrs.  Cous- 
tou  and  Bouchardon  (the  first  being  now  at  Versailles,  the  second  at  the  school  of  the  fine  arts).  The 
■access  attending  his  pictures  caused  him  to  be  summoned  to  Versailles.  He  made  his  first  appearance 
and  work  at  the  court  in  1757  by  painting  the  portraits  of  the  Duke  de  Berry  and  of  the  Count 
of  Provence,  then  of  all  the  royal  family;  from  that  time  no  celebrity  or  beauty  existed,  but  he  had 
their  features  to  reproduce  on  canvas.  He  became  painter  to  the  king,  and  consequently  of  His  Lord- 
ship and  Her  Ladyship ;  he  was  raised  by  his  contemporary  brethren  of  the  craft  to  the  dignity  of  Coun- 
sellor of  the  Academy  July  2,  1774.  He  exhibited  in  the  Salons  from  1755  to  1775.  Hubert  Drouais, 
his  father,  bom  in  1699,  died  February  9,  1767,  achieved  some  renown  as  portrait  painter  in  oil  colors, 
and  gained  great  celebrity  in  miniature  portraits,  a  very  unusual  and  rare  distinction  in  this  branch  of 
the   art       He  also  executed  some  crayon  drawings.         » 

CASANOTA,  CFRANCOIS),  Painter  and  Engraver.  Born  in  London  in  1730;  died  at  Bruhl,  near 
Vienna,  (Austria),  in  March.  1805. 

His  family  was  of  Venitian  origin,  and  it  was  hinted  that  he  was  the  son  of  George  II.  king  of 
England.  He  went  to  Venice  before  he  was  six  years  old,  received  a  good  education,  and  manifested 
marked  taste  and  aptitude  for  drawing.  Guardi  was  his  first  preceptor;  he  afterwards  studied  under  Si- 
monelli.  painter  of  landscapes  and  battles.  He  came  to  Paris  about  1751,  remained  there  only  one  year, 
traveled  in  Gfrrnany,  remaining  four  years  in  Dresden,  copying  Wouwerman's  pictures  and  battle  scenes 
which  were  to  be  found  there  in  the  collection  of  the  Elector:  he  became  acquainted  with  Dietrich  in  that 
city  and  profited  by  the  advice  given  him  by  that  artist.     Returning  to  Paris,  he  exhibited  at  the  Luxem- 


•«0  A    COMPLETE   HISTORY   OF  FRENCH  ART. 

bourg  a  Battle  painting,  which  gained  him  much  celebrity,  and  from  that  date  he  produced  a  great  many, 
high-priced  pictures ;  but  the  large  sums  realized  were  insufficient  to  keep  pace  with  the  luxury,  extra- 
vagance and  prodigality  he  displayed  in  his  mode  of  living.  He  was  received  at  the  Academy  May  28, 
1763,  on  a  painting  of  a  Cavalry  encounter,  now  placed  at  Vincennes.  To  escape  his  creditors  he  gladly 
accepted  an  offer  made  by  Catharine  II.  of  Russia  to  paint  her  victories  over  the  Turks,  and  finally  set- 
tled in  Vienna.  Besides  battle  scenes  he  produced  landscapes,  animals  and  familiar  scenes  after  the  style  of 
the  Holland  masters.  His  younger  brother,  Jean  Casanova,  was  an  historical  painter  of  but  mediocre  ta- 
lent. Jacques  Casanova,  also  a  brother,  was  known  as  de  SeingaU,  a  celebrated  adventurer,  who  left  some 
very  curious   notes.      Francois  exhibited  in  the  Salons  from   17G3  to  1783. 

FRAGONARD,  (JEAN   HONORE),  Painter   and  Engraver.      Born  at  Grasse   in   1732;    died  at  Paris 

August   22,   1806. 

At  eighteen  years  of  age  he  left  Provence  with  his  family,  summoned  to  Paris  to  attend  a 
lawsuit,  by  which  he  was  ruined.  At  first  clerk  for  a  notary,  he  showed  so  little  taste  for  that 
profession,  and  such  a  marked  inclination  for  drawing,  his  mother  consented  to  present  him  to  Boucher, 
who,  at  first,  would  not  receive  him  in  his  studio,  but  advised  him  to  enter  that  of  Cliardin.  This 
preceptor  at  once  placed  the  palette  in  the  young  scholar's  hands,  and  at  the  end  of  six  months,  Frago- 
nard  presented  himself  a  second  time  to  Boucher,  who,  astonished  at  his  progress,  admitted  him  among 
his  pupils,  before  even  having  been  received  at  the  "school  of  models"  at  the  Academy.  He  competed 
for  the  prize  of  Rome  and  won  it  in  1752.  At  Rome  a  friendship  was  establishe<l  between  himself 
and  Hubert  Robert,  and  they  worked  assiduously,  copying  the  most  celebrated  pictures  of  all  the 
schools.  The  first  painting  Fragonard  executed  on  his  return  from  Rome  to  France  was  La  CaUirhoe, 
exhibited  at  the  salon  of  1765,  on  which  he  was  received  at  the  Academy  March  30th  of  the  same 
year.  Satisfied  with  that  honor,  he  did  not  endeavor  to  obtain  the  grade  of  Academician.  The  salon 
of  1767  was  the  second  and  last  in  which  Fragonard  exhibited.  Disgusted  with  official  work,  owing 
to  the  trouble  he  had  experienced  in  collecting  moneys  due  him  for  his  CaUirhoe,  he  henceforth 
worked  for  amateurs  only,  who  fought  over  the  pos-session  of  the  least  of  his  comjwsitions.  Working 
constantly,  he  produced  an  enormous  amount  of  paintings  and  drawings,  which  commanded  high  prices. 
The  Revolution  ruined  him,  and  the  rage  which  commenced  for  the  "  David  School "  left  him  with- 
out occupation.  Fragonard  had  one  son,  Alexandre-Evariste,  historical  painter  and  sculptor,  born  at 
Grasse  in  October,  1780,  died  at  Paris  November  10,  1850,  who  was  the  father  of  M.  Teophile  Fra- 
gonard, now  at  the  Manufactory  of  Sevres.  Miss  Marguerite  Gerard.  Fragonard's  sister-in-law.  born 
at  Grasse  in  1761,  was  his  favorite  pupil,  and  often  painted  with  her  tutor  on  the  same  canvas. 
He  has  signed  his  works  sometimes  with  his  full  name,  and  often  merely  Frago.  His  works  have 
been  engraved  by  Danzel,  Flipart,  Saint-Non.  Beauvarlet,  Halbou,  de  Launay,  Macret,  Mathieu,  Mi- 
ger,   Vidal,    Ponce,    etc. 

ROBERT,   (HUBERT),   Painter    and    Engraver,    born    at    Paris    in    1733,    died    in    the   same    city 

April    15,    1808. 

His  parents  had  intended  thflt  he  should  become  a  clergyman,  and  it  is  owing  to  the  inter- 
ference of  Michel-Ange-Sloodtz,  the  sculptor,  on  his  behalf,  that  he  was  permitted,  at  last,  to  follow 
his  vocation  of  painting,  and  to  start  for  Rome.  The  praises  that  were  spoken  in  regard  to  his 
talent,  by  some  young  artists  who  were  returning  from  that  city,  decided  M.  de  Marigny,  then  Su- 
perintendent  of  the    King's    Buildings,    to   write    to   M.  de   Choiseul.  French    ambassador   to   the   Pope,  to 


JEAN  JACqUE8   B0I88IEU.  31 

aak  Robert  for  a  painting  of  his  own  composition.  He  was  so  well  pleased  with  the  painting  sent 
that  he  allowed  him  a  pupil's  pension  under  the  directorship  of  Isatoire.  For  twelve  years  Robert 
worked  incessantly,  drawing  and  painting  the  most  precious  monuments  of  Italy,  and  the  number  of 
his  studies  during  that  period  is  immense.  His  ardor  for  work  and  his  venturesome  spirit  at  times, 
nearly  cost  him  his  life.  He  scaled  the  walls  of  the  Coliseum  of  Rome,  made  an  excursion  on  the 
cornice  of  St.  Peter's,  and  came  near  perishing  in  the  labyrinth  of  the  catacombs.  It  is  this  last  event 
that  inspired  Delille  with  the  episode  which  terminates  the  fourth  canto  of  the  poem,  "The  Imagination." 
On  his  return  to  France  he  was  received  at  the  Academy  July  26,  1766,  as  painter  of  architecture,  and 
gave  for  his  reception  picture  View  of  the  Port  of  Rlpeita  at  Rome.  The  Empress  Catharine  II.  in 
1782  and  1791  invited  him  to  St.  Petersburg  to  establish  himself;  but  notwithstanding  her  magnifi- 
cent offers,  he  could  not  form  the  resolution  of  leaving  his  country,  but  sent  her  paintings,  which 
were  royally  paid  for.  Robert  never  ceased  to  paint;  even  while  in  prison,  during  the  Revolution 
and  reign  of  terror,  he  had  paints  smuggled  to  him  in  the  handles  of  the  saucepans,  and  after  being 
restored  to  liberty,  continued  his  industrious  life,  and  died  of  an  apoplectic  stroke,  brush  in  hand. 
His  works  are  very  numerous.  His  friends  were  among  the  most  notable  persons  of  the  18th  century : 
Visconti,  Greuze,  Vernet,  Hall,  Madame  Le  Brun,  Gr^try,  Delille,  Le  Kain,  and  Voltaire  (for  whom 
he  painted  at  Femey  the  decorations  of  his  theatre).  His  works  have  been  numerously  engraved. 
He  exhibited  at  the  salons  from    1767   to   1798. 

BOISSIEU,  (JEAN  JACQUES),  Painter  and  engraver,  born  at  Lyons  in  1736,  died  in  the  same 
city   March    1,    1810. 

He  belonged  to  a  family  of  the  nobility,  originally  from  Auvergne,  and  had  for  paternal  an- 
cestor Jean  de  Boissieu,  secretary  of  the  mandates  of  Marguerite  de  Valois.  Although  manifesting  at 
an  early  age  a  taste  for  drawing,  his  parents  did  not  wish  to  encourage  his  inclination f  as  they  had 
destined  him  for  the  legal  profession.  Yielding  unwillingly  to  his  entreaties,  they  however  permitted 
him  to  resort  frequently  to  the  studio  of  Lombard,  then  to  that  of  Frontier,  historical  painter,  who 
settled  at  Lyons  about  this  time.  Far  more  advantageous  to  him  were  the  studies  he  was  enabled 
to  pursue  from  the  Flemish  and  Holland  paintings  owned  by  M.  Vialis,  his  maternal  uncle,  which  to 
him  were  more  profitable  teaching  than  his  lessons.  At  the  time  of  the  sale  of  the  collection  of  M. 
Bathtoa  de  Verrieux,  1.000  crowns  were  paid  for  one  of  his  drawings,  executed  after  a  painting  by 
Woawerman.  This  success  overcame  the  repugnance  his  parents  manifested  for  the  artist's  career  that 
Boissieu  showed  so  much  perseverance  in  following.  He  arrived  in  Paris  at  the  age  of  twenty-four, 
and  continued  to  study  the  Holland  School,  which  he  preferred  to  all  others,  became  the  friend  of 
Joseph  Vernet,  Watelet,  Greuze,  and  Soufflot.  Received  at  first  with  kindness  by  M.  de  Larochefou- 
canlt,  he  wa>4  soon  after  admitted  to  the  intimacy  of  this  great  lord,  who  had  appreciated  his  extreme 
modesty  and  talent.  Boissieu,  during  his  sojoiu-n  in  Paris,  would  often  paint  from  nature,  going  for 
this  purpose  to  Fontainebleau,  Marly,  and  Saint  Germain.  He  returned  to  Lyons  with  M.  de  La- 
rochefoucault's  promise  of  taking  him  as  a  compagnon  de  voyage  on  an  excursion  to  Italy  he  was 
then  contemplating.  In  the  expectancy  of  the  realization  of  this  promise,  he  busied  himself  drawing 
views  from  the  environs  of  Lyons,  and  at  the  instigation  of  Parizet,  a  dealer  in  paintings  in  that 
city,  he  began  experimenting  at  etching  with  aqua-fortis.  However,  M.  de  Larochefoucault,  faithful 
to  his  promise,  arrived  at  Lyons  at  the  time  he  had  appointed,  and  took  Boissieu  with  him  to  Italy 
io   1765.      He    made    numerous    studies    at    Florence   and    at    Rome,    where   he    became   intimate   with 


32  A    COMPLETE   HI8T0EY    OF  FRENCH   ART. 

Winkelman;  he  then  went  to  Naples.  Upon  his  return  to  Lyons,  he  painted  Bome  few  pictures,  but  Liu 
very  dehcate  health  compelled  him  to  abandon  oil  colors.  He  then  devoted  himself  entirely  to  draw- 
ing. He  executed  red-chalk  j)ortraits  with  remarkable  fineness  of  finish,  and  landscapes  in  lead  pen- 
cil, or  wash,  which  were  much  sought  after,  even  abroad.  After  his  marriage  in  1772,  he  retired  to 
the  country  and  devoted  his  attention  more  particularly  to  engraving.  In  vain  influential  friends  en- 
deavored to  bring  him  back  to  Paris.  Laborious  as  he  was  modest,  he  never  would  leave  his 
native    city. 

BARBIER,   [known  as  the   elder],   (JEAN-JACi^UES-FRANCJOrS   LE),   Painter   and    Writer,    born    in 

Rouen   in    17:^8,    died   June   7,    1826. 

He  won  the  first  prizes  for  drawings  in  1756  and  1758  offered  by  the  Academy  of  Roueu, 
then  came  to  Paris,  where  he  became  the  student  of  Pierre,  first  painter  to  the  king.  He  was  sent 
by  the  government  to  make  drawings  for  the  works  of  Zurlauben,  entitled  Topogniphical  Table  of 
Switzerland ;  it  was  then  that  an  intimacy  sprang  up  between  himself  and  Gessner.  He  proceeded 
from  thence  to  Rome ;  upon  his  return  to  Paris  was  received  by  the  Academy  May  28,  1785.  He 
was  a  member  of  the  Fine-Art  class  at  the  time  of  the  founding  of  the  Institute  in  1795.  Le 
Barbier  has  produced  a  large  series  of  studies  for  schools  of  design,  which  prepared  the  revolution 
begun  by  Vien  and  completed  by  David.  He  illustrated  a  great  number  of  compositions  from  the 
works   of  Ovid,    Racine,    Rousseau,    Delille,    etc.,   and   exhibited    in    the   salons   from    1781    to    1817. 

CALLET,   (ANTOINE-FRANCOIS),   born   in    1741,   died   in    1823. 

He  won  the  grand  prize  for  painting  at  the  Academy  in  1764.  The  subject  to  be  painted 
for  competition  had  been  given  as  Cl6obis  and  Biton  conducting  their  mother  to  the  temple  of  Juno. 
He  was  accepted  by  the  Academy  in  1779,  and  admitted  November  25.  1780;  he  painted  as  his 
reception  picture  a  ceiling  representing  Spring,  destined  to  decorate  the  Apollo  Gallery,  where  it  is 
still  to  be  found.  He  has  also  painted  pictures  and  executed  some  pastel  work.  Callet  has  exhi- 
bited  in   the    salons   from    1779   to    1817. 

BRUN   (ELIZABETH-LOUISE   VIGEE   LE),  born   in  Paris  April    16.  1755;   died  in   the   same  city 

March   30,    1842. 

She  was  only  twelve  when  her  father,  who  was  a  portrait  painter,  died.  Briard.  a  mediocre 
artist,  gave  her  a  few  lessons,  and  she  received  excellent  adWce  from  Doyen,  Greuze,  and  Joseph 
Vernet.  Her  progress  was  rapid.  At  fifteen  she  executed  artistic  portraits.  Mile.  Vig<^e  married, 
while  quite  young,  Le  Brun,  who  was  then  doing  a  large  business  in  paintings,  and  studied  with  ad- 
vantage the  remarkably  good  paintings  with  which  she  wa^  surrounded.  She  was  admitted  to  the  Royal 
Academy  of  Painting  May  31,  1783.  Frightened  by  the  events  preceding  the  Revolution,  Madame 
Le  Brim  went  to  Itjily,  where  her  success  was  as  complete  a*  it  had  been  in  Franco.  travele<l  fire- 
quently  to  Rome,  Naples,  Venice  and  Milan,  established  herself  at  Vienna  for  three  years,  visited  the 
Prague  in  April,  1795,  thence,  by  Dresden  and  Berlin,  arriving  in  St.  Petersburg  in  July  of  the  same 
year,  and  only  returned  to  France  in  1801.  Some  time  afterwards  she  took  a  trip  to  England,  where 
she  remained  three  years,  from  thence  passed  through  Holland  and  Switzerland,  in  180S  and  1809.  cam-^ 
back  to  Franco  never  to  leave  it  aaain.  Accordinc  to  a  momomndum  written  bv  herself,  Madame 
Le  Bruu  has  painted  662  portraits,  15  pictures,  and  nearlv  200  landscapes ;  also  made  a  great  many 
pastel  drawings.  She  was  received  in  all  her  travels  with  distinction  by  eminent  persons,  and  looked 
upon   as   an    artist   of    great   merit.      She   was   a   member   of    the    Academies   of   Rome.    Arcadia,    Parma, 


JEAN-GERMAIN  DROUAIS.  33 

Bologna,   St.    Petersburg,    Berlin,    Greneva,    Rouen    and   Avignon,    exhibiting   in    1783,    1785,    1787,    1789, 
1791,    1798    and    1824.      Several   of    her   paintings    have    been   reproduced   by  engravings. 

BOILLY  (LOUIS-LEOPOLD),  born  in  the  small  city  of  La  Bassee,  near  Lille,  July  5,  1761: 
died   at   Paris,    January   5,    1845. 

Boilly  had  for  preceptor  only  his  father,  Arnould  Boilly,  a  Sculptor  in  wood,  who  intended  he 
should  follow  house-painting  as  a  trade.  At  eleven  a^d  a  half  years  of  age  he  undertook  to  paint, 
for  a  chapel  of  the  Brotherhood  of  Saint  Roch,  a  picture  representing  that  saint  healing  those 
infected  with  the  plague.  This  work,  far  beyond  his  capacity,  singularly  enough  pleased  the  Brethren 
wonderfully,  who,  the  following  year,  ordered  him  to  paint  a  funeral,  the  Brotherhood  attending  and 
the  clergy  at  the  head ;  every  figure  was  a  portrait.  Already  he  manifested  great  aptitude  in  trans- 
ferring to  his  canvas  the  resemblance  of  his  subject.  These  two  pictures  still  exist  in  his  native 
city.  At  thirteen  and  a  half  years  of  age,  he  left  his  parents,  came  to  Douai,  to  visit  a  prior  of 
the  Augustins;  he  made  a  few  portraits  in  the  convent.  In  1777,  forming  the  acquaintance  of  M.  de 
Go\iz\6,  Bishop  of  Arras,  he  went  thither,  and  in  two  years  painted  more  than  three  hundred  portraits, 
each  of  which  he  finished  in  two  hours.  At  twenty-fivo  he  arrived  in  Paris,  where  he  established  him- 
self, and  from  that  time  executed  an  infinite  number  of  paintings  in  various  styles,  the  best  of  which 
were  reproduced  by  the  engraver.  Ho  made  five  thousand  pictures,  composed  an  incredible  number 
of  designs  painted  during  seventy-two  years,  and  died,  it  might  be  said,  brush  in  hand.  He  obtained 
a  number  of  prizes  and  rewards ;  was  decorated  with  the  Order  of  the  Legion  of  Honor.  He  had, 
by  his  second  wife,  three  sons,  who  followed  the  fine  arts  as  a  profession :  M.  Jules  Boilly,  painter 
and  lithographer ;  M.  Edouard  Boilly,  composer  of  music ;  M.  Alphonse  Boilly,  engraver.  He,  the 
father,  exhibited  in   1793,    1795,    1798,    1799,    1800.    1804,    1808,    1812,    1814,    1819,    1822  and   1824. 

DROUAIS  (JEAN-GEBMAIN),  bom  at  Paris  November  25,  1763;  died  in  Rome,  February  13, 
1788. 

Several  biographers  state  that  he  is  the  son  of  Henri  Drouais,  a  portrait-painter,  of  whom 
no  satisfactory  account  is  given,  nor  identity  proven ;  but  who  they  claim  was  the  son  of  either 
Hubert  Drooais  or  Fran9oi8-Hubert  Drouais,  becjiuso  they  are  even  at  variance  in  regard  to  this 
fact.  Mr.  Ctiaussard,  who  has  published  an  autobiographical  sketch  of  Jean-Germain  Drouais,  and 
who  obtained  all  the  facts  contained  therein  from  David,  whose  love  for  his  pupil  was  truly  of  a 
paternal  nature,  calls  him  the  son  of  Fmnijois-Hubert  Drouais.  Young  Germain,  from  childhood, 
handled  the  pencil  with  ease,  and  at  ten  years  of  ago  his  attempts  were  truly  remarkable.  His 
father,  having  instructtnl  him  in  the  first  rudiments,  placed  him  with  Brenct,  from  whence  ho  entered 
David's  school.  He  competed  for  the  prize  offered  by  the  Academy  in  1783;  but,  dissatisfied  with 
his  production,  he  tore  it  to  pieces  and  showed  them  to  his  preceptor,  who,  judging  from  one  of  the 
fragments  of  the  worth  of  the  composition,  censured  him  for  renouncing  voluntarily  a  victory  he  cer- 
tainly would  have  achieved.  No  first  prize  was  given  that  year;  but  at  the  next  competition,  in 
1784,  he  a-stonished  the  whole  Academy  by  his  painting,  the  Canaanitish  woman  at  the  feet  of  our 
Lord  Jesus  Christ;  it  was  unanimously  voted  the  grand  prize  for  painting.  Never  before  had  such  a 
gem  appeared  at  a  competition ;  the  enthusiasm  produced  was  never  before  equalled.  Young  Drouais 
started  for  Rome  in  1785.  David,  who  could  not  be  without  him,  accompanied  and  remained  one 
year  with  his  pupil  in  Italy,  where  he  studied  the  Antique  and  Raphael;  sent  several  works  home, 
which    won    him   great   popularity.      An   inflammatory   fever   supervened,   as   he   was   sketching   a   Gracchi 


34  A    COMPLETE   HIS  TOUT   OF  FRENCH  ART. 

issuing  from  his  house  to  suppress  the  insurrection  by  which  he  perished.  Drouais  died  aged  twenty- 
five,  lamented  as  a  brother  by  his  comrades,  who  buried  him  in  St.  Mary's  Church,  in  via  Lata, 
and    erected    a   monument    sculptured    by    his    friend    Claude    Michallon. 

Tlio  Louvre  contains,  Marius  at  Minturnes,  which  we  illustrate.  The  picture  representa  Marius 
seated  in  a  room  at  Minturnes  turning  towards  the  Graulish  slave  who  was  sent  to  assassinate  him.  The 
latter,  a  naked  sword  in  his  hand,  is  hiding  his  face  with  his  mantle  and  drawing  back,  at  the  imposing 
aspect  of  the  conquered   warrior. 

HENNEQUIN   (PHIIIPPE-ArGUSTE),   Painter   and    Engraver;    bom   at   Lyons   in    1763;    died    at 

Leuze,    near   Tournay,    May    12,    1833. 

After  having  received  elementiiry  instruction  in  the  art  at  Lyons,  lie  came  to  Paris,  studied 
under  Taraval,  Gois,  Brcnnct,  and  entered  David's  school,  becoming  one  of  its  best  Bcholars.  He  was 
ill  Rome  at  the  outburst  of  the  French  Revolution.  Persecuted  by  the  Papal  government  on  account 
of  ilia  political  opinions,  ho  succeeded  in  returning  to  France  only  after  overcoming  great  difficulties. 
On  his  airival  at  Lyons,  he  was  incarcerated  in  that  city,  after  the  9th  Thcrmidor,  year  IL  (July 
27,  1794),  and  was  fortunate  in  making  good  his  escape  a  few  days  previous  to  the  date  of  the 
massacre  of  the  prisoners.  Hennequin  took  refuge  in  Paris,  and  was  again  arrested,  and  escaped 
death  only  by  the  protection  of  the  minister  and  the  efforts  of  a  few  devoted  friends.  Having 
regained  liin  liberty,  lie  renounced  all  political  partisanship  and  busied  himself  solely  with  his  pro- 
fession. \\\  ItSl  j,  ho  removed  to  Li<^ge.  He  received  encouragement  from  the  government  of  the 
Pays  Bas,  retiring  finally  to  Tournay,  where  he  became  director  of  the  Acatlemy  of  Design,  retaining 
that  ]>osition  to  tlic  time  of  his  death.  He  exhibited  at  the  salons  of  1798,  1799,  1800,  1804, 
1806   and    1814. 

GROS  (ANTOINE  JEAN),  who  was  born  in  1771,  suddenly  quitted  the  usual  track,  to  open  a 
fresh  career  for  himself.  Gros  marks  the  second  phase,  the  passage  between  the  imprisoned  art  of 
the  Empire  and  the  emancipated  art  of  the  Restoration.  Without  returning  to  sacred  history,  he  aban- 
doned mythology  and  ancient  historj',  and  formed  himself  on  his  own  country  and  time,  and  painted 
tlio  men  and  the  things  before  his  eyes.  To  this  radical  change  of  subject  ho  had  to  join  a  similar 
change  in  style  and  taste,  and  oven  to  give  the  conteraporarj'  costumes  picturesque  aspects ;  and  what 
completes  his  originality  is,  that  ho  introduced  two  fresh  elements  in  the  execution,  too  much  neg- 
lected by  the  old  school — color  and  movement.  The  style  of  Gros  was  an  undoubted  progress.  The 
proof  of  this  is  to  bo  found  in  some  fine  works  taken  to  the  Louvre  from  the  galleries  of  Versailles, 
sucli  as  Jaffa  Plague-stricken,  the  Battle  of  Aboukir,  and  especially  the  BaUlc-Jveld  of  Eyiau,  a  great 
work  as  well  as  an  instructive  lesson,  the  most  heart-rending  image  of  the  desolation  caused  by  war 
ever  traced   by  pencil.      Gros    died    in    1835. 

GUERIN  (PIERRE  NARCISSE),  born  at  Paris  in  1774,  was  the  pupil  of  Jean  Regnault,  who 
followed  the  track  thrown  open  by  David.  His  Marcus  Sextus  returning  from  exile  and  finding  his 
hearth  devastated  by  misery  and  death,  a  fine  painting,  (see  illustrative  wood  engraving),  which  made 
the  artist  known  in  1798,  has  remained  his  principal  work.  His  later  pictures  are  scenes  rather  theatrical 
than  truly  dramatic,  and  the  last  in  date,  Dido  Listening  to  the  Narrative  of  .Mneas,  falls  completely  into 
the  style  of  the  "pretty,"  the  worst  enemy  of  the  beautiful.  Gu^rin  died  in  1833.  Many  of  his  works 
have    been    cno;raved. 


L0UI8-NIC0LA8-PHILIPPE-AUGU8TE    COMTE   DE  FORBIN.  35 

PRUIFHOX  (PIERRE  PAUL),  the  thirteenth  child  of  a  mason  of  Burgundy,  was  born  in  1758. 
Brought  up  by  charity,  and  inventing  for  himself  the  processes  of  painting,  waging  a  continual  war  with 
poverty,  obliged,  in  order  to  gain  a  livelihood  for  his  family,  to  devote  his  days  and  nights  to  unworthy 
labors,  such  as  drawing  vignettes  for  books  and  designs  for  sugar-plum  boxes,  Prud'hon  was  long  neglected. 
In  early  life  he  went  to  Rome,  and  formed  acquaintance  with  Canova.  In  1799  he  returned  to  France, 
and  he  was  already  forty-nine  when,  in  1807,  his  fellow-countryman  Prochot,  the  prefect  of  the  Seine, 
ordered  a  picture  of  him.  his  first  composition  in  high  art,  the  celebrated  allegory  of  Divine  Justice  and 
Vejigeance  Pursuing  Orime.  Notwithstanding  the  prevailing  taste  of  the  time,  this  painting  attracted  great 
notice.  The  admirers  of  ancient  sculpture  placed  on  canvas  condescended  to  acknowledge  that  there  were 
great  qualities  of  execution,  a  happy  arrangement,  correct  expression,  skillful  touch,  harmonious  and 
powerful  effect.  The  Louvre  has  acquired  this  work,  and  it  has  also  taken  a  Christ  on  Calvary,  from  the 
cathedral  of  Strasburg.  Notwithstanding  the  usual  figures  around,  the  Virgin,  Mary  Magdalene  and  John, 
a  group  of  wonderful  beauty,  this  dying  Christ,  whose  countenance  is  to  a  certain  degree  lost  in  the 
darkness,  raminds  us  of  the  wonderful  Christ  on  the  Cross  which  Velasquez  has  painted  like  a  pale 
spectre  in  the  gloom  of  night.  In  both  these  works  there  is  the  same  melancholy  and  solemn 
majesty. 

Bat  both  these  pictures  are  pathetic,  and  we  have  said  that  the  special  merit  of  Prud'hon  was 
grace.  His  favorite  model  was  Leonardo  da  Vinci,  from  whom  he  derived  his  moving  and  smiling  grace, 
and  whom  he  called  "  my  master  and  my  hero."  Prud'hon  is,  therefore,  incomplete  in  the  Louvre ;  we 
most  seek  in  private  collections  for  other  works — such  as  Zephyr  Pocked  on  the  Waters,  the  Pape  of 
Psyche  by  the  Zephyrs,  or  the  Desolate  Family,  to  show  how  he  treated  the  antique,  and  that  he  could 
impart  as  much  poetry  to  contemporary  sufferings  as  to  the  fictions  of  mythology.  Prud'hon  died  at  Paris 
in    1823.     (See  wood  engraving  of  Spring  Time,  illustrated  from  the  collection  of  the  Duke  D'Aumale). 

GRANET  (FRAN9OLS  MARIUS),  another  mason's  son,  was  born  at  Aix-en-Provence,  in  1775. 
He  is  celebrated  for  his  Interiors,  two  of  which  may  be  seen  in  the  Louvre,  the  Cloister  of  the  Church 
of  Aatin,  and  the  Fathers  of  Mercy  redeeming  captives.  Granet,  differing  in  this  from  Peter  Neefs  and 
Emmanuel  de  Witt,  animated  his  portraits  of  buildings  by  scenes  from  human  life,  and,  like  Pieter  de 
Hooch,  raised  his  less  familiar  subjects  to  the  rank  of  historical  pictures.      Granet  died  in   1849. 

FORBIX  (LOCIS-XICOLAS-PHIIJPPE-AUGISTE,  COMTE  DE),  Painter  and  Writer,  born  at  La 
Roque-<l'Antheron   (Bouches-du-Rhone),    August   19,    1777;    died   at   Paris,    February    23,    1841. 

A  refugee  in  Lyons  at  the  time  that  city  was  besieged,  young  Forbin  witnessed  the  sad  spec- 
tacle of  the  killing  of  his  father  and  uncle.  Penniless,  alone  and  without  support,  through  the  friend- 
ship of  M.  de  Boissieu,  the  great  Lyonese  artist,  who  taught  him  the  elements  of  the  art,  he  was 
afforded  the  means  of  earning  a  livelihood.  Forced  to  enlist  in  a  battalion  sent  to  Nice  and  Toulon, 
he  became  intimate  with  M.  Granet,  of  the  latter  city ;  this  friendship  continued  for  life.  At  the 
end  of  the  campaign,  he  went  to  Paris,  and  studied  at  David's  studio,  where  he  remained  until  ho 
attained  the  conscription  age.  Forced  again  to  abandon  his  profession,  ho,  in  1799,  enlisted  in  the 
Twenty-first  Regiment  of  Chasseurn,  and  two  years  after  in  the  Ninth  dragoons.  Having  obtained 
his  discharge,  he  went  to  Italy,  and  was  received  in  a  very  friendly  manner  by  the  Bonaparte  family. 
On  his  return  to  Paris,  at  the  time  of  the  crowning  of  Bonaparte,  M.  de  Forbin  was,  in  1803,  appointed 
Chamberlain  to  the  Princess  Pauline ;  he  afterwards  enlisted,  and  took  part  in  the  first  campaign  in  Portugal, 
where  he  received  the  cross  of  the  Legion  of   Honor  for  gallant  conduct;    then   in   the   Austrian  campaign, 


36  A    COMPLETE   HISTORY   OF  FRENCH  ART. 

under  Marshal  due  d'Istrie.  After  the  conclusion  of  peace,  ho  resigned  hie  commission,  left  the  army  and 
the  court,  returned  to  Rome,  where  he  gave  his  entire  attention  to  painting.  In  1814,  a  few  months  after 
the  re-accession  of  the  Bourbons,  he  returned  to  Paris,  became,  in  1816,  member  of  the  Instilute,  and 
Director-General  of  the  Royal  Museums.  In  1817,  traveled  through  Syria,  Greece  and  Egypt;  then  to 
Sicily ;  the  first  journey  he  published  an  account  of,  in  parts,  the  second  of  which  was  embellished  with 
numerous  designs.  In  1821,  M.  de  Forbin  was  Inspector-General  of  the  Fine  Arts  and  Monuments 
throughout  France.  The  Museum  of  the  Louvre  is  indebted  to  his  able  administration,  who  obtained  the 
incorporation  of  the  Luxembourg  Museum,  devoted  to  living  artists.  M.  de  Forbin  became  Lieutenant- 
Colonel,  was  Knight  of  the  Order  of  St.  Michael,  etc.,  etc.  He  exhibited  in  the  salons  of  1796,  1799, 
1800,  1801,  1806,  1817,  1819,  1822,  1824,  1831,  1834,  1835,  1839  and  1840. 

From  the  Louvre  we  illustrate  A  Monaatery  by  tJie  Mediterranean  Sea.  This  monument,  built 
in  the  thirteenth  century,  on  the  shores  of  the  Mediterranean,  a  few  leagues  from  Carrara,  has  been 
invaded  by  the  sea,  which  now  surrounds  it,  making  it  an  island,  distant  about  half  a  league  from 
the   shore. 

SIGALON   (XAVIER),   born  in  1788,  at  Uz<58  (departement  du  Gard);  died  in  Rome,  August  18,  1837. 

Bigalon  learned  the  elements  of  painting  from  a  mediocre  pupil  of  David,  named  Monrose,  who 
had  estiiblished  himself  at  Nlmes.  -Ho  came  to  Paris  at  twenty-nine,  to  complete  his  studies,  and  entered 
the  studio  of  Pierre  Gu6rin,  whom  he  left  at  the  end  of  six  months,  to  work  in  company  with  M. 
Souchon,  one  of  his  countrymen.  It  is  to  the  continued  contemplation  of  the  masterpieces  gathered  at  the 
Louvre  that  Sigalon  owed  the  development  of  his  talent.  After  painting  numerous  works  of  great  merit, 
for  one  among  which  he  received  the  cross  of  the  Legion  of  Honor,  Sigalon  found  liimself  without  work 
and  without  money ;  left  Paris,  returned  to  Nlmes,  renounced  large  painting,  and  made  only  portraits. 
M.  Thiers,  who  was  then  Minister,  recalled  him  to  Paris,  and  then  gave  him  the  order  to  copy,  at 
Rome,  for  one  of  the  parlors  in  the  Palace  of  the  Fine  Arts,  the  fresco  representing  the  Last  Judg- 
ment, by  Michael  Angolo.  He  was  awarded  for  this  gigantic  work  58,000  fmncs,  to  which  was  added 
an  indemnity  of  20,000  francs  and  a  life-pension  of  3000  francs,  which  the  artist  wa.s  destined  to 
enjoy  but  a  short  timo.  Bigalon  started  for  Rome  in  July,  1833 ;  commenced  liis  labors,  aided  by 
his  pupil,  M.  Numa  Boucoiran.  His  copy,  on  exhibition  in  Rome,  created  a  great  sensation.  The 
Pope,  Gregory  XVI.,  followed  by  cardinals,  came  to  see  it,  and  extended  his  hand  to  the  courageous 
artist,  honors  bestowed  on  sovereigns  only,  complimented  him  on  the  success  of  his  enterprise,  which 
had  been  full  of  obstacles  of  all  kinds  to  overcome.  Sigalon  brought  his  copy  to  Paris  in  February, 
1837,  and  returned  a  short  time  after  to  copy  the  pendentives  of  the  Sixtine  Chapel ;  but  he  was  unable 
to  finish  that  work,  and  died  from  an  attack  of  cholera;  was  interred  at  St.  Louis-des-Franyais.  He 
exhibited   in    the   salons   of    1822,    1824,    1827    and    1831. 

GERICAUIT  (THEODORE),  who  was  born  at  Rouen  in  1791.  wa.s  a  pupil  first  of  Carle  Vernet, 
and  next  of  Pierre  Gudrin.  At  first  he  was  a  simple  amateur,  cultivating  art  only  as  a  pastime,  and 
as  he  died  very  young,  leaving  scarcely  anything  but  sketches,  it  is  difficult  to  understand  how  it 
happened  that  he  played  so  important  a  part  in  French  art,  and  exerted  such  influence  on  the  whole 
school.  But  he  came  forward  at  the  time  when  literary  liberty  was  reviving  with  political  liberty,  and 
tlie  whole  of  society  was  advancing.  The  example  of  GtJricault  coining  in  at  this  moment  was  suffi- 
cient  to    urse    French    art    forward    in    this    general    movement   of    the    human    mind. 

His    works    in    the    Louvre    mark    the    commencement    and    close    of    his    short    fife.     The    Chasseur 


EMILE   JEAN  HORACE    VERNET.  37 

de  la  Garde  and  the  Cuirassier  blesse  belong   to   the   period   when,  still   following   on   the   traces   of  Carle 
Vemet,  he  was  simply  a  painter  of  horses. 

It  was  towards  the  close  of  his  life  that  G^ricault  painted  the  only  great  work  of  his  life,  the 
Raft  of  the  Medusa.  After  the  destruction  of  a  frigate  of  that  name  on  the  coasts  of  Senegal,  the  crew 
endeavored  to  save  themselves  on  a  raft  made  from  the  wreck  of  the  ship,  and  scarcely  fifteen  men, 
kept  alive  with  the  flesh  of  the  dead,  survived  the  horrors  of  revolts,  combats,  stormy  seas,  hunger  and 
thirst.  It  is  the  moment  preceding  their  deliverance  that  the  artist,  after  some  hesitation,  chose  for  his 
subject.  This  picture  was  at  first  received  with  a  storm  of  reproaches,  but  when  it  was  exhibited  in 
London  it  won  much  praise,  and  is  now  one  of  the  celebrities  of  the  Louvre.  Gericault  died  when  but 
thirty-three   years  of  age,  in   1824.     (See  illustration.) 

INGRES  (JEAN  AUGUSTE  DOMINIQUE),  was  born  at  Montauban,  about  1780,  and  in  his 
early  boyhood  showed  an  equal  taste  for  music  and  painting.  At  the  age  of  sixteen,  he  chose  art  as 
his  profession,  and  entered  the  studio  of  the  stem  classic  master  David,  where  he  remained  four  years, 
and  gained  many  proselytes  to  his  own  peculiar  ideas  amongst  his  fellow  pupils.  In  1800  he  won  the 
second,  and  in  1801  the  first  Academic  prize,  and  received  a  pension  of  1000  francs.  In  1802,  Ingres 
painted  his  first  important  work,  Bonaparte  Passing  the  Bridge  of  Kehl,  and  in  1806  realized  a  long- 
cherished  dream  of  visiting  Rome,  where  he  remained  until  1820,  studying  the  works  of  Raphael  and 
the  other  great  masters  of  the  golden  age  of  painting  with  eager  and  unceasing  enthusiasm.  In  1820 
he  removed  to  Florence,  where  he  resided  four  years,  painting  the  Entry  of  Charles  V.  into  Paris,  and 
the  Vow  of  Louia  XIII.,  now  in  a  church  at  Montauban.  In  1824  he  returned  to  Paris,  to  find  the 
school  of  David  supplanted  by  that  of  Delacroix,  and  to  begin  that  struggle  with  public  opinion  which 
lasted  until  his  death.  His  works  were  ridiculed  in  the  journals,  and  the  honors,  such  as  the  decora- 
tion of  the  Legion  of  Honor,  seem  to  have  but  slightly  atoned  for  the  pain  inflicted  by  the  pens  of 
the  reviewers. 

In  1827  he  completed  his  Apotheosis  of  Homer,  on  a  ceiling  in  the  Louvre ;  in  1829  was  elected 
Professor  of  Painting  in  the  Ecole  des  Beaux-Arts ;  in  1833  became  an  officer  of  the  Legion  of  Honor, 
aad  in  1835  Director  of  the  French  Academy  in  Rome ;  the  last-named  appointment  enabling  him  to 
return  to  the  city  of  his  affections.  But  his  spirit  seems  to  have  been  broken  by  the  heartlessness 
of  his  countrymen ;  he  painted  but  few  pictures ;  declined  a  commission  for  which  £16,000  was  oflfered 
him,  and  devoted  the  remainder  of  his  life  rather  to  implanting  his  principles  in  the  breasts  of  his 
pupils  than  to  carrying  them  out  himself.  He  returned  to  France  in  1840;  in  1845  was  nominated 
Commander,  and   in    1855   Grand   Officer  of  the   Legion  of  Honor. 

Ingres  died  in  January,  1867,  leaving  behind  him,  in  addition  to  the  masterpieces  wo  have  men- 
tioned, several  great  works,  including  the  Odalesque,  which  appeared  in  1819 ;  the  Martyrdom  of  St. 
Symphorien ;  Christ  Delivering  the  Keys  to  St.  Peter;  Roger  Rescuing  Angelique;  Stratonice;  (Edipus  Ex- 
plaining the  lUdelle  of  the  Sphinx;  and  La  Source,  the  picture  which  attracted  such  universal  admiration 
in  the  London  Exhibition  of  1862. 

TEBNET  (EMILE  JEAN  HORACE),  the  son  of  Carle  Vemet,  was  born  in  the  Louvre,  where  his 
father  had  apartments,  in  1789.  His  first  teacher  was  his  father,  the  second  was  M.  Vincent.  When 
quite  a  child  he  drew  a  good  deal,  and  it  is  said  that  his  first  successful  essay  was  the  decoration 
of  a  banting  card   for  the  emperor;   even   in  boyhood   he  sold  whatever  works  he  could  execute,  portraits, 


38  A    COMPLETE   HISTORY   OF  FRENCH  ART. 

vignettes,  and  the  like ;  at  thirteen  he  was  able  to  support  himself.  He  continued  painting  with  assiduity, 
but  gave  a  good  deal  of  his  time  to  drawing  for  the  "Journal  des  Modes;"  he  failed  to  win  the  grand 
prix,  which  enables  a  student  to  go  to  Rome,  and  it  was  not  likely  he  would  succeed  in  a  school  which 
was  administered  by  the  admirers  of  David ;  he  married  Mdlle.  Louise  de  Pujol,  before  either  party 
was  of  age.  Vernet  served  in  the  .army  for  a  time,  and  thus  not  only  signalized  his  military  spirit, 
but  obtained  practical  knowledge  of  regimental  details  and  training,  which  was  of  inestimable  use  to 
him  in  producing  those  intensely  vigorous  battle-pieces  which  have,  aptly  enough,  been  called  "  stupendous," 
and  of  which  every  private  soldier  is  a  competent  critic. 

As  may  be  imagined,  from  the  tremendous  amount  of  painting  executed  by  this  artist,  during 
a  life  which  was  not  remarkably  long,  he  was  an  industrious  man,  laboring  with  indefatigable  energy 
and  assiduity ;  and,  above  all,  his  executive  power  approached  the  marvellous  by  its  rapidity,  its  precision, 
its  comprehensiveness,  its  tact,  its  vigor.  He  is  said  to  have  reckoned  his  portraits  by  more  than  one 
hundred,  his  drawings  by  more  than  fifteen  hundred,  his  pictures,  some  of  which  are  of  large  sizes,  by 
four  hundred  at  least.  He  obtained  a  medal  of  the  first  class  for  historical  paintmg  in  1812.  In  1814. 
he  enlisted  in  a  regiment  of  hussars  with  O^ricault,  and  distinguished  himself  in  the  defence  of  Paris,  at 
the  Barrier  of  Clichy.  Napoleon  I.  decorated  him  with  his  own  hand,  in  acknowledgment  of  liis  services. 
Tlie  enthusiasm  of  Vernet,  the  Han  with  which  he  threw  himself  into  the  course  he  had  advocated, 
may  be  judged  from  the  fact  that,  after  the  downfall  of  Napoleon,  he  occupied  himself  in  producing 
satires  and  caricatures  of  the  invaders,  which  wore  lithographed  and  disseminated  throughout  France. 
It  is  said  that  the  directors  of  the  Salon  of  1822  excluded  Vernet's  pictures;  but  this  is,  no  doubt, 
a  mistake,  if  we  are  to  understand  that  these  gentlemen  acted  in  this  manner  from  political  reasons. 
At  any  rate,  Vernet  opened  a  private  exhibition  for  his  pictures,  and  attracted  crowds  to  see  them.  These 
works  comprised  a  Portrait  of  Napoleon,  draped  in  black,  and  representations  of  the  Defence  of  the  Barrier 
of  Clichy,  the  Battle  of  Oenappe,  etc. 

Vernet's  popularity  at  this  time  was  great ;  his  exertions  were  indomitable  and  illimitable ;  he 
became  a  person  of  considerable  political  importance,  to  whom  it  is  said  to  have  been  worth  Charles  the 
Tenth's  while  to  bo  civil.  The  king  was  unsuccessful  in  converting  the  artist  to  his  side,  for  the  latter 
continued  to  paint  the  victories  of  Napoleon  while  he  lived  under  the  reign  of  his  successor  and  enemy. 
Everyone  knows  those  tremendous  battle-pieces,  each  of  which  exalts  the  star  of  Buonaparte,  and  dis- 
plays the  military  glory  of  the  French  nation.  There  are  acres  of  these  intensely  energetic  pictures  with 
thousands  of  figures  bleeding  or  shedding  blood ;  they  are  marvels  of  elan,  fountains  of  fierce,  warlike  spirit. 
the  pictorial  apotheoses  of  sanguinary  heroism.  The  Farewell  ai  Fotitainebleau  has  made  some  of  Napoleon's 
enemies  sigh ;  at  one  time  there  was  no  picture  so  popular  in  England  as  this  one,  and  it  is  still 
admired  for  its  pathos,  not  as  a  record  of  a  great  national  triumph.  This,  and  the  contracted  Batile 
of  Montmirail,  now  in  the  collection  of  Sir  R.  Wallace,  an  intensely  dramatic  work,  and  the  admirable 
Battle  of  Fontenoy,  are,  we  think,  Vernet's  best  productions. 

If  wc  are  to  take  a  man  and  judge  him  according  to  the  standard  which  he  has  endeavored  to 
attain,  honoring  him  if  he  is  successful,  without  taking  the  height  of  that  standard  into  question,  then 
Horace  Vernet  was  a  very  great  painter  indeed ;  but,  as  we  cannot  quite  do  so,  we  are  compelled  to 
declare,  in  addition  to  what  we  have  said  before,  that  he  seems  to  have  been  a  very  successful  artist,  of 
prodigiously  brilliant  qualities,  and  possessed  of  amazing  skill. 

In  1826,  Vernet  was  elected  a  member  of  the  Institute,  a  fact  which  does  not  affirm  the  reported 
antagonism  of   Charles  the  Tenth ;    still  less  does  it  show  that  that  not  very  brilliant  monarch  dreaded  the 


LilOPOLD    ROBERT.  39 

indomitable  Horace.  In  1828,  the  painter  was  appointed  Director  of  the  French  Academy  in  Rome,  where 
he  remainetl  till  1835.  lu  1830  he  resigned  this  post,  and  actually  proposed  to  Louis-Philippe  the  sup- 
pression of  the  Academy  which  he  had  directed.  The  friends  of  Vernet  relate  these  events  with  a  sort 
of  awe,  giving  a  notion  that  Paris  was  convulsed  when  the  news  came  that  Vernet  had  resigned.  He 
recalled  bis  resignation,  and  remained  till  1835,  when  he  was  succeeded  by  Ingres,  a  much  fitter  man 
or  sacb  a  post.  On  his  return,  the  Citizen  King  employed  Vernet  to  paint  those  interminable  pictures 
of  the  campaigns  in  Africa,  which  exhaust  the  hunxan  mind  in  the  galleries  at  Versailles  ;  he  also  painted 
subjects  of  the  war  in  Belgium.  He  labored  six  years  on  these  things,  and  accomplished  a  wonderful 
amount  of  work  in  the  time.  In  1839  he  went  to  the  East,  afterwards  he  went  to  Russia,  and  repeated 
this  visit  twice — once  at  the  siege  of  Sebastopol.  He  painted  more  and  ever  more  battle-pieces,  portraits, 
and  interiors.  In  1845  he  lost  his  daughter,  who  had  married  Paul  Delaroche,  and  in  1855  his  wife 
died;  he  married  again  in  1858,  but  a  long  and  painful  illness  *  prostrated  the  vigorous  and  energetic 
designer,  who  concluded  the  battle  of  life  January  17,  1863.* 

DBOLUNO  (MICHAEL  MARTIN),  was  born  at  Paris  in  1786;  he  was  the  son  of  Martin  Drolling, 
several  of  whose  pictures  are  in  the  Louvre.  Young  Drolling  entered  the  school  of  David  and  soon  dis- 
tinguished himself.  In  1811  he  won  the  Grand  Prize  of  the  Salon  by  his  picture.  The  Wrcdh  of  Achilles. 
In  later  years  he  established  a  school  of  painting  in  Paris,  and  is  distinguished  by  having  instructed  many 
eminent  painters.  His  best  known  works  are  The  Death  of  Abel,  The  Conversion  of  St.  Paul,  and  Orpheiis 
and  Eurydice.     He  died  at  Paris,  1851. 

PICOT  -FRANCIS  EDWARD;,  was  born  at  Paris  1786;  studied  under  M.  Vincent,  won  the  second 
prize  of  the  Salon,  1811,  and  the  prize  of  Rome,  1819,  by  his  picture,  The  Death  of  Sapphira.  Like 
Drolling  and  Cognet,  he  was  a  successful  instructor  of  his  art,  and  numbers  among  his  scholars  many  dis- 
tingnished  names.  His  best  known  works  are  The  Delivery  of  St.  Peter,  Raphael  and  the  Pomarina  and 
l%e  Duke  of  Orleam  and  Family — the  latter  in  the  Palais  Royal.  He  was  decorated  Chevalier  of  the 
Legion  of  Honour,  1832.      He  died  1868. 

Dl'BUFE  (CLAUDE   MARIE\  was  bom  in  Paris  in  1793,  and  took  his   first  lessons  in  art  in  the 

studio  of  the  great  classic  master,  David.  His  earliest  independent  works  were  historical,  and  included 
the  well-known  Roman  Family  Dying  of  Famine,  and  Achilles  Taking  Iphigenia  under  his  Protection. 
They  were  succeeded  by  Christ  Stilling  the  Tempest:  Apollo  and  Cyparissus;  the  Birth  of  the  Duke  of 
Bordeaux;  Christ  Walking  on  the  Sea  of  Galilee, •  The  Deliverance  of  St.  Peter,  which  attracted  so  much 
attention  as  to  induce  the  French  government  to  confide  to  their  gifted  author  the  decoration  of  the 
Brst  saloon  of  the  state  council  chamber.  Tlie  pictures  painted  for  this  purpose  were  symbolical  rather 
than  historical,  and  reprcsentetl  Egj-pt,  Greece,  Italy  and  France.  In  1827  Dubufe  changed  his  style 
and  class  of  subjects;  his  Remembrances,  Regrets,  the  Nest,  the  Slave  Merchant,  taking  high  rank  as 
genre  pictures.  His  portraits,  especially  thof>e  of  the  Queen  of  the  Belgians,  the  Duchess  of  Istria,  and 
Mdlle.    Vernon  as  Fenella,  are  also  greatly  admired.      Dubufe  died  in  April,  1864. 

ROBERT  'LEOPOLD^  was  born  in  Swltzeriand  in  1794.  At  first  an  engraver,  then  a  pupil 
of  David  and  Gerard  at   Paris,  whilst  Gc^ricault  was   studying  under  Pierre  Gudrin,  he  went  very  late   to 

'  Th*  b«t  aeeonnt  of  the  lifa  of  Iloracn  VernH  in  thai  from  whirh  wo  have  borrowe>l  materials  for  the  above  sketch  This 
biography  wm  piihli«h«4  in  "The  Fine  Art*  Quarterly  Review,"  No.  Ill,,  1861;  it  i<  Mgned  "  M.  C.  If."  To  the  same  souice  we  are  much 
ind«ht«4   for  the  momoir  of  Delarorhe      8c«   No    IV.   of  the   Fame  review. 


40  A    COMPLETE   HISTORY   OF  FRENCH  ART. 

Italy  to  become  an  original  painter,  and  almost  immediately  after  gave  up  art  by  a  voluntary  and 
premature  death.  In  Italy  he  returned  to  the  tradition  of  historical  landscape — ^scenes  of  history  mixed 
with  the  scenes  of  nature.  His  subjects  varied,  are  chosen  intelligently,  and  carefully  studied  even  in 
their  slightest  detail,  and  are  full  of  poetry.  We  always  feel  in  them  his  love  of  the  beautiful  as 
well  as  of  the  true ;  and  the  country  round  Rome,  as  he  represents  it,  becomes  as  noble  as  ancient 
Arcadia.  Three  of  his  most  important  works  were  presented  to  the  Louvre  by  King  Louis-Philippe — 
the  Italian  Improvisatore,  the  Feast  of  the  Madonna  di  Pie-di-grotta,  and  the  Harvest  Feast  in  the  Roman 
Oampagna.  This  Agro  Romano,  where  the  handsome  mountaineers  have  come  down  for  the  harvest, 
with  their  pifferari,  as  they  had  come  down  for  the  sowing,  flying  off  again  to  escape  the  attacks  of 
malaria — this  Agro  Romano,  which  has  been  popularised  by  the  fine  engraving  of  Mercuri,  contains  a 
complete  summary  of  the  merits  of  its  author.  It  is  a  pity  that  to  these  three  magnificent  pictures, 
full  of  sunshine  and  joy,  the  Louvre  has  not  been  able  to  add  one  which  the  painter  has,  on  the  con- 
trary, covered  with  a  veil  of  melancholy,  the  Departure  of  Fishing  Boats  in  the  Adriatic,  in  which  L6o- 
pold  Robert  seems  to  foretell  a  departure  without  a  return,  and  which  he  completed  at  Venice  just 
before   he   ended   his   own    life   in   the   year    1835. 

COGNIET  (LEON),  was  born  at  Paris,  August  29th,  1794.  A  pupil  of  Gu6rin.  won  the  Prire 
of  Rome  in  1817  by  his  picture,  Helen  delivered  by  Castor  and  Pollux.  His  best  known  pictures 
are  Marius  amid  the  Rains  of  Carthage,  Tlie  Massacre  of  the  Innocents,  and  Tintoretto  pcuniing  his 
Daughter's  Portrait  from  Iter  Corpse. 

Cognict  was  decorated  Chevalier  of  the  Legion  of  Honour,  1823 ;  Grand  OflScer,  1846,  and  was 
elected  Member  of  the  Institute,  1855.  His  fame,  however,  will  rest  most  securely  on  the  fact  of  his 
successful  school,  from  which  he  can  count  such  illustrious  names  as  Miiissonier,  Jules  Lefebvre,  Hugo 
Merle,  Charles  L.  MuUer,  Tony  Robert- Fleury,  and  a  host  of  others. 

SCHEFFER  (ARY),   who   was   born   at   Dordrecht,  of  French   parents,  in  1795,  had  the  misfortune 

when  quite  young  to  lose  his  father,  who  had,  however,  given  him  an  elementary  education  in  art. 
His  widowed  mother  took  him,  in  1811,  to  Paris,  and  apprenticed  him  to  Pierre  Gu^rin,  from  whom 
he  learned  his  art,  though  he  acquired  but  little  of  that  master's  style.  He  died  at  Argenteuil,  near 
Paris,  in  1858. 

Ary  SchefFer  might  complain  with  justice  of  having  nothing  in  the  Louvre  but  works  painted 
during  his  youth,  the  Famines  Souliotes,  and  the  Larmoyeur ;  however  distinguished  these  works  may  be, 
they  cannot  compare  with  the  works  of  a  riper  age.  Tliey  are  far  from  equalling  the  FVanoesca  di 
Rimini,  in  the  possession  of  the  Due  d'Aumale — his  Oaston  de  Foix  Found  Dead,  now  in  the  Gkillery 
at  Versailles — or  the  four  subjects  taken  from  Gbethe's  Famt;  and  certainly  they  give  no  indications 
of  what  might  be  expected  in  the  Christ  the  Comforter,  the  8t.  Monica,  and  the  Temptation  of  Christ, 
in  all  of  which,  leaving  dogma  for  morality,  and  reconciling  sacred  history  with  the  ideas  of  his  own 
century,  Ary  Scheffer  endeavored  to  found   a  fresh  school  of  religious   philosophy. 

COROT  (JEAN  BAPTISTE  CAMILLE),  one  of  the  best  of  modern  French  landscape  painters,  was 
born  at  Paris,  in  1796.  He  was  apprenticed  to  a  draper,  but  young  Corot  was  determined  to  be  a 
painter,  and,  in  spite  of  all  that  his  parents  did  to  dissuade  him,  entered,  in  1822.  the  studio  of 
Michallon.  When  that  artist  died,  Corot  studied  for  a  time  under  Victor  Bertin ;  but,  quitting  that 
master,  he  went   to  Italy,  where,  during   a   stay  of  several   years,  he  applied   himself  diligently  to   study 


JEAN  BAPTIST   CAMILLE    CO  ROT.  41 

landscape  painting  from  nature.  In  1827  appeared  Corot's  first  works,  a  View  of  Nami,  and  the  Cam- 
pagjut  of  Rome;  in  the  Paris  Exhibition  of  1855,  he  exhibited  Morning  Effect  and  Evening,  and  in  the 
same  year  received  a  first-class  medal;  in  the  London  Exhibition  of  1862,  he  was  one  cf  the  artists 
who  represented  the  French  school;  and  again  in  1871,  in  which  year  he  exhibited  no  less  than  twenty- 
one  pictures.  He  was  also  a  frequent  exhibitor  in  the  French  GkiUery,  Pall  Mall.  He  died  in  1875. 
"  Corot  was  a  poet,  and  his  canvases  are  the  expression  of  ideas,  refined  almost  to  sentimentality,  full  of 
£euicy  and  imagination,  yet,  still  somewhat  late  in  life,  wanting  in  that  delicacy  of  execution  which  seema 
almost  essential  to  the  appropriatene33  of  his  subjects — moonlight  scenes,  peaceful  sunsets,  and  cool,  gray 
\aorDings."     We  illustrate  his  picture  of  Evening  referred  to  above. 

R^ne  Menard  says  of  Corot:  "Of  late,  no  painter  has  been  so  much  exalted  by  criticism;  he  was 
not  even  reproached  with  the  uniformity  of  his  pictures,  nor  with  the  calculated  absence  of  colored  tones 
and  rigid  forms.  Everybody  knows  that  mythology  is  now  banished  from  our  landscapes,  and  that  it  is 
the  fashion  to  laugh  at  the  nymphs  whose  cadenced  steps  had  so  much  charm  for  our  fathers ;  still  it  is 
one  of  the  not  infrequent  inconsistencies  of  French  criticism  that  it  does  not  hesitate  to  praise,  in 
Corot,  a  choice  of  subjects  that  it  condemns  in  theory.  It  is  true  that  his  nymphs  add  no  great 
valae  to  his  pictures,  but  they  are  placed  with  so  much  judgment  that  it  is  impossible  to  realize  his 
landscapes  without  them.  However,  he  sometimes  sought  to  render  nature  without  alteration :  for  instance, 
in  his  Vue»  de  VUle-d Avray  et  des  Environs  de  Paris :  but,  like  all  true  artists,  Corot  assimilates  all  he 
sees  to  his  inward  dream,  and  the  varied  effects  of  nature  uniformly  appear  to  him  under  the  same  poeti- 
cal vision.  Had  he  been  painting  in  Egypt  by  the  Pyramids,  he  would  have  found  there  his  silvery 
tones  and  his  mysterious  bowers.  Whether  he  works  out  of  mythology  some  graceful  tale,  or  whether 
he  renders,  in  a  manner  that  he  intends  to  be  positive,  some  particular  and  familiar  scene,  Corot 
always  leaves  in  his  work  a  poetical  perfrime,  which  is  his  personality,  and  is  as  good  as  a  signature. 
....  Corot  is  par  excellence  the  painter  of  morning.  He  can  render  with  more  felicity  than  anybody 
else  the  silvery  light  on  dewy  fields,  the  vague  foliage  of  trees  mirrored  in  calm  water.  He  was  not 
fond  of  the  noonday  light,  and  it  was  always  in  the  earliest  morning  that  he  went  out  to  paint  from 
nature.  He  has  himself  described  his  artistic  impressions  in  letters  which  foreshadow  his  pictures,  and 
we  cannot  end  this  article  better  than  by  giving  one  extract  out  of  them :  '  A  landscape  painter's 
day  is  delightful.  He  gets  up  early,  at  three  in  the  morning,  before  sunrise ;  he  goes  to  sit  under 
a  tree,  and  watches  and  waits.  There  is  not  much  to  be  seen  at  first.  Nature  is  like  a  white  veil, 
upon  which  some  masses  are  vaguely  sketched  in  profile.  Everything  smells  sweet,  everything  trembles 
nnder  the  freshening  breeze  of  the  dawn.  Bingl^  The  sun  gets  clearer;  he  has  not  yet  torn  the  veil 
of  gauze  behind  which  hide  the  meadow,  the  valley,  the  hills  on  the  horizon.  The  nocturnal  vapors 
■till  hang  like  silvery  tufts  upon  the  cold  green  grass.  Ring!  Ring!  The  first  ray  of  the  sun  .  .  »  . 
another  ray.  The  small  flowerets  seem  to  awake  joyously;  each  of  them  has  its  trembling  drop  of  deW. 
The  chilly  leaves  are  moved  by  the  morning  air.  One  sees  nothing:  everything  is  there.  The  landscape 
lies  entirely  behind  the  transparent  gauze  of  the  ascending  mist,  gradually  sucked  by  the  sun,  and  permits 
as  to  see,  as  it  ascends,  the  silver-striped  river,  the  meadows,  the  cottages,  the  far-receding  distance.  At 
last  yon  can  see  what  you  imagined  at  first.  Ram!  The  sun  has  risen.  Rami  The  peasant  passes  at 
the  bottom  of  the  field,  with  his  cart  and  oxen.  Ding!  Ring!  It  is  the  bell  of  the  ram  which  leads 
the  flock.     Bam!     Everything  sparkles,  shines;  everything  is  in  lull  light,  light  soft  and  caressing  as  yet 

»Wi  pnMnr*  Corofi  iiit«j«ctioM,    Bing!    But!    Ding!    Bonm!    where  it  pleased  him  to  ineert  tiiem.    They  mean  nothing,  except 
dbal  tktr*  ii  a  dtaaga  ia   the  character  of  the  Mm*,   which   he  ehooM*  to   mark  in   thie  wajr. 


42  A    COMPLETE   HISTORY   OF  FRENCH  ART. 

The  backgroundp  with  their  simple  contour  and  hartnoniouB  tone  are  lost  in  the  infinite  sky,  through 
an  atmosphere  of  azure  and  mist.  The  flowers  lift  up  their  heads ;  the  birds  fly  here  and  there.  A  rustic, 
mounted  on  a  white  horse,  disappears  in  the  narrowing  path.  The  rounded  willows  seem  to  turn  like 
wheels  on  the  river  edge.  And  the  artist  paints  away  ....  paints  away.  Ah !  the  beautiful  bay  cow, 
chest-deep  in  the  wet  grasses;  I  will  paint  her.  Cracf  there  she  is  I  Famous!  Capital!  What  a  good 
likeness  she  is!  Bourn!  Bourn f  The  sun  scorches  the  earth.  Bourn!  All  becomes  heavy  and  grave. 
The  flowers  hang  down  their  heads,  the  birds  are  silent,  the  noises  of  the  village  reach  us.  These  are  the 
heavy  works;  the  blacksmith  whose  hammer  sounds  on  the  anvil.  Bourn!  Let  us  go  back.  All  is 
visible,  there  is  no  longer  anything.  Let  us  get  some  breakfast  at  the  farm.  A  good  slice  of  home-made 
bread,  with  butter  newly  churned ;  some  eggs,  cream,  and  ham !  Bourn !  Work  away,  my  friends ;  I  rest 
myself.  I  enjoy  my  siesta,  and  dream  about  my  morning  landscape.  I  dream  my  picture,  later  I 
shall    paint    my    dream.'     Is    not   this    Corot    himself?" 

DELAROCHE  (PJlTJL),  was  born  in  Paris,  July  16,  1797;  his  real  name  was  Hippolyte,  that 
of  Paul  being  a  pet  name.  His  uncle  was  Keeper  of  the  Prints  in  the  Biblioth6que  and  deeply 
learned  in  art,  his  father  was  an  able  connoisseur.  Delaroche's  first  master  was  Watelet,  the  landscape 
painter,  his  second  insti-uctor  Gros,  under  whom  he  made  rapid  progress,  exhibiting  in  1822  a  Detceni 
from  the  Cross,  and  Je/ioshcba  kxving  Joash,  the  former  is  in  the  chapel  of  the  Palais  Royal,  Paris. 
He  continued  in  successive  years  to  advance  from  the  somewhat  cold  manner  of  the  above-named 
works  to  the  development  which  was  marked  by  Fdippo  lAppi  and  Lucrezia  Buti,  1824.  In  1827 
he  produced  the  Death  of  President  Duranii,  which  was  burnt  by  the  Communists,  we  believe,  with 
the  building  of  the  Consoil  d'Etat,  Paris.  It  was  ii  fine  work,  well  worthy  of  the  painter,  and 
marked  by  energy  of  design  which  was  not  the  less  admirable  because  under  the  restraint  of  good 
taste.  He  was  the  antithesis  of  Horace  Vcrnet,  and  wa3  a  most  laborious  painter.  Ho  was  admitted 
to  the  Institute  in  1833.  In  this  year  he  was  commissioned  to  paint  the  whole  of  the  interior  of 
the  Madeleine,  and  went  to  Italy  in  order  to  prepare  for  this  tremendous  task ;  bat  two  years  after- 
wards ha  learnt  that  part  of  this  gigantic  trust  had  been  withdrawn  from  him,  so  he  returned  home 
immediately,  repaid  the  1,000/.  he  had  received  for  prefatory  studies,  and  declined  to  paint  as  he 
had  been  appointed  to  do.  This  was  a  most  honorable  exercise  of  a  noble  spirit,  for  Delaroche  was 
anything  but  a  rich  man,  and  had  not  long  before  married  H.  Vemet's  daughter.  In  1836  he 
exhibited  his  Charles  I.  insulted  by  the  Soldiers,  and  Strafford  going  to  Execution,  two  highly  popular 
works,  and"  both  well  known  in  this  country;  the  St.  C3cilia  came  next,  then,  in  1841,  the  Hemicycle, 
before  named, — -this  was  the  last  picture  he  exhibited.  Wounded  by  what  he  considered  an  unjust 
criticism,  he  determined  to  exhibit  no  more,  and  kept  his  word.  In  1841  he  produced  Charlenuigne 
crossing  the  Alps,  now  in  the  Museum  at  Versailles.  After  this  he  painted  Napoleon  in  his  Cabinet, 
Pilgrims  in  the  Piazza  di  S.  Pietro,  Rome.  In  1848  he  went  to  Rome  again.  He  produced  about  this 
time  Napoleon  at  Fontainebleau,  and  some  pictures  of  minor  importance.  In  1845  his  wife's  health  declined, 
and  she  died  at  the  end  of  the  year.  From  this  time  Delaroche.  always  of  a  retiring  disposition, 
lived  more  secluded  than  ever,  but  he  did  not  cease  to  work ;  the  events  of  1848  disturbed  him 
greatly,  and  he  conceived  the  idea  of  going  to  Russia  or  America,  but  his  friends  dissuaded  him  from 
putting  this  sufficiently  unfortunate  idea  into  execution.  The  picture  called  the  Oirondins  was  his  chief 
work  after  this  period ;  it  is  well  known  by  engravings.  He  produced  several  more  examples,  «dl  of  them 
marked    by  despondent  choice  of    subject  and    a    mournfiil    mode  of   design :    e.  g.    the    Young    Martyr,  the 


F.    V.    E.    DELACROIX.  43 

anfinished  series  of  pictures  associated  with  the  Passion  of  Christ,  of  which  The  Virrjin  contemplating  the 
Crown  of  Thorns,  was  a  member,  and  the  last  picture  Delaroche  worked  on.  He  died  of  a  liver  complaint, 
after  great  suflFering,  November  4,  1856. 

DELACROIX  (F  T.  E.),  was  born  in  1799,  near  Paris,  his  father  was  a  performer  in  the  great 
drama  of  the  Revolution,  a  member  of  the  Convention  who  distinguished  himself  in  the  "  Thermidor," 
a  minister  of  foreign  aflfairs,  ambassador  to  Holland,  and  prefect.  Delacroix  entered  the  arts  under  the 
direction  of  Gu^rin,  and  had  for  his  companions  the  famous  painters  whose  names  we  have  already 
mentioned.  He  obtained  little  beyond  opportunities  of  study  while  he  was  under  the  charge  of  the 
classical  master  in  painting,  for  he  was  from  the  first  a  rebel,  and  refused  to  accept  the  traditions 
of  art  which  were  in'  those  days  offered  to  students.  The  appearance  in  1822  of  Delacroix's  first 
picture,  Dant£  and  J^rgil,  was  to  the  then  reigning  school  like  an  alarm  of  fire  to  the  inhabitants  of  a 
cathedral  city,  who  are  conscious  that  the  engines  are  out  of  order,  and  suspect  the  supply  of  watgr  will 
be  tardy  in  arriving,  and  insufficient  in  quantity.  This  portent,  was,  however,  not  wholly  unexpected, 
dismal  rumors  that  the  son  was  as  ardent  a  revolutionist  as  his  father  had  been,  had  moved  the 
heart*  of  many  accomplished  Academicians.  It  is  not  too  much  to  say  that  the  picture  violated  all 
the  conventions  of  the  day ;  in  fact,  it  exceeded  even  more  widely  on  one  side  than  the  classicists  had 
overstepped  on  the  other.  It  became  the  subject  of  hot  controversy,  and  the  disputes  which  it  provolved 
were  not  allayed  by  the  appearance  in  the  following  year  of  ITie  Massacre  at  /Scio,  which,  like  the  Dante 
and  Virgil,  is  now  in  the  Louvre,  and  testifies  to  the  intensely  energetic  turn  of  the  artist's  genius,  and 
his  ancompromising  vigor  of  painting ;  it  also  proves  that  vigor  may  become  violence,  and  genius  grow 
extravagant.  So  it  appears  to  us  of  these  days ;  but  the  spectacle  must  have  been  an  astounding  one  to 
the  classicists  of  those  times.  Delacroix's  name  became,  on  the  other  hand,  a  battle-cry  for  all  who 
desired  freedom  in  design,  and  were  determined  to  throw  off  what  they  not  unreasonably  considered 
shackles  of  convention.  Delacroix  had  the  young  men  on  his  side,  and  therefore  victory  was  assured 
to  him  in  course  of  time.  It  would  be  difficult  to  give  an  idea  of  the  fierceness  with  which  the  contest 
was  carried  on, — the  attacks,  more  frequently  abusive  than  reasonable,  and  seldom  temperate,  which  were 
made  on  the  Pre-Raphaelites  in  1848-50,  were  ignoble  in  comparison ;  besides,  the  war  in  the  latter  case 
was  conducted  by  one  party  only.  In  the  former,  two  large  hosts  joined  issue,  and  as  the  prize  was  felt 
to  be  nothing  less  than  the  leadership  of  art  in  Europe  during  at  least  a  generation,  the  contest  was  waged 
with  corresponding  spirit.  Time  was,  as  we  have  said,  in  favor  of  the  rebels,  not  only  in  removing 
their  antagonists  from  the  scene,  but  by  moderating  the  tone  of  their  new  leader.  Ultimately,  some- 
thing  like   a  compromise   took   place,    and   both   sides   lowered   their   pretensions. 

Meanwhile,  Delacroix  produced  a  considerable  number  of  large  and  pretending  works,  such  as 
J£g>kuiophile8  appearing  to  Faust,  Justinian,  Oomhat  of  the  Oiaour  and  the  Pasha,  from  Byron,  a  poet 
whom,  as  might  be  anticipated,  the  artist  greatly  admired.  Between  these  men  of  genius  there  was 
much  in  common.  Also,  the  political  picture.  La  Liberte  guidant  le  Peuple  sur  les  Barricades.  Of 
coarse  this  work  appeared  after  1830.  A  government  mission  to  Morocco  gave  Delacroix  an  oppor- 
tunity for  finding  a  new  field  of  art;  he  accordingly  produced  Les  Femmes  d Alger,  a  fine  and  richly 
painted  work,  which  has,  however,  been  much  overpraised.  His  next  important  labor  was  in  decorating 
the  walls  of  the  Palaia  du  Corps  L^^gislatif  with  large  symbolical  pictures.  On  these  tasks  he  spent 
three  years,  until  1837.  The  applause  which  attended  the  completion  of  these  works  was  great,  and 
eqtial    to   their   merits.       Delacroix    from    this   time    was    largely   engaged    in    similar   commissions,    which 


44  A    COMPLETE  HIS  TO  BY   OF  FRENCH  ART. 

received  unbounded  admiration.  He  produced  many  smaller  pictures,  one  of  the  moat  famous  of  which 
represents  the  murder  of  the  Bishop  of  Li6ge,  as  described  in  Scott's  "  Quentin  Durward."  He  died 
in  1863. 

BELLANGE  (JOSEPH  LOUIS  HIPPOLTTE),  was  born  in  Paris,  in  1800,  and  took  his  earliest 
lessons  in  art  from  Qros,  acquiring  some  reputation  for  his  lithographic  drawings  of  military  figures 
when  scarcely  more  than  a  boy.  In  1824  Bellang6  won  a  second-class  medal  for  an  historical  picture ; 
in  1834,  he  was  made  a  member  of  the  Legion  of  Honour ;  in  1855,  he  obtained  one  of  the  prizes 
of  the  French  International  Exhibition  ;  and  in  1861  was  created  an  oflScer  of  the  Legion  of  Honour. 
He  is  chiefly  known  in  England  by  two  pictures  sent  to  the  International  Exhibition  of  1862 :  the 
Two  Friends,  belonging  to  the  Duke  of  Hamilton,  a  small  but  highly  finished  work,  and  A  Square 
of  Republican  Infantry  repulsing  Au^strian  Dragoons,  1795.  His  most  important  pictures,  however,  axe 
to  be  seen  in  the  Collections  at  Versailles,  and  include  his  Bailie  of  the  Alma,  Painfvd  Adieux,  the 
Departure  from  the  Cantonment,  the  Cuirassiers  at  Waterloo,  the  Battle  of  Fleurus,  the  Return  from  Elba, 
the  Morning  after  the  Battle  of  Oemappes,  the  DeJUe  after  the  Victory.  This  popular  painter  of  battle- 
scenes  died  in  May,  1865. 

MILLET  (JEAN  FRANCOIS),  was  born  at  Qreville.  near  Cherbourg,  in  1815.  As  his  parents 
were  but  peasants,  and  unable  to  afford  to  give  their  son  an  art  education — which  bis  early-displayed 
talent  showed  would  not  be  thrown  away  upon  hira — the  authorities  of  Greville  furnished  him  with 
the  means  of  going  to  Paris,  and  entering  the  studio  of  Paul  Delaroche.  But  young  Millet  showed 
neither  taste  nor  aptitude  for  historic  painting,  and  accordingly,  after  a  short  sojourn  with  Delaroche, 
he  left  that  master  and  sought  instruction  from  nature  alone.  He  married,  and  settled  at  Barbizon 
near  the  Forest  of  Fontainebleau,  and  there  from  the  fields  and  woods,  and  from  the  peasants  he 
took  the  subjects  of  his  works.  His  first  exhibited  picture,  the  Milkwoman,  appeared  at  the  Paris 
Salon  in  1844;  to  the  Paris  Exhibition  of  1855  he  sent  his  Peasant  grafting  a  Tree:  in  the  London 
Exhibition  of  1862  appeared  a  Rustic  Scene;  and  in  the  Paris  Exhibition  of  1867,  no  less  than  nine 
pictures  of  rustic  life.  The  Flax  Crushers,  one  of  his  best  pictures,  was  exhibited  in  the  French  Gallery, 
Pall  Mall,  in  1874.  In  1870  he  sent  works  to  the  Salons  for  the  last  time  :  November  and  A  Woman 
churning  Buffer.  In  the  Luxembourg  are,  The  Church  at  Qreville  (for  which  12,200  francs  was  paid  after 
Millet's  death),  The  Bathers,  and  a  number  of  designs  or  studies  in  pencil,  crayon,  and  pen  drawing. 
Among  his  works  we  would  also  mention,  A  Bit  of  the  Village  of  Qreville,  sold  at  the  Faure  sale  in  1873 
for  20,300  francs ;  A  Woman  with  a  Lamp  at  the  Laurent- Richard  sale,  38,500  francs ;  The  Evening 
Angelas,  The  Potato- Oaf hering,  The  Motlver  cradling  her  Child,  etc.  In  the  Harvest  of  Beans,  Millet 
introduced  the  portrait  of  his  mother,  and  the  cottage  in  which  he  was  bom.  This  artist  executed  only 
about  eighty  pictures.  When  we  consider  that  he  painted  thirty-one  years  this  is  not  a  large  number. 
He  gave  much  thought  to  his  subjects ;  he  retained  his  canvases  in  his  studio,  and  returned  to  them  from 
time  to  time,  in  order  to  give  to  them  exactly  the  sentiment  he  wished  them  to  express,  Millet  wjis  in 
one  way  extremely  remarkable,  we  might  almost  say  unique ;  he  never  painted  from  A  model.  What 
acuteness  of  observation  was  required  in  order  to  reproduce  from  memory,  as  he  did,  not  only  the  charac- 
teristics of  attitude  and  aspect  in  his  figures,  but  the  details  of  his  landscapes !  He  left,  besides  his  pic- 
tures, numerous  designs  and  studies  in  different  modes  of  execution.  After  his  death  all  that  were  in  his 
studio  (many  unfinished)  were  sold  at  the  Hotel  Drouot ;  they  numbered  fifty-sii,  and  brought  321,034 
francs.      M.  Gkvet   had  a  collection  of  designs   by  Millet,  numbering   ninety-five,  which  were   also  sold   at 


JEAN  LOUIS  HAM  ON.  ^ 

the  Hotel  Drouot,  a  short  time  after  the  sale  above  mentioned.  Previously,  however,  M.  Gavet  had  generously 
placed  half  his  collection  on  exhibition  for  one  month,  for  the  benefit  of  the  family  of  the  artist.  The  sale 
brought  431,050  francs;  there  were  not  more  than  twenty  purchasers,  and  but  one  who  was  not 
French.  Millet  had  also  executed  quite  a  number  of  etchings  and  a  few  wood-engravings.  The  fol- 
lowiag  plates  have  been  made  by  others  from  his  works :  The  Angdus,  engraved  by  Waltner ;  Death  and 
the  Wood-OuUer,  CEHipus,  and  the  Harvest  of  Beans,  by  Edmond  Hedouin.  The  Rudic  Labors  and 
la  qucUre   heurea   du  jour   (fourteen    pieces)  have    been    copied    in    wood-cuts  by  Adrien    Lavielle. 

Edwin  About  Bays :  "  The  late  M.  Millet,  besides  being  a  landscape-painter,  was  a  great  figure- 
painter.  In  the  opinion  of  many,  and  those  not  the  admirers  of  the  newest  phase  of  French  art, 
the  Courbet-Manet-Corot  school,  he  was  the  first  French  painter  of  his  time.  Certainly  the  French 
school  has  never  produced  an  artist  with  such  thorough  devotion  to  nature,  or  who  has  so  trutlifully 
rendered  scenes  and  emotions  of  natural  life.  His  works  have  nothing  theatrical  or  cynical  about 
them.  To  an  Englishman  they  are  suggestive  of  the  poetry  and  sentiment  of  Burns,  and  the  sympa- 
thetic feeling  for  nature  of  Wordsworth.  He  had  the  art  of  introducing  into  pictures  of  modern 
French  pastoral  life,  while  retaining  the  truthfulness  of  nature,  all  the  elevated  qualities  of  tlie  best 
artistic  culture  to  be  found  in  the  works  of  the  great  masters.  Those  who  remember  the  Angelua 
du  Soir,  in  the  Exposition  of  1867,  well  know  this  is  no  exaggeration.  The  picture  represents  a 
coaple  of  peasants,  man  and  woman,  who,  while  at  work  in  the  field,  hear  the  bell  of  the  distant 
charch  tolling  the  Angeliu.  They  stop  work,  reverently  bowing  their  heads  in  silent  prayer.  For 
expression  of  devotion   equally  genuine   we  must   go   back   to  the  works   of  the   early  Italian   masters. 

"  Many  of  your  readers  who  delighted  in  Millet's  works  will  probably  be  interested  in  hearing 
of  some  of  the  pictures  he  was  last  engaged  on,  but  of  which  few,  alas,  we  may  hope,  were  quite 
completed.  For  he  kept  his  works  long  in  the  studio,  always  endeavoring  to  make  them  as  perfect  as 
possible,  not  only  in  their  execution  but  in  their  sentiment.  I  remember  his  showing  me  a  picture 
of  a  village  church  of  Normandy,  the  one  in  which  he  was  christened.  On  my  speaking  of  it  as 
completed,  '  No,*  he  said,  '  there  is  an  impression  of  this  scene  as  it  struck  my  imagination  when  a 
child   which   I   have   not   succeeded   in   rendering,  but   which   I   hope   to   get   some   day.' 

"  Barbizon  is  one  of  those  French  villages  we  know  so  well,  a  long  street  of  cottages  and 
small  farm-houses,  with  their  picturesque  bassecours.  At  the  top  of  the  village,  approaching  the  forest 
of  Fontainebleau,  is  a  range  of  modest  buildings,  one  of  which  has  a  large  window.  This  is  the 
residence  and  stodio  of  Millet.  One  day  last  autumn,  being  at  Barbizon,  I  sent  my  card  to  M.  Millet, 
and  asked  permission  to  see  any  work  he  might  have  finished.  He  very  kindly  acceded  to  my  request, 
and  led  the  way  along  a  shaded  alley  to  his  studio.  His  appearance  was  decidedly  more  provincial 
than  Parisian.  He  wore  a  straw  hat,  loose  shooting-coat,  and  sabots.  His  manner  was  especially  courteous 
and  genial,  though  very  quiet.  He  gave  me  the  impression  of  being  nearer  fifty  than  sixty  years 
of  age." 

Millet  died  at  Barbizon  1875, 

HAION  (JEAN  LOUIS)  was  bom  at  Plouha,  Cotes-du-Nord,  in  1821,  and  was  educated  for  the 
priesthood.  His  love  of  art,  however,  led  him  to  renounce  the  sacred  profession ;  and  having  obtained  a 
grant  of  five  hundred  francs  from  his  native  place,  he  made  his  way  to  Paris,  and  began  the  study  of 
painting  under  Paul  Delaroche  and  M.  Gleyre.  In  1848  appeared  his  first  pictures,  one  a  genre  subject 
cail«d    Le    Danu   de    Parle,  and    the    other   a   sacred    work.   Christ's   Tomb,  succeeded    a    little    later    by    y 


46  A    COMPLETE   HISTORY   OF  FRENCH  ART. 

Roman  placard,  the  Seraglio,  and  other  similar  productions  which  scarcely  met  with  the  recognition  they 
deserved.  Compelled  to  earn  his  daily  bread,  Hamon  now  for  a  time  gave  up  easel  painting,  and  accepted 
employment  in  the  Sevres  manufactory,  where  ho  succeeded  so  well,  that  in  1852  he  was  able  to  resume 
oil-painting — producing,  in  the  same  yeur  his  Comedie  Hamaine  which  made  his  reputation.  The  most 
noteworthy  of  his  later  work-j  are  Ma  sceur  ny  est  pas;  Ce  nest  pas  moi;  Les  Orphelins;  L' amour  de 
son  Troupeau.  In  1856  Hamoii  went  to  the  East,  and  most  of  the  pictures  subsequently  painted  are  on 
Oriental  subjects.  He  resided  some  years  at  Capri,  but  returned  to  France  shortly  before  his  death,  which 
took  place  at  St.  Raphael,  in  the  department  of  the  Var,  in  1874. 

REGNAULT  (ALEXANDRE-GEORGES-HENRI),  was  born  at  Paris  in  1847,  and  was  the  pupil  of 
MM.  Lamothe  and  Cabanel.  In  1866  Regnault  won  the  prize  of  Rome,  and  in  1869  a  gold  medal.  In 
the  succeeding  years  he  attracted  much  notice  by  his  /Still  Life,  his  portrait  of  General  Prim,  and  An 
Execution  at  the  Alhamhra,  all  exhibited  at  the  Gallery  of  the  Society  of  French  Artists  in  New  Bond 
Street,  and  Salome  la  danseiise,  exhibited  in  the  Paris  Salon  of  1870,  in  which  the  first  art  critics 
of  the  day  recognised  an  originality  of  design,  and  force  of  execution,  likely  to  entitle  their  possessor 
to  the  highest  rank  amongst  contemporary  painters;  but  the  terrible  war  of  1870-1,  which  frustrated 
so  many  hopes,  and  cut  short  so  many  careers,  broke  out  just  as  Regnault  was  attaining  to  celebrity. 
The  news  of  the  declaration  of  hostilities  reached  him  when  he  was  studying  at  Tangier,  and  leaving 
his  unfinished  work  upon  his  easel,  he  returned  to  France,  took  service  as  a  national  guard,  and  waa 
killed    in    the    sortie    from    Paris.      He    was   only   twenty-four   years   old. 

Paul  Mantz  closes  his  account  of  Regnault  thus:  "It  will  soon  be  a  year  since  these  fatal  things 
occurred ;  but  the  remembrance  of  Regnault  remains  .as  fresh  as  on  the  day  of  his  death,  and  yesterday, 
when  at  the  exhibition  of  the  works  of  the  pensioners  at  Rome,  we  saw  in  the  place  where  his  contri- 
bution for  the  fourth  year  should  have  been,  an  easel  draped  in  black  and  decorated  with  green 
boughs,  each  one  felt  an  oppression  of  the  heart  at  this  spectacle,  which  told  too  well  of  human  injus- 
tice, and  of  the  cruelty  of  the  times.  Regnault,  crowned  already  with  a  precocious  glory,  was  scarcely 
at  the  first  chapter  of  his  book  ;  his  art  was  young,  like  his  soul :  he  knew  little  of  painful  experiences, 
and  in  the  constant  holiday  of  his  life  could  not  yet  understand  them.  He  would  without  doubt  have 
advanced  in  the  sentiment  of  manner,  as  in  that  of  the  drama.  But  the  dream  is  ended :  the  pre- 
sent and  the  future,  both  have  perished  together.  There  remains  to  us  only  his  work,  which  is  but  a 
radiant  beginning,  and  the  example  of  his  death,  which  plainly  shows  that  the  culture  of  art  extin- 
guishes not  the  religion  of  patriotism  in  the  soul.  Let  us  guard  faithfully  the  memory  of  the  artist 
and  the  citizen,  and  on  this  tomb,  where  so  many  hopes  are  buried,  let  us  read,  with  our  regrets  for 
the  departed  master,  our  hatred  for  those  who  killed  him." — Qazette  des  Beaux-Arts,  January,  1872. 

DECAMPS  (ALEXANDRE  GABRIEL\    who    was    born    in    Paris,    March    3,    1803,   was   one    of   the 

greatest  of  European  artists,  a  man  whose  pictures,  taking  them  as  a  whole,  justify  us  in  placing  him  at 
the  head  of  the  French  school.  He  received  his  first  instructions  in  art  from  M.  Bouchet,  but  se- 
condly from  Abel  de  Pujol,  and  afterwards,  it  is  supposed,  from  David  and  Ingres.  His  works  confirm 
the  report  that  Decamps  obtained  but  a  small  share  of  advantage  from  his  studies  under  either  of  these 
artists.  "The  Athenaeum,"  No.  1,714,  September,  1860,  gave  the  following  account  of  this  painter,  which, 
as  it  summarizes  the  whole  of  the  subject  now  before  us,  we  cannot  do  better  than  repeat.  "  French 
art  has  recently  lost  one  of  its  greatest  and  most  characteristic  ornaments  by  the  decease  of  M.  Alex- 
dre  Gabriel  Decamps.     There  was  something    so   peculiarly  French    about   his  works    that    the  least  experi- 


ALEXANDRE   GABRIEL   DECAMPS.  47 

enced  critic  would  at  once  designate  them  as  the  productions  of  one  of  that  nation.  Bold,  picturesque, 
impressive,  by  vigorous  dealing  with  the  qualities  of  light  and  shade  and  tone,  and  exhibiting  extraordi- 
nary dramatic  power  of  conception,  they  take  the  fancy  and  feelings  of  the  spectator  in  a  manner  which 
is  quite  indescribable.  When  you  look  into  very  many  of  these,  tliere  seems  to  be  nothing  more  than  an 
active  fancy  could  shape  when  brooding  over  some  time-stained  wall,  or  vision  in  the  household  fire. 
We  feel  the  spirit  of  the  designer  impressed  on  us  at  once  as  that  of  a  man  to  whom  eflPect  and 
light  and  shade  have  the  same  poetic  tissociations  as  those  to  which  music  links  itself  in  most  minds. 
Yet,  again,  their  dramatic  spirit  is  marvellous,  and  whether  dealing  with  the  passage  of  a  line  of  Arabs 
across  a  ford  after  sundown,  or  the  grim  line  of  the  dead  that  are  chained  against  the  wall  in  his 
Tour  de  Bordeaux,  the  end  achieved  is  the  same,  and  the  tale  is  impressively  related ;  and  the  long,  dark 
lances  held  on  high  tell  as  picturesquely  and  suggestively  in  the  one,  as  does  the  unsteady  glimmer  of  the 
lamp-flame  that  does  but  reveal  ghastly  corpses  propped  against  the  dungeon  wall  in  the  other.  With 
these  remarkable  faculties  of  design,  he  united  the  even  rarer  quality  of  superb  and  deep  colouring,  and 
vigorous,  unconventional  drawing  in  his  pictures.  The  best  known  among  these  is  the  famous  Defeat  of 
the  Cimbri,  a  work  which  realized  to  the  utmost  the  ideas  of  a  desperate  and  savage  fight  of  vast  masses 
of  men,  disciplined  against  undisciplined.  All  who  have  seen  this  extraordinary  work  speak  in  terms  of 
admiration  of  the  impressive  character  of  the  background,  a  part  of  a  picture  which  is  sure  to  display  the 
art-tone  of  the  painter.  Among  the  most  frequent  subjects  of  his  choice  were  French  and  Algerian  domes- 
tic themes,  in  which  be  showed  rare  feeling  for  what  we  can  find  no  better  name  than  picturesque  hu- 
mour in  the  highest  sense.  In  1829  he  travelled  in  the  East,  and  produced  as  the  result  several  pic- 
tures of  Cairene  and  Constantinopolitan  life.  His  monkey  studies,  wherein  are  seen  monkeys  with  a 
perfectly  fascinating  grotesque  resemblance  to  the  human  countenance  on  their  faces,  are  famous  in  France. 
They  mostly  represent  apes  going  through  various  critical  or  artistic  operations  and  manoeuvres.  Some 
of  the  most  celebrated  of  his  productions  comprise  the  series  of  nine  illustrations  of  the  life  of  Samson, 
astonishingly  vigorous  works,  executed  in  charcoal  hoiglitened  with  white.  Besides  these,  his  Watch-guard 
at  Smyrna,  Turki/t/i  Guard  Room,  and  7%«  Siege  of  Clermont  are  the  best.  Decamps  was  born  in  Paris, 
and  lived  a  gf)0<l  deal  in  the  environs  thereof,  and  was  fond  of  dogs  and  field  sports.  It  is  related 
of  him,  that  he  was  in  the  habit  of  modelling  little  wax  figures  to  suit  the  designs  ho  had  in  hand, 
and  having  dressed  them,  to  employ  them  as  models  for  use  in  his  pictures.  An  immense  number 
of  his  sketches  and  pictures  are  known  in  England  through  the  lithographic  drawings  of  Eugene 
Le  Roux." 

The  manner  of  Decamps'  death  illustrates  what  is  said  above  respecting  his  fondness  for  field 
sports.  He  was  hunting  in  the  forest  of  Fontainebleau  and  riding  a  vicious  horse,  which,  in  spite  of 
remonstrances,  he  mounted ;  the  beast  took  fright  at  something  in  the  road  and  ran  away  with  his 
rider,  ultimately  falling  against  a  tree  and  "crushing  the  artist's  head  and  entire  body.  He  fell,  and 
was  crawling  painfully  along  the  road,  furrowing  it  with  his  nails  in  agony,  when  two  Enghshmen  came 
up,  and  were  the  first  to  assist  poor  Decamps,  who  was  brought  back  in  a  dying  state."' 

The  richest  display  of  the  genius  and  labours  of  Decamps  took  place  at-  the  Paris  Exposition, 
1855,  when  not  fewer  than  forty-four  paintings  (Nos.  2855-99)  were  brought  together.  The  effect  of 
this  collection  on  the  minds  of  students  was  prodigious.  It  will  be  seen  by  means  of  the  above 
account  of  his  works  that  by  the  hands  of  Decamps  an  entirely  new  quality  had  been  produced,  or 
rather  a  fusion   of  noble   qualities   had    been   effected   of   the   riches   of    French   art;    no   one,    before   his 

»   -The  Athemram,"   No    1717.   Sept.   22.    1860.   p.   391. 


48  A    COMPLETE   HISTORY   OF  FRENCH  ART. 

time,  had  achieved  any  thing  like  a  great  measure  of  success  in  regard  to  chiaroscuro,  no  one  has  surpassed 
and  few  have  approached  him  in  colour,  as  few  have  reached  his  standard  in  respect  to  tone,  none  have 
excelled  him  in  dramatic  force  of  conception,  in  vigorously  designing  his  subjects.  His  honour  remains 
unabated    in    France,  and   gathers  more    and  more    admiration    as    the    world  grows  in    knowledge    of  art. 

TROYON  (CONSTANT)  was  born  at  Sevres,  August  25,  1810.  He  had  the  advantage  of  re- 
ceiving the  instruction  of  Riocreux ;  and,  what  was  better  than  all,  devoted  himself  to  the  study  of  nature 
in  many  districts  of  France,  especially  those  which  afforded  subjects  suited  to  his  taste,  and  displayed 
wide  meadows,  deep,  bright,  full  streams,  fringed  by  lines  of  willows,  and,  in  the  distance,  gently  rising 
uplands,  over  the  surface  of  which  cloud-shadows  pass  swiftly ;  where  cows  loiter  in  the  sun-flecked  vistas 
of  woodland  sward,  and  in  narrow  lanes  that  are  traversed  by  rivulets,  which  were  Troyon's  best-furnished 
studios.  With  his  love  for  such  materials,  it  is  not  wonderful  that  he  made  an  excursion  into  the  coun- 
try of  Cuyp,  and  profited  by  studying  nature  in  the  same  phase,  and  with  similar  forms  to  those  which 
she  presented  to  our  subject's  antitype.  In  comparing  Troyon  with  Cuyp,  which  is  simply  inevitable, 
it  should  be  added  to  the  above  criticism,  that  the  former  painted  with  more  solidity,  more  firmness, 
and  greater  precision  than  the  latter ;  his  cattle  are  examples  of  this,  and  the  facta  go  far  to  com- 
pensate for  the  relative  inferiority  of  nis  colouring.  On  the  other  hand.  Cuyp  is  a  colourist  of  high 
degree,  even  his  minor  studies  and  sketches  prove  this ;  for  example,  in  Mr.  John  Henderson's  collec- 
tion is  a  little  study  of  two  dun  red  cows  reclining  in  a  meadow,  with  a  deep  green-tinted  hillside 
rising  behind  them ;  a  noble  piece  of  colouring  is  thus  produced,  one  which  is  perfectly  sober  and 
broad,  and  as  rich  as  possible.  His  greater  pictures,  to  which  we  have  already  referred,  are  only 
better  in  degree  than  the  less  famous  specimens  of  the  skill  of  this  long-neglected  painter. 

If  any  other  teacher  than  nature  instructed  Troyon  to  think  in  the  manner  of  Cuyp,  it  was 
the  Englishman  Constable,  some  of  whose  pictures  were  in  France  at  a  comparatively  early  period  of 
his  career,  where  they  produced  a  great  effect  when  exhibited  at  Paris.  We  find  Constable  writing 
in  his  letters  with  great  interest  and  evident  satisfaction  at  the  applause  his  works  obtained  in  France ; 
he  would  be  still  more  delighted  if  he  could  now  see  in  every  Salon  proofs  of  the  value  of  the  les- 
sons French  landscape  painters  have  derived  from  him.  One  phase  of  the  French  school  of  landscape, 
and  this  is  second  to  none,  owes  its  existence  to  Constable ;  it  must  be  admitted,  however,  that  the 
teachings   of  the   English   painter   have   been   received   by  most   capable  pupils  with   corresponding  profit. 

Troyon's  first  picture  at  the  Salon  was  styled  La  Maison  Colas  a  Sevres;  this  appeared  in  1833, 
when  the  artist  was  twenty-three  years  of  age.  At  the  same  period  he  produced  La  Fete  de  Sevres,  and 
Un  Coin  du  Pare  de  St.-Cloxid.  He  produced  many  pictures,  deriving  their  subjects  from  the  environs 
of  Paris,  and  he  was  thus  shown  to  be  studying  in  the  locality.  M.  Daubigny  has  adopted,  and  is 
still  using,  home  scenes  in  all  their  richness  and  beauty  Among  these  pictures  are  views  of  Sevres, 
of  D' Argentan,  La  Fert'e,  St.-Auhin,  likewise  La  Valiee  de  Chevreruie,  Fontaine  de  Caudebec,  Site  des  en- 
virons dcs  Vanves,  Les  environs  de  la  Haye,  Les  environs  d Amsterdam,  painted  in  1847 ;  La  Foire  Li- 
mousine, Lcs  Baigneuses,  Les  Bceufs  au  labeitr,  which  is  in  the  Luxembourg ;  Tm  VaUee  du  Tonque  en 
Normandie;  both  of  these  were  at  the  Exposition  Universelle,  with  Les  Ckiena  courants,  Les  Chiens 
courants  lances,  and  Les  Chiens  d'arret.  He  painted  also  La  Vache  blanche  and  La  vache  rouge,  Le 
retour  a  la  Ferme,  a  charming  and  masculine  picture,  Le  depart  pour  le  Marche,  Paysage  avec  animaux, 
a  noble  picture,  one  of  the  masterpieces  of  modern  landscape,  now  in  the  Luxembourg,  the  gift  of  the 
artist's  mother  after  his  death.      This  event  happened  at  Paris,  February  21,  1865. 


JEAN   BAFTISTE   ISABEl'.  49 

VINCENT  cFBANCOIS-AXDREj,  born  in  1746,  died  in  1816.  Vincent  began  in  the  eighteenth 
century  tliat  which  .  Paul  Delaroche  has  practised  with  so  much  success  in  the  nineteenth,  and  what  is 
now  called  the  "  historical  genre."  He  was  a  pupil  of  Vien  and  at  one  time  David's  rival.  At  the 
time  when  the  false-antique  had  been  restored  to  honor,  he  won  the  grand  prize  with  his  painting 
Germanicus  haranguant  ses  troupers,  and  accomplished  his  studies  under  the  directorship  of  Natoire. 
On  his  return  to  Paris  he  was  accepted  by  the  Academy  in  1777,  and  was  received  in  1782.  The 
Louvre  possesses  his  initiation  piece,  which  is  stored  in  the  attics,  I  Enlevement  d  Orythie.  At  this 
time  tlie  ideal  was  more  thought  of  than  the  execution.  The  critics  of  this  period  held  Vincent  to 
account  for  having  painted  before  David  the  subject  of  Belisarim  Begging,  and  before  Peyron  that  of 
Socrates  reprimanding  Alcibiades.  These  paintings  which  were  not  in  harmony  with  the  usages  of 
the  school,  obtained  nevertheless  great  success.  Vincent  received  the  order  to  paint  for  the  king,  the 
picture,  President  Mole  resistant  aux  fa-timr,  a  painting  which  was  to  be  reproduced  in  tapestry  at 
the    Gobelins. 

To  conform  liimself,  as  others  had  done,  to  the  reform  which  his  master  Vien  had  outlined,  he 
painted  Alcibiades,  Socrates,  Belisarius  and  Zeuxis  among  the  most  beautiful  girls  of  Crotona,  but  his 
talent,  again  once  more,  wa-s  to  see  nature  and  reality  rather  than  to  feel  the  style  and  to  elevate  himself 
to  the  ideal.  Henry  IV.  rencontrant  Sidli/  bless'e,  was  eminently  a  painting  within  the  full  scope  of 
his  powers.  His  design,  though  easy,  was  full  of  sentiment,  devoid  of  the  clumsy  and  measured 
hatchings  seen  in  the  works  of  the  Vanloo.?,  the  striking  features  noticeable  in  those  of  Greuze, 
and  the  lifeless  stippling,  pertaining  to  that  of  artists  doomed  to  a  trade  of  patience.  To  sum  up, 
his  best  works  are  those  where  he  has  cast  off  the  influence  of  Vien  and  David.  He  was  never 
more   inspired   than   when   he   painted   the  Leron   de   Lahourage. 

While  David  was  becoming  lioman,  Vincent  remained  French,  and  it  is  not  astonishing  that 
from  his  studio  emerged  the  most  modem  as  well  as  the  most  popular  of  our  painters,  Horace 
Vernet.  Among  his  numerous  pupils,  are  distinguished,  Meynier,  M(5rim(^e,  Pajou,  son  of  tlie  sculptor, 
Ansiaux  and  Picot.  Vincent  died  in  1816  member  of  the  Institute  and  professor  to  the  Polytechnic 
School.  Intelligent  and  well  read,  he  was  confided  the  writing  of  the  articles  on  the  subject  of 
Painting  by  the  Academy  of  fine  arts  for  their  Dictionary.  To  his  school  also  belongs  Mme.  Guyard, 
n6e  Labille  des  Vertus,  who  wa3  married  to  Vincent  her  preceptor,  but  who  was  known  only  by  the 
name   of  her   first   husband. 

IS.UIKV  'JEAN  BAPTISTE),  an  eminent  miniature  painter,  was  born  at  Nancy  in  1767.  Ho 
repaired  to  Paris,  in  1786,  being  then  nineteen  years  of  age ;  and,  while  he  was  studying  miniature 
under  Damont,  supported  himself  by  painting  snuff-boxes.  When  David  returned  from  Rome,  Isabey 
entered  his  studio  as  a  pupil,  and  finished  his  art-education.  David  helped  him  to  live,  as  well  as 
to  improve  himself  in  Art.  When  the  Revolution  came,  Isabey  had  his  hands  full  of  portraits  of 
the  Constituent  Assembly.  A  remark  by  Mirabeau  is  said  to  have  taken  firm  hold  of  the  painter's 
mind: — "I  would  rather  make  sure  of  being  first  in  a  branch  of  Art,  than  suspect  I  was  only 
second  in  another."  In  consequence  of  the  remark,  Isabey  renounced  historical  painting  and  took  to 
portraiture.  The  agitated  times,  no  doubt,  suggested  the  change,  and  the  artists  marriage  with  a  poor 
gentlewoman  confirmed  it,  as  the  surest  path  to  a  competency.  Under  the  Directory,  he  became  the 
most  popular  miniature  painter  in  Paris.  Some  of  his  best  portraits  were  of  that  date.  "  Iney 
represent    some    incredible    oddities,    with    dog's    ears ;     and,    as     for    his    women,    they   an-    the    boldest 


50  A    COMPLETE   HIS  TO  BY   OF  FRENCH  ART.     . 

and  the  most  licentious,"  says  M.  Charles  Blanc.  Isabey  became  Hortense  Beauharnais'  drawing- 
master,  and    thus    established    a   connection  with    the    Bonaparte    family. 

He  was  a  kind-hearted  man  both  in  word  and  deed.  When  Gerard  was  starving,  after  the 
Revolution,  Isabey  bought  his  Relisarius  for  £120,  and  immediately  afterwards  sold  it  to  the  Dutch 
minister  for  double  the  sum.  He  was  met  by  some  one,  on  his  way  back  to  hand  over  to  his 
poor  brother-artist  the  whole  of  the  profit  he  had  made  by  his  bargain.  A  number  of  Isabey 's 
drawings  of  the  Coronation  of  Napoleon  are  now  at  the  Louvre.  He  executed  a  splendid  drawing, 
in  stumped  crayon,  for  Talleyrand,  representing  all  the  members  of  the  Congress  of  Vienna,  1815. 
A  valuable  picture,  on  Sdvres  porcelain,  of  Napoleon  surrounded  by  his  Marshals,  once  the  property  of 
the    city  of  Paris,  is    now  in    England. 

PUJOL  (ABEL  DE  ALEXANDER  DENIS),  son  of  the  Baron  de  la  Grave  et  de  Pujol,  was 
born    at   Valenciennes,  1785.      Officer   of  the    Legion   of  Honor,  Member   of   the    Institute. 

At  the  age  of  18,  Pujol  entered  the  School  of  David;  won  the  Prize  of  Rome  in  1811.  He 
was  distinguished  for  his  historical  works :  T/ie  Baptism  of  C/ovis,  in  the  Cathedral  of  Rheims.  HU 
Death   of  Britannicus,  is    in    the    Museum   of    Dijon.      He    died   on   September   28th,  1861. 

HESSE    (NICOLAS   AUGUSTE),  born    in    Paris,  1795,  became    a    pupil    of    Gros,  and,  at    two-and- 

twenty,  carried  off  the  prize  of  Rome.  His  health  did  not  permit  him  to  remain  there  his  full 
time.  On  his  return  to  Paris  he  occupied  himself  with  historical  and  religious  art;  and  subsequently 
with  cartoons,  frescoes,  and  the  decoration  of  churches.  He  exhibited  comparatively  few  pictures, 
hence  his  reputation  never  equalled  the  sterling  merit  of  the  artist.  It  is  in  the  churches  he 
decorated  that  his  work  may  be  best  appreciated ;  as  in  that  of  Notre  Dame  de  Lorette,  of  St. 
Clotilde,  and  of  St.  Eustache,  in  Paris,  and  in  the  cathedral  of  Avranches.  Both  at  the  Louvre  and 
the  Luxembourg  his  decorative  art  was  employed;  and  in  what  was  once  the  principal  hall  of  th( 
Hdtel    de    Ville. 

Hesse  was  elected  to  Delacroix's  vacant  place  at  the  Academy  of  the  Beaux  Arts  in  1863.  He 
died   m   1869. 

mCHALLON  (ACHILLE-ETNA),  born  October  22d,  1796,  died  September  23d,  1822.     At  the  grave 

of  Michallon  on  the  22d  day  of  September,  1822,  his  cousin,  M.  Vanier,  delivered  the  funeral  oration,  in 
which  he  said:  "Let  one  portray  to  himself  Michallon,  twelve  years  of  age,  whipping  a  wooden  shoe, 
spinning  a  top  or  flying  a  kite  in  the  yard  of  the  Sorbonne,  while  an  illustrious  stranger,  the  prince 
Jossoupoff,  is  admiring  his  paintings  in  the  studio  of  the  celebrated  David,  whom  he  has  come  to 
visit.  The  prince  cannot  believe  his  eyes,  he  must  see  the  child,  crosses  the  threshold,  enters  the 
ji-ard ;  a  group  is  pointed  out  to  him,  Michallon  is  introduced,  he  receives  caresses,  compliments  and  a 
pension    from    the    prince  " 

It  is  thus  tliat  ]\I.  Vanier  describes  the  beginnings  of  this  artist,  who  when  nothing  but  a 
mere  child  made  drawings  for  which  his  mother  found  a  ready  sale.  His  precocity  however  was  not 
only  the  fact  of  a  decided  vocation,  but  also  that  it  originated  from  his  having  been  born  in  a 
family  of  artists.  His  father,  Claude  Michallon,  originally  from  Lyons,  was  a  distinguished  sculptor. 
He  had  received  the  prize  of  Rome  in  1785,  and  while  at  the  Academy  won  the  prize,  to  be 
awarded  for  a  monument  to  be  erected  to  tlie  memory  of  Germain  Drouais,  which  he  executed 
gratuitously  after    having   contributed   like    his    fellow-artists    in    the    purchase    of    the    materials    for    the 


LES  JOHANNOT.  51 

mausoleum.      Claude    Mlchallon    was    on     the    high-road    to    feme  when    he    died    suddenly,  from    a   fell 
while   sculpturing   some    decomtions   at   the   Theatre    de   la    Republique,  September    17,  1799. 

His  most  celebrated  landscape  is  La  Mart  de  Roland  a  Roncevdux.  This  romantic  subject 
was  conceived  alter  the  manner  of  Poussin,  with  something  of  the  feeling  of  Salvator,  consequently 
every  one  was  pleased,  the  youths  by  the  intention,  the  academicians  by  the  style.  Some  were 
delighted  to  see  painting  bring  out  the  grand  figure  of  Roland  who  had  filled  the  middle-ages 
with  his  poetry,  while  others  were  satisfied  with  the  poussmic  style  of  this  landscape.  Nothing  less 
was  expected  from  a  young  man  who  had  won  this  prize  of  a  new  creation  ;  the  prize  of  historical 
landscape.  (See  illustration).  Michallou  then  held  the  first  rank  and  no  one  dreamed  of  contesting 
it.  To-day,  though  not  entirely  forgotten,  still  he  is  at  least  eclipsed,  for  how  can  we  think  of  the 
dead,  when  we   have   not   eyes   enough   to   look   at   the   living? 


BERTIN  (FBAXCOIS  EDOUARD),  was  corn  at  Paris  in  1797.  He  studied  under  Girodet  and 
Bidault.  He  was  Inspector  of  the  Beaux-Arts  under  Louis  Philippe,  and  in  this  capacity  spent  a 
considerable  time  in  Italy.  Among  his  works  are,  A  View  of  a  Hermitage  in  an  Ancient  Etruscan 
Excavation,  near  Viterbe,  at  the  Luxembourg,  T/ie  Temptation  of  Christ,  and  A  View  of  the  Ancient 
Tombs  en  the  Banks  of  the  Nile.  This  last  was  exhibited  in  1853,  and  he  did  not  contribute  to 
any  Salon  after  that  date;  he  died  in  1871  Chevalier  of  the  Legion  of  Honor  and  commander  of 
the   order  of  St.  Maurice   and  St.  Lazarus. 

ALIONY  (CXAl'DE  FELIX  THEODORE  CAREULLE  D'),  was  born  at  Charomes  in  1798.  Cheva- 
lier of  the  Legion  of  Honor  and  Director  of  I'Ecole  des  Beaux  Arts,  at  Lyons.  He  studied  under 
Regnault  and  Watelet ;  he  died  in  1871.  The  noblest  sites  of  Greece  and  Italy  have  been  sketched 
by  him  with  a  firm,  correct,  and  sober  hand,  with  a  quality  of  imperious  austerity  and  severe  elegance. 
The  beautiful  blocks  of  marble,  the  green  oaks,  the  olives,  the  rose  laurels,  the  trees  with  shining 
leaves,  all  the  precise  vegetation  of  the  noble  countries  which  are  loved  by  the  Sun,  preserve  under 
his  pure  brush,  their  native  grandeur.  The  Luxembourg  contains  his  pictures  of  The  Chase;  Setting 
Sun,  and  several  etchings  which  are  much  admired. 

JOHAXNOT  (LES),  Alfred,  bom  1800,  died  1837.  Tony,  born  1803,  died  1852.  The  two 
brothers  Alfred  and  Tony,  bom  at  Offenbach,  on  the  Main  began  as  engravers.  Excellent  engravings 
by  Alfred  are  still  to  be  found  here  and  there  in  the  portfolios  of  collectors :  the  Trompette  mort, 
after  Horace  Vernet,  the  Orphans,  after  Ary  Scheffer,  and  also  the  not  less  beautiful  ones  by  Tony, 
Infants  egar'es,  after  Scheffer,  the  Portrait  du  General  Foy,  after  G(5rard.  It  is  singular  that  these 
artists  so  well  drilled  in  the  patient  practices  of  such  an  art,  could  ever  succeed  in  so  far  emancipating 
themselves  as  to  become  painters  of  great  ease  and  facility,  and  above  all,  authors  of  endless  compo- 
sitions. Inseparable  friends,  the  brothers  at  first  worked  together,  and  together  composed  twenty-four 
pictures  destined  to  be  engraved  for  Fume's  edition  of  Sir  Walter  Scott.  Soon  the  love  of  painting 
became  a  ruling  passion  with  Alfred ;  and  making  a  great  many  water  colors  and  sepias  as  themes 
for  the  draughtsmen  employed  by  the  great  booksellers,  he  allowed  Tony  to  pursue  alone  the  speciiil 
career   in  which    he   has   acquired   such   renown,  that   of  book   illustration. 

At  the  salon  of  1831,  Alfred  Johannot  was  already  proclaimed  by  competent  judges  the  first  of 
anecdotical    painters.      He    had    exhibited    that   year   the   Arrestation   deM.de   Crcspiere.      But  where   he 


52  A    COMrLETE   HISTORY   OF  FREXd!    ART. 

bore  off  the  palm  in  his  genre  was  in  the  Salon  of  1833,  where  he  had  sent  his  masterpiece :  the 
Anncmce  de  la  vidoire  d' Hastenheck.  The  prodigious  talent  he  possessed  and  which  Delaroche  Las 
probably  never  exceeded,  was  that  of  approaching  history  by  the  detail.  Alfred  Johannot  manifested 
this  power  in  all  his  pictures,  notably  in  the  Entree  de  Mile,  de  Montpensier  a  Orleans.  He  Lad 
not,  like  Paul  Delaroche,  the  ambition  nor  the  power  to  elevate  the  genre  to  the  height  of  history, 
but  he  has  been  only  the  more  amiable  for  it.  Francois  \si  ei  Charles- Quint,  3Iarie  Stuart  quittant  la 
Prance,  Henri  II.  et  sa  famille,  Francois  de  Lorraine  presentant  see  officiers  a  Charles  IX.  apres  la 
bataille   de   Dreux,  such  were   the   subjects   in  which   Alfred   Johannot   delighted. 

As  did  his  brother,  Tony  Johannot,  who  had  also  tired  of  engraving,  exhibited  at  the  Salon 
remarkable  paintings,  a  little  weak  of  design  it  is  true,  but  still  charming,  full  of  warmth  and 
brilliancy,  of  an  execution  at  times  unexceptionable.  He  also  painted  Minna  et  Brenda,  La  Mart  de 
Lu  Guesclin,  Charles  VI.  et  Odette  and  the  Battles  of  Fontenoy,  and  of  Rosback  for  the  Museum  at 
Versailles.  The  death  of  Alfred  in  1837  discouraged  him  completely,  and  from  that  time  lie  made 
only  illustrations.  About  this  time  the  demand  for  illustrated  books  became  so  great  that  it  was 
found  necessary  to  obtain  a  cheaper  and  more  rapid  process  than  the  tedious  graver  afforded.  Wood 
engraving  was  substituted,  thereby  ensuring  economy  in  time  and  cost,  and  to  facilitate  still  more  its 
reproductions  the  designs  were  drawn  on  the  wood.  Tony  found  himself  ready  for  this  eaay  and 
abundant    work,  and    like    his   brother   had   the    talent   of  graceful   improvisation. 

The  number  of  plates  executed  by  Tony  Johannot  is  innumerable.  Don  Quichotte,  Manon  Les- 
caut,  le  Diable  boiieux,  le  Vicaire  de  Wakefield,  Walter  Scott,  Fenimore  Cooper  and  Moli6re,  among  the 
very  many  other  works  testify  to  an  inexhaustible  and  fruitful  source  without  parallel.  His  death  in 
1852,  in  his  forty-ninth  year  caused  a  general  mourning  in  all  the  Libraries,  the  Literary  and  the 
Art-world.  And  his  loss  is  still  more  deeply  felt  to-day,  when  the  large  publishers  have  trouble 
in   filling   his    place. 

ISABEY  (EUGENE  LOUIS  GABRIEl),  born  1804,  son  and  pupil  of  his  more  eminent  father, 
Jean  Baptiste,  carries  on  his  traditions  of  art,  but  as  a  painter  of  genre  and  sea  pieces.  His  works, 
which  are  highly  appreciated,  have  been  exhibited  in  successive  Salons  during  the  last  half  century. 
His   Embarkation  of  Puyter  and    William  de   Witt,  and   several   water    colors    are    in    the    Luxembourg 

Gallery. 

BRASCASSAT  (JACQUES  RAYMOND),  was  born  at  Bordeaux  in  1805.  Studied  under  Richanl 
and  Harsent.  Brascassat  has  been  called  "  the  poet  of  Animals,"  several  of  his  best  pictures,  among 
which  are  his  Fighting  Bulls,  are  in  the  Museum  of  Nantes.  He  died  in  1867,  a  member  of  the 
Institute    and    Chevalier   of  the    Legion    of   Honor. 

De  Saint-Santin  writes,  "  no  one  not  a  Dutchman  paints  so  broadly,  nor  with  a  more  sure  and 
firm  touch,  the  speckled,  rough  .skins  of  bulls  and  cows.  No  one  has  modeled  with  more  energy  and 
boldness  their  necks  and  shoulders,  their  dewlaps,  their  bespattered  rumps,  and  those  horned-heads  in 
which  the  fronts  are  all  bristling,  frowninc:  and  furious,  and  those  fine  feet,  like  the  feet  of  Goats, 
which  bear  bodies  of  monstrous  size,  nor  those  eyes,  sometimes  sweet  and  dreamy,  and  sometimes 
cruel    and   frightful." 

DEYERIA  (EUGENE  FRANCOIS),  born  in  Paris,  1805;  he  died  at  Pan  1865.  When  he  was 
no    more    than    two-and-twenty,  he    took    the    art  world    of   Paris    by  surprise    in  hij   great    picture    of  the 


JEAN  FRANCIS   GIGOUX.  53 

Birth  of  Henry  IV.,  an  immense  canvas,  full  of  life-like  figures,  who  press  forward  to  salute  the 
little  B'eamaia.  It  was  pronounced  a  masterpiece,  full  of  breadth,  of  dazzling  colour,  and  great  cha- 
racter. The  enthusiasm  it  excited  was  remarkable.  Artists  and  critics  hailed  the  arrival  of  the 
master  of  modern  art,  as  though  Delacroix  and  Ingres  had  abdicated  their  supremacy.  Stramre  to 
relate,  he  never  could  paint  another  picture.  It  was  the  first  and  the  last  reproductive  effect  of  his 
talent.  He  exhibited  other  works,  indeed;  but  they  were  hopeless  failures.  His  admirers  were  silent; 
some  jealous  rivals  took  advantage  of  the  catixstrophe  to  hint  things  discreditable  to  the  artist.  He 
had  to  accept  the  encouragement  of  his  friends,  who  held  out  hopes  of  a  brighter  future.  Dev^ria 
himself  knew,  by  repeated  trials,  that  his  power  was  gone  from  him.  He  quitted  Paris,  sought  retire- 
ment and  peace  in  B^arn,  and  but  rarely  took  up  his  pencil.  A  few  portraits  of  merit  must  be 
enumerated  among  the  artist's  successes.  Death  at  last  came  to  put  a  period  to  his  melancholy  sense 
of  fJEiilure. 

GLEYRE   (MABK-CHARLES^ABRIEL),  French   painter   of  Swiss   origin,  born   at   Chevilly  (Canton 

Vaud)  May  2d,  1806.  He  entered  in  1824  the  school  of  Mr.  Hersent,  the  next  year  he  left  for  Italy, 
and  firom  thence  proceeded  to  the  East.  He  did  not  return  until  1833,  and  in  1840  was  represented 
ia  the  Salon  by  Saint  Jean  sous  ^inspiration  de  la  Vision  apocalyptique.  He  exhibited  in  1843  Le  8oir 
wbicb  was  bought  for  the  Luxembourg;  in  1846  Les  Apotres  allant  precher  I'Evangile;  in  1849  la 
Dante  de»  Bacchantes  which  was   reproduced   several   times   by  engraving. 

Mr.  Gleyre's  absence  from  the  French  school  was  remarked  at  the  exhibition  in  1855.  He 
had  discontinued  sending  his  works  to  the  Salons  for  six  years,  being  dissatisfied  with  the  jury  who, 
he  thought,  had  judged  one  of  his  pictures  unfairly.  However,  he  never  ceased  producing.  There  are 
still  quoted  the  following  works  of  his:  L Echo,  bought  for  Russia;  Pentecote,  ordered  for  the  Church 
of  Saint  Marguerite;  then  several  other  paintings,  whereof,  some  for  Germany  and  others  for  Switzer- 
land, among  these  latter,  must  be  mentioned  La  Mort  dxi,  major  Davel,  Les  Romains  passant  sous  le 
joug  (1854),  for  the  museum  at  Lausanne,  Pcnthee  el  les  Jlenades,  for  the  museum  at  Bale,  etc.  We 
represent  him  by  his  picture  Hercules  at  the  feet  of   Omphale. 

The  countrymen  of  Gleyre  propose  to  erect  a  monument  to  him.  Certainly  he  has  well  merited 
this  honor,  the  serious  artist  whose  life,  consecrated  entirely  to  meditation  and  labor,  has  been  passed 
in  silence,  but  has  been  fruitful.  Gleyre  has  not  mingled  his  name  in  the  noise  of  our  disputes ; 
be  has  assisted  without  taking  part  in  the  grand  romantic  battle ;  he  has  not  wished  to  serve  as 
chief  of  the  little  school  of  neo-Greeks,  whose  scanty  ideal  accorded  so  little  with  his  aspirations ;  he 
has  fought  alone,  without  thought  of  public  applause,  having  his  friends  alone  as  witnesses.  His 
talent  had  less  of  force  than  of  elegance,  less  of  energy  than  of  delicacy ;  but  if  Gleyre  is  essentially 
the  painter  of  Omphale,  of  Sappho  of  the  Charmer,  let  us  not  forget  that  he  has  left  us  The  battle  of 
Lemon  and  the  Pentheus.  He  has  thus  shown,  by  some  powerful  works,  that  outside  of  the  grace  which 
was  his  incontestable  domain  he  was  able  sometimes  to  make  the  victorious  sally  and  the  grand  flight." 
Jarvis    Art  Notes.      M.  Gleyre   died    in    Paris    May  5th,   1874. 

OlOOrX  (JEAN  FRANCIS),  is  a  native  of  Besanyon,  born  in  1806.  From  Besanfon  he  removed 
to  Paris,  and  exhibited,  in  1831,  several  lead-pencil  portraits.  A  year  or  two  later  he  appeared  as  a 
painter  of  genre  and  of  portraits.  The  romantic  school  claimed  him,  and  perhaps  excessively  vaunted 
his   merits,  which    produced    corresponding   depreciation    of  his   talent    in    other  quarters.     Gigoux  has  been 


54  A    COiMPLETE   HISTORY   OF  FRENCH   ART.     . 

a  diligent  exhibitcr,  and  has  worked  honestly  and  hard  to  improve  both  his  drawing  and  colouring. 
The  Death  of  Cleopatra  now  in  the  Luxembourg  Gallery,  is  generally  considered  his  best  work.  His 
subjects    are    historical    and    religious. 

Gigoux  is  also  favourably  known  as  a  portraitist  in  various  styles  of  oil,  crayon,  and  pastel. 
His  drawings  and  lithographs  are  in  request  among  collectors.  In  short,  remarks  a  critic,  "  if  Gigoux 
has  never  reached  the  first  rank  in  Art,  he  has  at  least  shown  talent  and  practical  ability  which 
place  him  among  the  chiefs  of  the  Romantic  School.  Although  often  wanting  in  taste,  in  splendour, 
and  charm,  he  is  felt  to  be  a  master.  He  prefers  strength  to  beauty,  as  a  rule ;  and  disdains  to 
imitate  the  ancient  travellers  who  now  and  then  would  stop  by  the  ro<adside  and  sacrifice  to  the 
Graces."  But,  in  an  age  like  ours,  when  manliness  in  Art  is  by  no  means  too  common,  we  must 
not  refuse  to  honour  a  painter  who  paints  man  like  a  man.  Gigoux  has  this  additional  claim  to 
distinction,  that   he    has    instructed    several   of  the    best   artists   of  the    contemporary  school. 

HESSE  (ALEXANDRE  JEAN  BAPTISE),  born  at  Paris  1806,  a  nephew  of  Nicolas-Auguste 
Hesse,  and  only  eleven  years  his  junior,  was  also  a  pupil  of  Gros,  and  completed  liis  studies  in  Italy. 
A  picture  of  Titian's  funeral  honours,  painted  at  Venice,  1833,  laid  the  foundation  of  his  repute. 
The  Chapel  of  St.  Francis  de  Sales,  at  St.  Sulpice,  attests  his  powers  as  a  church  decorator.  History, 
religion,  and  genre,  in  turn,  engaged  his  pencil.  He  was  elected,  in  1867,  member  of  the  Institute 
in    the    room    of  Ingres.      He    died    in    1879.      His    Triumph   of  Pisani   is   in    the    Luxembourg. 

BOULANGER  (LOUIS),  was  born  at  Verceil  in  1806.  Pupil  of  Guillon-Lethiere.  Died  in  1867, 
Chevalier  of  the  Legion  of  Honor,  and  Director  of  I'Ecole  des  Beaux-Arts  at  Dijon.  He  made  his 
d6but  at  the  Salon  of  1828  with  Mazeppa  and  TJie  Departure,  among  his  best  works  are,  Fear 
nothing  thou  hearest  Caesar  and  his  Fortunes,  Othello  and  3facbeth,  and  Holy  Family,  he  also  jiainted 
a  water  color  of  the  last  scene  in  Intcrezia  Borgia,  which  was  purchased  by  the  Duke  of  Orleans. 
He   died   in    1867. 

BEAUME  (JOSEPH),  historical  and  genre  painter,  was  born  at  Marseilles  in  1790;  went  to 
Paris  at  the  age  of  eighteen,  where  he  entered  the  atelier  of  Gros.  He  made  a  favorable  impres- 
sion with  a  picture  of  Eliezer  and  Naphtali,  which  he  produced  in  1819,  and  which  is  now  in  the 
Gallery  of  Fontaiubleau.  He  first  exhibited  in  1822,  and  some  years  afterwards  had  many  commissions 
for  the  Gallery  of  Versailles,  besides  portraits  and  marine  subjects.  His  principal  historical  works, 
painted  between  1836  and  1843  are  in  the  Museum  at  Versailles,  and  represent  some  of  the  more 
recent  subjects  in  the  Gallery  of  Battles :  The  Passage  of  the  Rhine  at  Dusseldorff.  The  Battle  of 
Diemstein.  The  Day  of  Albreto.  The  Battle  of  Lutzcn.  Tlie  Taking  of  Halle.  The  Battle  of 
Oporto.  The  Battle  of  Bautzen.  Battle  of  Toulouse.  The  series  concluding  with  Napoleon  I.  embark- 
ing at  Porto  Ferrajo,  on  his  return  to  France  from  Elba.  He  received  a  second-class  medal  in  1824, 
a   first-class   medal    in    1827,  and   the    decoration    of  the    Legion    of  Honor   in    1836. 

ROBERT-FLEURY  (JOSEPH  NICHOLAS),  was  born  at  Cologne,  of  French  parents,  on  the  8th 
August,  1797.  His  family  falling  into  reduced  circumstances  through  the  action  of  troublous  times, 
he,  at  an  early  age,  made  his  way  to  Paris,  Avhere  with  strong  art  impulses,  he  was  soon  initiated  into 
the  elements  of  drawing.  The  first  thing  that  came  in  his  way  he  made  good  use  of:  it  was  a 
book    of    heraldry  ;    and    ere    long   he    became    so    expert    in    the    designing    of    coats    of    arms,  that    th'* 


ROBERT-FLEURY  {JOSEPH  NICHOLAS).  55 

Count  de  Forbin,  Director  of  the  Museum  of  the  Louvre,  remarking  his  talents,  wished  to  procure 
hira  a  license  as  painter  of  armorial  bearings.  But  soon,  perceiving  in  tlie  young  man,  now  nineteen, 
buddings  of  genius  yet  to  shoot  up  beyond  heraldic  trees,  the  Count  took  a  higher  view  of  the  case, 
and  introduced  his  protege  to  the  atelier  of  Horace  Vernet.  It  was  not  long  ere  the  pupil  won  the 
regard  of  his  master,  who  placed  him  to  work  alongside  of  his  own  easel ;  putting  the  palette  and 
brush  into  his  hand,  giving  him  some  of  his  own  studies  to  copy,  he  would  stop  in  his  work  to 
counsel  and  encourage  the  young  art-student.  It  was  at  this  time  that  Gall,  just  commencing  his 
phrenological  courses  and  experiences,  arrived  at  Paris.  Being  acquainted  with  Horace  Vernet,  he  paid 
a  visit  to  his  atelier,  and  scrutinizing,  in  his  way,  the  three  or  four  pupils  who  were  there, — "  This 
one."  he  said,  speaking  of  Robert,  "has  the  organ  of  colour."  "Now  then,"  said  Horace,  "let  us 
see  you  justify  the  prophecy  of  the  Doctor."  And  certainly  the  Doctor  foretold  rightly.  But  the 
atelier  of  Vernet  bad  not  those  advantages  for  study  which  the  young  pnpil  required.  That  master 
employed  the  living  model  but  little  for  his  compositions.  Gifted  with  large  perception  and  unfailing 
memory,  he  grasped  the  realization  of  his  idea  in  the  mind's  eye,  and  planted  it  on  the  canvas  with 
a  certainty  of  a  hand  accustomed  to  every  movement  and  expression  of  the  form.  It  is  related  thai 
a  person  who  had  stood  to  hira  for  a  model  having  gone  to  him  one  day  to  ask  employment, 
Horace  replied,  "I  have  no  nee<l  of  you  just  now,  but  I  owe  you  a  sitting."  "Me,  sir!  you  mistake, 
surely;  I  never  had  the  honor  to  sit  to  you."  'Aye,  no  matter;  do  you  know  that?"  pointing  to 
a  figure  in  a  picture.  And  there,  sure  cnougii  he  recognized  himself,  rendered  from  memory :  for 
Horace  had  only  met  hira  in  the  road,  or  somewhere  by  accident ;  one  glance  sufficing  for  liis  quick, 
comprehensive  eye.  However,  the  beginner  is  not  thus  emancipated  from  the  necessity  of  being 
guided  by  the  substantial  form  of  nature ;  and  Horace  himself  was  the  first  to  recognize,  in  the 
essays  of  Robert  Fleary,  a  promise  of  talent  worthy  of  serious  cultivation.  "  You  are  losing  your 
time  here,"  said  he  to  him,  after  a  few  months ;  "  you  must  work  after  the  model  ;  I  will  take  you 
to  the  atelier  of  Girodet."  "But  to  stay  there  costs  thirty  francs  a  month;  and  how  procure  this?" 
Yet  the  young  man,  hopeful,  trustful,  resolute,  was  not  to  be  put  down  by  this  difficulty;  and,  spite 
of  all  its  cost,  he  remained  there  from  1815  to  the  end  of  1819,  when  he  changed  professors,  and 
entered  under  Gros ;  with  whora,  however,  he  remained  only  some  months.  But  it  was  neither  with 
Vernet,  with  Girodet,  nor  with  Gros,  that  our  young  artist  felt  himself  most  iu  his  element.  There 
was  another  who  for  hira  was  a  leading  spirit,  with  whom  ho  felt  a  profound  sympathy ;  and  many 
a  time  did  he  play  truant  from  the  schools  of  all  the  three  to  work  a  hearty  hour  with  Gericault.  It 
was  at  this  time  that  the  latter  was  engaged  in  studies  for  his  famous  Raft  of  tlie  Medusa  and  in 
living  models,  and  the  dead  preparations  bought  from  the  School  of  Anatomy  for  the  peopling  of  this 
extraordinary  canva<),  Robert  Fleury  found  ample  subject  for  work ;  and  an  intimacy  based  upon  true 
artistic  sympathy  was  established  between  Gericault  and  the  young  aspirant,  who  was  treated  rather  as 
a  friend  than  as  an  ordinary  pupil  ;  a  friendship  which  was  only  cut  short  by  the  premature  death  oi 
the  former.  Wlien  scarcely  twenty-one  years  of  age,  Robert  Fleury  experienced  a  severe  disappointment 
in  an  affair  of  the  heart,  which  occasioned  a  melancholy  which  he  sought  to  dissipate  by  travel.  The 
desired  occasion  presented  itself  t  propos,  and  Robert  journeyed  into  Switzerland  as  drawing-tutor  to  an 
English  family  who  hud  a  residence  there.  What  more  glorious  country  for  the  lifting  up  of  a 
drooping  heart  ?  Rome  afterwards  became  the  object  of  his  thoughts  and  efforts ;  so  he  cleared  the 
Alps,  and  found  himself  in  the  Eternal  City.  Just  at  the  time  of  Robert  Fleury 's  arrival  at  Rome, 
a  circumstance   took    place  which   struck   him   aa    a    subject    for    a    picture ;    a    band    of    brigands,  with 


56  A    COMPLETE  HISTORY   OF  FRENCH  ART. 

most  outrageous  daring,  had  entered  a  convent,  and  sacrilegiously  pillaged  the  holy  fathers.  He  had 
the  good  fortune  to  get  the  very  actors  in  the  scene  to  sit  for  his  picture,  and  he  determined  that 
this,  his  ddbut  in  the  artistic  career,  should  be  at  the  height  of  his  powers  for  truth  and  effect. 
Thrice  did  he  depict  the  scene,  and  bring  his  labours  to  a  termination,  and  thrice,  unsatisfied,  did  he 
resolutely  destroy  the  pictures  he  had  spent  nearly  four  years  upon.  The  picture  being  at  length 
finished,  and  to  the  artist's  satisfaction,  the  young  painter,  whose  exchequer  hatl  become  in  a  very 
exhausted  state,  began  thinking  anxiously  how  he  was  to  get  it  to  Paris,  and  how  it  was  to  produce 
him  the  needful  resources,  with  all  the  chances  which  an  unknown  artist  runs  of  remaining  undis- 
tinguished and  unbought,  among  the  crowd  of  competitors  struggling  for  honour  and  existence  on  the 
walls  of  the  Louvre  Exhibition.  At  that  moment  a  step  sounded  on  the  floor  of  the  atelier,  and 
broke  the  reverie  of  the  student.  The  first  words  of  the  new  comer  were  an  exclamation  of  admira- 
tion, and  an  offer  to  purchase  the  picture.  Robert,  his  head  half-turned  with  the  suddenness  and 
welcome  of  the  good  fortune,  and  ignorant  besides  of  the  value  of  his  work,  knew  not  what  to  reply  ; 
so,  abruptly  leaving  the  amateur,  off  he  ran  to  ask  counsel  of  M.  Granet,  then  one  of  the 
most  distinguished  of  French  artists  at  Rome.  "Well,"  said  Granet,  "you  are,  after  all,  you  see,  but 
a  beginner ;  and  however  valuable  in  itself,  your  work  has  not  yet  acquired  a  value  by  reputation  ; 
you  cannot  be  exacting — ask  1200  francs."  This  he  did,  and  the  bargain  was  at  once  concluded, 
and  the  money  paid.  Exhibited  in  the  Louvre  in  1824,  the  picture  attract-ed  so  much  admiration 
that  the  Count  de  Forbin  sent  for  the  artist  (who  had  returned  to  Paris  in  the  interim),  and  gave 
him  to  understand  that  the  king  (Charles  X.)  desired  to  acquire  the  picture,  at  the  price  of  5,000 
francs.  Its  present  possessor,  however,  declaring  his  disinclination  to  depart  from  his  bargain,  Robert- 
Fleury  was  honoured  with  a  commission  from  the  king  for  another  picture  on  the  subject  of  Tasso 
arriving  at  the  Convent  of  St.  Onofario,  on  the  occasion  of  the  poet'.s  last  and  fatal  illness  on  his 
way  to  Rome,  Nov.  1594.  The  artist  returned  to  Rome  to  paint  this  picture,  which  was  exhibited 
in  1827.  Returned  to  France,  Robert-Fleury  in  1829,  finding  himself  in  the  country,  painted  a  study 
of  sheop,  which  he  gave  to  an  exhibition  for  the  benefit  of  the  Greeks.  Its  success  was  such,  that 
an  idea  entered  the  mind  of  the  painter,  that,  perhaps,  hitherto  he  had  not  found  the  true  direction 
of  his  genius ;  whicli,  cultivated  with  the  necessary  means,  might  place  him  in  the  position  of  the 
Paul  Potter  of  France.  Under  this  impression  he  set  off  to  Holland ;  and  there,  for  a  year,  studied 
the  subjects  of  the  celebrated  animal  painter,  on  his  own  ground,  dreaming  over  future  pictures  of 
cattle,  pensively  ruminating  in  their  green  meadows,  or  quietly  standing  in  the  homestead  ; — of  horses 
munching  their  hay  in  the  farm-yard,  or  tugging  the  plough  through  the  furrow ; — of  all  that  quiet 
and  homely  life  of  the  cultivator,  which  so  charms  by  its  simplicity,  and  closer  communion  with  nature. 
On  his  return  to  France  he  took  up  his  head-quarters  at  a  farm,  determined  to  make  his  d^but  with 
^clat,  in  the  new  career  he  had  foreshadoAved  for  himself,  and  on  a  twelve  foot  canvas.  But  whilst  he 
was  engaged  upon  this  great  work,  the  Revolution  of  July,  1830,  burst  forth,  and  he  hurried  off  to  Paris 
to  watch  and  mingle  in  the  movements  of  that  stirring  time.  His  cattle  studies  thus  interrupted, 
he  employed  his  pencil  for  some  time  on  several  portraits,  one  of  which,  that  of  M.  Gu4nin,  had  the 
honours  of  the  Sa.on  Carr^.  In  1833,  was  exhibited  the  Scene  from  St.  Bartholomews  Eve,  in 
which  the  young  Prince  of  Conti  endeavours,  but  fruitlessly,  to  save  his  tutor  Brion,  by  throwing 
himself  over  him,  and  warding  off  the  spears  and  daggers  of  the  assassins.  This  picture  was  bought 
for  the  gallery  of  the  Luxembourg.  On  the  distinguished  success  which  attended  this  picture,  his 
friends    took    occasion    to    dissuade    him    from    further    devoting    his    study  to    animal    painting,  and    he 


RAPHAEL    CHAMLK^   MAUECHAL.  57 

yielded  to  their  counsels.  Of  the  soundness  of  their  advice  he  was  still  further  enabled  to  judge, 
when  at  the  next  years  exhibition,  his  Procemon  of  the  Jjeague  obtained  a  first  medal  from  Govern- 
ment, and  was  sold  at  once  to  a  gentleman,  a  native  of  Belgium,  where  it  still  is.  The  large  cattle 
picture  was  thus  abandoned ;  and  some  time  after,  he  had  it  sent  to  Paris,  and,  cutting  out  the  parts 
he  wished  to  preserve,  abandoned  for  the  rest,  his  aspirations  of  Paul-Potterism.  In  1835  he  painted 
for  Versailles  several  portraits,  and  the  Arrived  of  Baldwin  Count  of  Flanders  at  Odessa.  The  fol- 
lowing year  he  received  the  decoration  of  the  Legion  of  Honour,  on  the  exhibition  of  his  "  ITenry 
IV.  brought  to  the  Louvre-Palace,  after  his  Assassination.  In  1837  appeared,  Bernard  de  Palissy  in 
his  Workshop,  a  small  picture,  which  was  unanimously  praised  by  the  journals.  A  large  collection  of 
his  works  was  seen  at  the  Paris  Universal  Exhibition,  1855  ;  and  in  1857  he  exhibited  Charles  V. 
at  the  Monastery  of  8t.  Juste.  He  obtained  a  second  medal  in  1824,  two  first-class  medals  in  1834 
and  1835  respectively.  He  was  elected  a  member  of  the  Academic  des  Beaux  Arts  in  1850,  and 
succeeded  Blondel  as  Professor  in  1855.  We  illustrate  his  Pillage  of  a  house  in  the  Jewish  Quarter, 
at    Venice,    in   the   Middle   Ages,    from    the    Luxembourg    Gallery. 

BIARD  (AUGUSTUS  FRANCOIS),  wa.s  born  at  Lyons  in  the  year  1800.  He  was  originally 
intended  for  the  ecclesiastical  calling,  and  passed  many  years  of  his  life  as  a  chorister  in  different 
churches  in  his  -native  town.  When  about  sixteen  or  .seventeen  years  of  age  he  passed  a  few 
months  in  the  school  of  M.  R<5voil,  head  master  of  the  Lyons  School  of  Design,  and  then  went  into 
a  stained  paper  factory  in  the  vicinity,  where  he  remained  eight  months,  being  employed  to  soften 
down  the  points  of  junction  in  the  pictures  printed  for  the  decoration  of  village  churches.  This 
employment,  bumble  as  it  was,  awakened  within  hira  the  suggestion  of  the  nobler  vocation  to  which 
his  pencil  was  afterwards  destined.  With  the  exception,  however,  of  another  half  year  passed  by 
him  in  the  School  of  Painting  at  Lyons,  then  conducted  by  M.  Richard,  he  was  almost  wholly  self- 
taught.  In  1827  he  was  appointed  professor  of  drawing  on  board  a  corvette,  in  which  he  succes- 
Hively  touched  at  Malta,  the  Archipelago,  Syria,  and  Egypt ;  but  obtained  his  discharge  in  the  fol- 
lowing year,  and  then  visited  successively,  England,  Scotland,  Germany,  Switzerland,  Italy,  Spain,  Africa, 
Hu.Hsia,  Norway,  Lapland,  Finland,  Spitzbergen,  Ac,  collecting  both  at  sea  and  on  land  iimumerable 
subjects  in  landscapes,  portraiture,  and  costuine.  The  first  picture  produced  by  M.  Biard  was  one  of 
The  Babes  in  the  Wood,  which  was  purchased  by  the  Society  of  the  Friends  of  Art  at  Lyons.  ^l. 
Biard  is  represented  in  the  Luxembourg  Gallery  by  his  painting,  Da  Coriedic  taking  Leave  of  Jm 
Crew.      He  was   decorated    Chevalier   of  the    Legio;i    of   Honour    in    1838. 

HARECHAL  ^RAPHAEL  CHARLES),  was  born  of  poor  parents  at  Metz  in  1800.  He  was 
brought  up  as  a  saddler,  but  his  bent  for  art  took  him  early  to  Paris,  where  during  several  years 
he  was  a  pupil  of  Regnault.  In  1825  he  returned  to  Metz,  and  in  the  following  year  exhibited  at 
the  Exposition  of  the  Department  of  the  Moselle,  a  picture  of  Job,  which  procured  him  the  first- 
class  silver  medal.  In  1831,  on  the  visit  of  King  Louis  Philippe  to  Metz,  he  presented  to  that 
sovereign  a  picture  of  his  painting  entitled  Prayer,  which  obtained  honourable  mention  at  the  salon 
of  the  current  year.  Amongst  his  remaining  paintings  in  oil  are  Masaccio  as  a  boy,  The  Harvest, 
and  the  Apotheosis  of  Si.  Catherine  painted  in  1842  for  the  cathedral  of  Metz.  He,  however,  even- 
tually abandoned  oil,  as  a  vehicle,  in  favour  of  pastel,  as  being  better  adapted  to  his  free  and 
aketchy  style.  In  this  medium  lie  produced  a  vast  number  of  subjects  of  the  Boliemian  type — 
i\ic\i  as  the    Sisters   of  Misery,  Hungarian    Woodtnitterx,  La    Petite    Gitana    (1841),  Leisure,   Distress,    The 


58  A    COAIFLETE   HIS  TO  BY   OF  FRENCH  ART. 

Adepts,  &c.,  for  which  he  received  successively  medals  of  the  third,  second,  and-  first  class.  But  more 
important  than  all  these  labours  was  the  new  industry  which  he  was  enabled  to  establish  in  his 
native  town — in  glass  painting.  His  productions  in  this  line,  exhibited  at  the  Great  Exhibition  of 
1851,  obtained  for  him  a  medal  of  the  first-class;  and  the  two  vast  h(?raicycles,  which  he  executed 
for  the  Palace  of  Industry  of  Paris  in  1855,  obtained  for  him  the  grade  of  officer  of  the  Legion  of 
Honour,  he  having  received  the  first  decoration  in  1846.  M.  Marechal  has  since  decorated  with 
painted  windows  a  great  number  of  the  principal  churches  in  France ;  at  Paris,  St.  Vincent  de  Paul, 
8i.  Clotilda,  St.  Valere ;  the  cathedrals  of  Troyes,  Metz,  Cambray,  Limoges,  and  parish  churches  too 
numerous  to  mention.  His  son,  Charles  Raphael,  born  at  Metz  in  1830,  is  a  clever  painter  of  genre. 
His   Simoom,  Halt   at   Evening,  and    T/t£   Shipwrecked,  were    exhibited    in   1853    and    1857. 

TASSAERT   (NICHOLAS   F.  0.),  a   French   painter,  born   at   Paris  in  July,  1800.      He  commenced 

his  studies  in  art  in  1817,  under  P.  Girard  and  Guillon  Le  Thidre,  as  well  as  in  the  Exiole  des 
Beaux  Arts,  where  he  remained  till  1825.  He  first  exhibited  in  portraiture  in  1831,  and  afterwards 
pursued  historical  painting,  working  for  the  Museum  at  Versailles,  for  which,  amongst  others  he  exe- 
cuted the  Fhneral  of  Dagobert  at  St.  Denis.  He  also  painted  genre  subjects.  Amongst  his  exhibited 
works  are  The  Death  of  Correggio,  Diana  at  the  Bath,  The  Death  of  Heloise,  The  FaUen  Angel, 
The  Magdalen  in  the  Desert,  Christ  on  the  Mount  of  Olives,  Heaven  and  Fktrth,  The  Slave  Dealer, 
The  Two  Mothers,  and  The  Old  Musician.  At  the  Universal  Exhibition,  1865,  amongst  several  others 
by  him,  were  The  Sleep  of  the  Infant  Jesus,  The  Son  of  Louis  XVI.  in  the  Temple.  Many  of  this 
artist's  works  have  been  engraved,  or  lithographed.  He  has  received  two  medals  in  historical  painting ; 
one   of  the   second-class   in    1838,  and   one   of  the   first-class   in    1849.      He   died   in    1874. 

ADAM  (JOHN  TICTOR),  a  French  painter  and  lithographer,  born  at  Paris  in  1801,  was  the 
son  of  John  Adam,  an  esteemed  engraver.  During  the  years  1814  to  1818  he  studied  at  the  Ecole 
des  Beaux  Arts,  and  also  in  the  ateliers  of  Meynier  and  Regnault.  In  1819  he  exhibited  Herminia 
succouring  Tancred.  He  was  almost  immediately  afterwards  employed  to  paint  various  subjects  for 
the  Museum  at  Versailles,  amongst  which  are.  The  Fhitry  of  the  French  into  Mayenc^.  The  Battle  of 
Varroux.  The  Taking  of  Menin.  The  Battle  of  Castiglione.  The  Passage  of  the  ,Cluse.  The  Battle 
of  Montehello.  The  Capitulation  of  Meiningen.  The  last  three  in  association  with  M.  Alaux.  He 
also  exhibited  down  to  the  year  1838 :  Henry  IV,  after  the  Battle  of  Chutras.  Trait  of  Kindness 
in  the  Duke  de  Berri,  The  Postillion.  The  Vivandidre.  The  Road  to  Poissy.  The  Return  from  the 
Chase.  Horse-fair  at  Caen.  And  numerous  other  subjects.  He  then  retired  from  publicity,  till  1846, 
when  he  appeared  as  the  exhibitor  of  some  works  in  lithography,  to  which  branch  of  art  he  after- 
wards restricted  himself.  In  this  line  he  has  produced  a  lithographic  album,  Views  in  the  Environs 
of  Paris.  Studies  of  Animals,  (1833),  Design  for  an  edition  of  Biiffon.  dc.  He  obtained  a  gold 
medal  in  1824,  a  second-class  medal  in  1836,  besides  several  others  from  Lille,  Douai,  etc.  He  died 
1865.     His   son,  Alfred   Albert,  also  works   in   lithography. 

GIROUX  (ANDRE),  born  at  Paris,  April  30,  1801,  son  of  the  painter  Alphonse  Giroux,  who 
became  a  dealer  in  paintings  and  children's  toys.  He  made  his  debut  at  the  Salon  when  eighteen 
years  of  age,  by  a  few  subjects  of  genre ;  he  gradually  inclined  to  landscape  painting  which  he  studied 
under   Thibault,  and   followed   the    courses    of   the    School    of   Fine    Arts,  where   he    carried   off  the    grand 


CLAUDE  JULES   ZIEGLER.  59 

prize  for  historical  landscape  in  1825.  On  his  return  from  Rome,  he  has  continued,  while  traveling, 
his  contributions  to  the  Salon.  He  is  represented  in  tlie  Luxembourg  Gallery  by  The  Plain  of 
Gresivaudan  near  Grenoble.  This  artist  obtained  a  second-class  medal  in  1822,  a  first-class  one  in 
1831,  and   was    decorated   in   August,   1831.     M.  Andre    Giroux    died    at    Paris,  November    18,   1879. 

FLEFRY  (LEON),  landscape  painter,  son  of  Claude  Anthony  Fleury,  was  born  at  Paris  in  1804  ; 
and  after  acquiring  the  first  rudiments  of  art  from  his  father,  became  successively  the  pupil  of  Victor 
Bestin,  and  Hersent.  On  quitting  the  studio  of  the  latter,  he  set  out  upon  a  lengthened  sketching 
tour,  and  between  the  years  1827  and  1830,  travelled  over  Italy,  Belgium,  and  a  large  part  of  his 
native  country.  Returning  to  Paris,  he  there  exhibited,  in  1861,  four  pictures,  A  Vieiv  of  the  Poiite 
Ratio,  Rome,  A  View  in  the  Environs  of  Rome,  and  two  views  of  Watten,  in  the  environs  of  /St. 
Omer.  From  that  year  his  name  was  seldom  absent  from  any  of  the  public  exhibitions  of  the 
French  Academy.  His  last  appearance  was  at  the  Universal  Exposition,  in  1855,  to  which  he  contri- 
buted two  pictures.  Although  chiefly  known  a.s  a  landscape  painter,  he  occasionally  employed  his 
pencil  on  other  subjects.  In  the  church  of  St.  Marguerite  is  a  Baptism  of  Christ,  by  him,  and  in 
that  of  St.  Etienne-du-ilont,  a  St.  Genevieve.  Several  of  his  works  have  been  purchased  by  the  French 
government  for  presentation  to  provincial  Museums ;  a  Wood  in  Normandy,  presented  to  the 
Museum  of  Bar-le-Duc,  and  a  View  on  the  Road  to  Genoa,  near  Nice,  presented  to  the  Museum  of 
Amiens.  His  works  are  held  in  high  esteem  by  his  countrymen  for  their  truth,  picturesque  character, 
and  careful  treatment.  In  1834  M.  Fleury  was  awarded  by  the  council  of  the  Fine  Arts  in  Paris, 
a  medal  of  the  third-class ;  in  1837  one  of  the  second-class ;  and  in  1845  one  of  the  first-class.  In 
1851    he    was   made   a   member   of  the   Legion   of  Honour.     He   died   in   the    winter   of   1858. 

8I0N0L  (EXILE),  member  of  the  Imtitut,  bom  at  Paris,  March  11,  1804,  was  pupil  of  Blondel 
and  Baron  Gros,  and  of  the  School  of  Fine  Arts,  where  he  carried  off  the  second  prize  in  1829  and 
the  grand  prize  in  1830,  his  subject  was :  Mi'Uagre  prenant  les  armea  a  la  soUicitation  de  son  epouse. 
He  had  made  his  debut  at  the  Salon  of  1824  by  the  painting  of  Joseph  i-acontant  son  r&ve  a  ses 
frtres.  During  his  sojourn  at  Rome  he  sent  equally  to  the  Salons  of  1834  and  1835,  several  contri- 
butions :    a   Portrait,  Le   Couveni  de  Santa  Scholastica,  in   the   possession   of  M.  Asse. 

This  artist  executed  for  the  galleries  of  Versailles  (1838-1844),  La  deuxi^me  croisade  prechce 
d  Vazelay,  Le  Sucre  de  Louis  XV.  the  portraits  of  Louis  VII.  Philippe  Augiiste,  Louis  IX.  (equestrian), 
Qodefroy  de  Bouillon.  Requested  in  1840  to  contribute  to  the  decoration  of  the  Church  of  the 
Madeleine  he  painted  therein  La  Mort  de  Saphira,  and  has  worked  assiduously,  from  that  time,  in 
the  several  chapels  of  the  churches  of  Saint  Roch,  Saint  S<5v6rin  and  Saint  Eustache,  and  was  ordered 
in  1864  to  decorate  the  new  church  of  Saint  Augustin.  He  has  also  executed  four  large  paintings 
{Jesm  Christ  soriant  du  tombeau.  Ascension,  etc.),  for  the  transept  of  the  church  Saint-Sulpice  (1876). 
M.  Signol  is  represented  in  the  Gallery  of  the  Luxembourg  by  his  picture  La  femme  adultdre.  M. 
Emile  Signol  has  obtained  a  second-class  medal  in  1834,  and  a  first-class  one  in  1835.  He  was 
elected,  in  November,  1860,  member  of  the  Academy  of  Fine  Arts,  in  place  of  d'Hersent,  over  thirteen 
competitors,  after  balloting  ten  times.  Knight  of  the  Legion  of  Honor  in  June,  1841,  he  was 
promoted   to   the    rank   of   officer    August   13,  1865. 

ZIEOLER  (CLAUDE  JULI'>J),  a  French  painter,  was  born  at  Langres  in  1804.  He  was  one  of 
the    most   distinguished    pupils   of    Ingres,  and    after    travelling    in    Italy  and    Germany  for    improvement, 


r 


60  A    COMPLETE   HI8T0EY   OF  FRENCH   AMI. 

studied  under  the  celebrated  Cornelius  at  Munich,  where  he  acquired  a  complete  knowledge  of  the 
technicalities  of  fresco-painting.  He  began  to  exhibit  in  the  winter  of  1830,  and  four  years  later 
produced  a  remarkable  portrait  of  Marshal  de  8aiicerre,  in  full  armour  on  horseback,  now  in  the 
Versailles  Gallery.  This  having  been  highly  approved  by  the  king,  Ziegler  was  appointed  to  decorate 
the  cupola  of  the  church  of  La  Madeleine,  in  place  of  Paul  Delaroche,  to  whom  the  commission  had 
been  promised  by  the  ministry.  Between  1835  and  1838  he  executed  a  grand  epic  composition,  illustrative 
of  the  growth  and  influence  of  Christianity  and  covering  the  whole  extent  of  tlie  hemicycle,  upon  the 
completion  of  which  the  king  (Louis  Philippe)  presented  him  personally  with  the  order  of  the  Legion 
of  Honour.  This  great  work  having  familiarized  him  with  the  requirements  of  every  branch  of  painting, 
he  afterwards  modelled  and  decorated,  for  commercial  purposes,  a  number  of  porcelain  vases,  which  are 
much  esteemed.  Amongst  his  jiaintings  may  be  mentioned:  Venice  at  Night  (1831),  Oiotto  and 
Oimabice  (now  in  the  Luxembourg  Gallery),  The  Death  of  Foscari  (1833),  the  portrait  of  Kdlerrnan, 
for  Versailles  (1835);  The  Prophet  Daniel  (1838),  T/i^  Dew  on  the  Poses  (1844),  Jacob's  Dream 
(1847),  Charles  V.  giving  Directions  for  his  Fmeral  (1848),  The  Peace  of  Amiens  for  the  hall  in 
which  the  congress  was  held  in  that  town  (1853),  Notre  Dame  de  Bourgogne,  exhibited  posthumously 
at  the  Louvre  in  1857,  and  purchased  by  the  state.  Between  1833  and  1848  he  obtained  two 
second-class  medals,  and  one  first-class,  and  in  1832  was  appointed  Director  of  tiie  Museum  at  Dijon. 
He  was  author  of  an  esteemed  work  entitled,  "  Recherches  des  Principes  du  Beau  dans  I'Art  Cera- 
mique,  I'Architecture,  et   la    Forme    en   g4n6ral,"  8vo.  with   plates  (1850).      He  died  December  29    1856- 

JACqUAND  (CLAUDIUS),  born  at  Lyons  in  1805.  Studied  in  the  Academy  of  that  city,  and 
made  his  debut  at  the  Salon  of  1824.  Entirely  given  to  grand  historical  painting  at  first,  he  sub- 
sequently cultivated  genre.  From  1852  to  1855,  he  lived  at  Boulogne-sur-Mer,  and  executed  among 
other  notable  and  important  works  Le  Maire  de  Boidogne  refttsani  la  capitulatiofi  de  Henri  VIII.  en 
1544,  for  the  chamber  of  honor  in  the  City  Hall.  On  his  return  to  Paris  he  undertook  and  finished 
the    mural    paintings    in   the    Chapel    of  the   Virgin    at    the    Church    of  Saint    Philippe    du    Roule. 

M.  Jacquand  has  obtained  a  second-class  medal  in  1824,  a  first-class  one  in  1836,  and  was 
decorated  in  May  1839,  he  also  received  numerous  medals  at  the  foreign  expositions  where  he  exhibited. 
He    died    in    Paris,  April    3d,   1878. 

DUCORNET  (LOUIS  CiESAR  JOSEPH),  a  Jrench  painter  of  some  repute,  was  born  of  poor 
parents,  at  Lille,  in  January,  1806.  He  was  naturally  deformed,  having  neither  arms  nor  thighs,  and 
only  four  toes  to  his  right  foot.  Being  as  a  child  often  left  to  roll  about  the  floor  alone,  whilst 
the  rest  of  the  family  were  engaged  in  their  daily  vocations,  he  used  to  pick  up  bits  of  charcoal, 
and  amuse  himself  by  drawing  on  the  wall  various  objects  which  surrounded  him.  H<>  fortunately 
received  some  instruction  from  M.  Wateau  the  professor  of  drawing  at  the  school ;  and  the  Mayor  of 
Lille,  the  Count  de  Muyssard,  perceiving  his  talent,  procured  for  him  a  pension  of  300  francs  from 
the  municipality.  Some  time  afterwards  M.  Potteau,  deputy  of  the  department,  with  the  assistance  of 
M.  de  Muyssard,  caused  him  to  be  sent  to  Paris,  and  placed  in  the  atelier  of  Lethiere,  where  he 
was  treated  by  that  painter  as  a  son,  and  by  the  pupils  as  a  brother.  Charles  X.  assigned  him  a 
pension  of  1200  francs,  which,  however,  was  discontinued  at  the  Revolution  in  1830,  and  never  after- 
wards renewed.  Before  1830  he  painted  the  Parting  of  Hector  and  Andromache,  and  several  portraits. 
At  Cambray  he  gained  a  bronze  medal  for  his  picture  of  Repentance;  in  1840  a  gold  medal,  third- 
class,  for    the    Death   of  Mary  Magdalen;    in    1841    one    of  the    second-class    in   gold    for   the    Repose  in 


NARCI88E-VIRGILE   DIAZ   BE    LA    PEN  A.  61 

Egypt,  and  in  1845  a  gold  medal,  first-class,  for  Christ  in  the  Sepulchre.  In  1855  he  exhibited  his 
painting,  Edith,  a  commission  from  the  Emperor  Napoleon  III.  These  paintings  are  all  large  life- 
size.  He  also  gained  several  medals  at  various  provincial  exhibitions.  Ducornet  died  in  the  arms 
of  his  venerable  father  in  the  early  part  of  the  year  1856.  The  latter  liad  never  deserted  the  son 
of  whom  he  was  justly  proud ;  and  at  the  Paris  Exhibition  might  frequently  have  been  seen  the 
spectacle  of  a  poor  aged  man,  with  a  short,  middle-aged  man  on  his  back,  mounting  slowly  the  steps 
of  the    Palais    des    Beaux    Arts — this    interesting   group  was    Ducornet   and   his    father. 

POITEYIN  [or  Poidevin],  LE  (EDMUNI)  M.  EUGENE),  a  genre  painter,  was  born  in  Paris,  on  the 
31st  July,  1806.  At  twenty  years  of  age  he  went  to  the  Ecole  des  Beaux  Arts,  as  pupil  of  M. 
Hersent,  and  two  years  afterwards  carried  off  the  first  medal  for  historic  landscape.  He  had 
previously — 1826  and  1827 — exhibited  with  the  Society  of  the  Friends  of  Art,  Harvest  Making  (pur- 
chased by  the  Duchess  of  Bern),  and  several  other  landscapes.  He  made  frequent  journeys  in 
England,  Nonnandy,  Holland,  and  Italy,  whence  he  always  sent  a  supply  of  works  for  the  annual 
exhibitions,  principally  sea-pieces.  Low  Water,  painted  in  1833,  and  The  Shipwreck,  painted  in  1839, 
are  in  the  Luxembourg  Grallery.  Amongst  his  other  works  may  be  mentioned  Adrian  Vander  Velde 
landing  at  Blanckenborg  (1840),  \V7iere  there's  Smoke  t/iere's  Eire,  The  First  Wound,  The  Honeymoon 
(1848),  The  Bights  of  Power,  T/ie  Turkey  Drover  (1853),  Wint>'r  in  Holland,  (1855),  which  was  pur- 
chased by  the  State;  Dutch  Pilots,  and  Norman  Cottage  (1859),  &c.  He  has  painted  for  Versailles, 
17te  taking  of  Baireuih,  Naval  Engagment  at  Emhro,  Tlie  battle  of  Wei'tingen,  beside  several  maritime 
episodes ;  and  for  King  Louis  Phillipe's  collection  at  the  Castle  of  En,  A  Breakfast  on  Mount  Orleans. 
He  obtained  two  medals  of  the  second-class  in  1831  and  1848  respectively,  a  first-class  in  1836, 
and   a   third-class   in    1855,  and  was   decorated   of  the    Legion    of   Honour,  in    1843. 

DIAZ  DE  LA  PENA  (NARCISSE-VIRGILE),  born  at  Bordeaux.  August  20,  1807,  exhibited  for 
tiie  first  time  at  the  Salon  of  1831,  some  landscape  sketches,  then  presented  les  Environs  de  Saragosse 
(1834);  la  Bataille  de  Medina  Cceli  (1835);  H Adoration  des  Bergers  (1836)  le  vieux  Ben-Emeck 
(1838)  Les  Nymphes  de  Calypso  (1840) ;  Le  B&ve,  (1841)  he  manifested  a  cliange  of  manner,  and  in 
1844,  his  mte  du  Baa-Briau,  I'  Orientate,  le  Malejice,  les  Bohemiens  se  rendant  a  une  fete,  showed  those 
peculiar  effects  of  light  in  which  consist  the  originality  of  this  painter.  At  the  same  time  abandoning 
himself  to  his  fancy,  he  would  fill  his  small  pictures,  with  nymphs,  odalisks  and  cupids.  M.  Diaz 
now  set  himself  in  earnest  to  the  study  of  form,  and  exhibited  in  the  Salon  of  1851  two  of  his  best 
pieces,  a  Baigneuse  and  I Ammir  drsarmt.  He  sent  to  the  Universal  Exposition  of  1855  several  of 
his  former  paintings,  among  others  Les  Presents  d! Amour,  La  Rivale,  La  jin  dun  beau  jour,  Nymphc 
endormie,  Nymphe  taurmentee  par  fAmour,  and  a  large  canvass,  Les  Derni^res  Larmes,  the  pale 
colouring  of  which  excited  general  criticism.  At  this  time  he  sold  his  studio  and  his  collections,  and 
reappeared  at  the  Salon  of  1859  with  Oalathre,  L' Education  de  I' Amour,  Venus  et  Adonis,  L'Armur 
puni,  Eentrez  pas.  La  Fee  aux  joujoux,  La  Marc  avx  vip^es  and  two  Portraits.  Mr.  Diaz  obtained 
a  third-class  medal  in  1844,  one  of  the  second-class  in  1846,  and  a  first-class  one  in  1848,  was 
decorated    in    May,   1851. 

"The  versatile,  unequal,  impetuous  Diaz,  a  brilliant  colorist  by  blood,  so  much  so  as  to  obscure 
design,  but  charming  in  his  genre  landscape  motives,  in  which  he  introduces  little  children,  lovely  women, 
or  classical    nymphs,  amorini,  or    whatever    best   affords    him  scope  for   his    rich  flesh-tints,  in  contrast  with 


62  A    COMPLETE   HISTORY   OF  FRENCH  ART. 

magnificently  colored  draperies  on  the  deep  greens  and  browns  of  vegetation.  His  fancy  is  peculiarly 
delicate  and  playful,  not  serious,  which  is  a  defect,  because  tlie  want  of  earnestness  of  purpose  seema 
to   have   prevented   him   from   realizing   complete   returns   of  his   uncommon   promise." 

ACHARD  (ALEXIS  JOHN),  was  born  at  Voreppe  (IsSre)  in  1807 ;  came  to  Paris  in  1835,  and 
devoted  himself  to  painting  as  a  profession.  He  afterwards  made  a  voyage  to  Egypt,  and  on  his 
return  (1839,  made  his  first  appearance  as  an  exhibitor,  with  a  landscape.  His  Caiieade  in  the 
Ravine  of  Gernary-la,  Ville,  is  in  the  Luxembourg  Grallery.  Auturmi  Effectt  in  tJie  VaUey  of  the 
Istre.  Purchased  by  the  State,  1853,  for  the  Luxembourg.  He  obtained  a  third-class  medal  in  1844, 
two    second-class    medals   in    1845    and    1848,  respectively,  and    a    third-class    in    1855. 

FLANDRIN  (AUGUSTUS),  was  born  at  Lyons,  in  1807.  He  commenced  working  at  Lithography, 
designing  vignettes,  and  other  book  illustrations.  In  1832  he  came  to  Paris,  where  he  worked  for 
two  years  under  M.  Ingres.  He  afterwards  accompanied  his  two  brothers  to  Italy  ;  and  on  his 
return  to  France  went  l)ack  to  his  native  town,  where  he  died  in  1842.  He  exhibited  in  1840 
Savanarola  preaching  at  Florence,  Reposing  after  the  Bath,  Inlerior  of  the  Church  of  San  MinicUo 
at   Florence,    (for  which    he  was    awarded    a   gold    medal),  and    several  portraits  in    1841,   1842,  and   1843. 

AMAURY-DUVAL  (EUGENE-EMMANUEL-AMAURY-PINEU-DUTAL,  known  as),  born  at  Montrouge, 
April  16,  1808,  son  of  Amaury  Duval  a  diplomatist  and  archaeologist  who  died  in  1839,  and  m-phow 
of  Alexander  Duval  author.  From  1826  he  frequented  the  studio  of  M.  Ingres  and  in  the  mean- 
while made  a  trip  to  Morea.  He  made  his  first  appearance,  which  was  attended  with  success,  at  the 
Salon  of  1833,  by  his  Portrait  of  M.  Marc-Hurt-Binet,  and  h's  Enfanbt  de  NourrU,  also  several  other 
portraits  which  gained  him  at  the  time  a  great  reputation.  Later,  he  was  entrusted  with  important  works 
for  the  churches  of  Paris,  and  its  suburbs.  Towards  the  end  of  the  year  1855  he  undertook  an  eight 
months'    trip    to    Italy. 

Outside  of  tlie  Salons,  this  artist  executed  in  fresco,  the  decoration  of  the  church  of  Saint 
Germain  en  Laye  (1848-1853)  and  preceding  this  (1840)  tlio  Chapelle  de  la  Vierge  at  Saint-Germain 
I'Auxerrois;  he  painted,  in  oil,  the  ClvapeUe  (le  Sainte  Phihnwne,  at  Saint  Merry  (18.39).  M.  Amaurv 
Duval  obtained  a  second-class  medal  for  historical  painting  in  1834,  and  a  first-class  one  for  jwrtraits 
in  1839.  Decorated  with  the  Legion  d'honneur  in  April  1845,  he  was  promoted  to  the  rank  of 
officer  August  12,  1865-  He  has  also  written  Memorials,  of  which  a  fragment  Wius  published,  and 
appeared    under    tlie    title    of,   H Atelier    ilIngreH,  (1878). 

FRERE  (CHARES  THEODORE),  was  born  in  Paris  in  1808,  studied  under  Coignet  and  Roque- 
plan,  and  first  exhibited  in  1834.  In  1836  he  went  to  Algiers,  was  present  at  the  tsiking  of  C'on- 
stantine,  and  afterwards  travelled  through  the  desert,  and  other  parts  of  the  East ;  and  the  greater 
number  of  his  works  are  souvenirs  of  tlie  scenes  which  lio  there  beheld.  Amongst  others  lie  produced 
The  Faxihourg  Bah-a-Zoum,  The  Fountain  of  Bah-el-Ouat,  The  Jetvs  Street  at  Gomtantine,  The  Assault 
on  Constantine,  The  Market  at  Constantine,  (1848),  A  Halt  of  Arabs,  purchased  by  the  Ministry  of 
the  Interior  in  1850).  A  Street  in  Constantinople,  A  Mosqv£  at  Be^/routh,  Bazaar  at  Damascus,  Tlie 
Pyramids  of  Gizeh,  (1857),  A  Harem  at  Cairo,  &c.  He  obtained  a  medal  of  the  second  class  in 
1848,  and    another    second    class    in    1865.     He    exhibited    last    in    tlio    salon    of    1878. 

JEANRON  (PHILIPPE- AUGUSTE),  Born  May  1809  at  Boulogne-sur-Mer,  son  of  a  soldier  who 
was    chief  of   the    regimental    workshops  at    the    camp   of  that   city ;    he  spent    several    years  in    the    iron 


EUGENE   NAPOLEON  FLAN  DIN.  63 

works  of  the  Haute  Vienne,  came  to  Paris  about  the  year  1828,  became  intimate  with  Sigalou,  and 
engaged  simultaneously  in  painting  and  Hterature.  Friend  of  Godefroy  Cavaignac,  he  took  part  in  the 
days   of  July,  and   presided    shortly   after   over   the    Free    Painting   and   Sculpture    Society. 

In  1848  the  provisional  government  "requested  the  citizen  Jeanron  to  watch  the  treasures  of 
the  Louvre  and  the  National  Museums:"'  not  satisfie<l  with  preserving  the  Louvre,  lie  organized- at 
the  Tuileries  [Exposition  libre,  embracing  more  than  5000  objects  of  art,  placing  in  the  same  rooms 
paintings  and  sculptures.  He  presented  a  report  to  the  Comtikuinte,  prepared  by  himself  and  Messrs. 
Merim^  and  Duban,  and  obtained  the  two  millions  necessary  for  the  restoration  of  the  Louvre,  the 
garden  and  the  gallery  of  Apollo.  It  was  owing  to  his  initiative  move  that  the  completion  of  the 
8odon  dea  Sept  chemin^es  for  the  Ecok  Eraru^aise  and  that  of  the  first  floor  of  the  gallery,  at  the 
water's  edge,  in  which  he  intended  exhibiting  20,000  "  drawings,  was  accomplished.  He  made  also 
several  tripa  in  behalf  of  the  provincial  museums.  To  him  is  due,  during  these  two  years,  the  clas- 
sifying of  the  paintings  of  the  Louvre  in  chronological  order  and  according  to  schools,  the  reorgani- 
zation of  copper  plate  engraving,  and  also  creating  a  branch  in  the  same  at  the  Luxembourg,  and 
opening  of  the   Egyptian   Museum,    &c. 

After  retiring  to  private  life  Mr.  Jeanron  was  for  some  time  director  of  the  Museum  of  Marseilles. 
He  was  appointed  in  1863  correspondent  of  the  Iiistitut.  He  died  at  the  chateau  of  Oomborn, 
(Corr^ze),  April  8,  1877. 

FLAXDIN  (EUGENE  NAPOLEON),  was  bom  the  15th  of  August,  1809,  at  Naples,  where  his 
father  was  attached  to  a  military  department  under  King  Joachim  Murat.  After'  a  tour  in  Italy  he 
exhibited  in  1836  a  large  view  of  TVte  Piarjetia  at  Venice,  which  was  purchased  by  the  government 
out  of  the  civil  list,  and  another  of  The  Briflge  of  6'ighs,  which  was  purchased  by  the  Societe  des 
Amis  des  Arts  at  Paris.  After  this  he  visited  Belgium,  and  made  a  voyage  to  Algeria ;  and  in 
1837  he  exhibited  A  Vieto  of  the  Coanl  at  Algiers,  which  was  purchased  out  of  the  Civil  List,  and 
further  rewarded  with  a  medal  of  the  second  class.  He  shortly '  afterwards  returned  to  Africa,  and 
was  an  amateur  spectator  of  the  campsiign  against  Constantine,  being  present  at  the  assault  upon 
that  town,  which  fonued  the  subject  of  a  picture  exhibited  by  him  in  1838.  This  picture  was  pur- 
chased by  King  Louis  Phillippe,  and  placed  in  the  chatetiu  of  Neuilly,  where  it  was  pierced  with 
bullets  in  the  revolutionary  days  of  1848,  and  tl)e  remains  sold  off  witli  other  ilebris,  but  afterwards 
repurchased  by  Queen  Marie-Amelie.  In  the  following  year  he  produced  another  picture  representing 
The  Breach  at  Qmstanline,  and  the  g»ite  where  Col.  Lamorecidre,  at  the  licad  of  the  Zouaves,  was 
knocked  down  by  the  explosion  ;  which  was  also  purchased  out  of  the  Civil  List.  In  the  same  year 
(1839)  he  was  selected  by  tiie  Academy  of  Fine  Arts  to  accompany  an  archaeological  expedition  into 
Persia,  a  country  in  which  he  remained  until  1841  ;  and  collected  a  vast  amount  of  interesting  ma- 
terials, which  were  submitted  to  a  Commission  of  the  Academy  of  Fine  Arts,  and  the  Academy  of 
Inscriptions  and  Belles  Lettres.  Upon  the  appearance  of  the  report  of  this  commission  in  1842,  M. 
Flandin  receivetl  the  decoration  of  the  Legion  of  Honour.  Shortly  aftfi-  his  return  to  France, 
he  was  selected  by  the  Academy  of  Inscriptions  and  Belles  Lettres,  to  undertake  another  mission 
to  Khorsabad,  on  the  eastern  bank  of  the  Tiber,  the  supposed  site  of  ancient  Nineveh.  He  started 
upon  this  expedition  in  Nov.  1843  and  returned  in  1845.  After  the  completion  of  these  public 
works,  M.  Flandin  returned  to  painting,  and  exhibited,  in  1853,  a  View  of  Stamboid,  and  a  View 
of  the  Royal.  Mosffue  al  Ispahan.  In  1855  he  re-exhibited  these  two  works,  adding  to  them  a  Omerai 
View   of   Constantinople,  and  a  view  of    the  Entrance  of   the  Bosphorua. 


64  A    COMPLETE  HISTORY   OF  FRENCH  ART. 

FLANDRIN  (JOHN  HIPPOLYTUS),  was  born  in  Lyons  in  1809,  and  was  a  younger  brother 
of  Augustus  Fiandrin.  He  commenced  his  studies  under  Messrs.  Legeadre  and  Maquin,  and  afterwards 
placed  himself  under  M.  Revoil.  In  1829  he  came  to  Paris  with  his  younger  brother  Paul,  and 
entered  the  studio  of  Ingres.  In  1832  he  carried  off  the  great  prize  in  painting,  and  started  for 
Italy ;  where,  in  the  ensuing  year,  he  was  followed  by  his  two  brothers,  Paul  and  Augustus ;  and  all 
three  studied  assiduously  under  Ingres,  who  had  been  appointed  Director  of  the  Academy  at  Rome. 
In  1838  the  three  brothers  returned  to  France ;  Paul  and  Hippolytus  taking  up  their  ground  at 
Paris,  where  they  worked  in  the  same  studio ;  the  latter,  however,  alone  following  the  counsels  of 
Ingres,  and  remaining  faithful  to  the  historic  style.  His  works  are  generally  finely  conceived,  display 
learning  and  rx.dmirable  study  ;  but  combined  with  an  austerity  which  sometimes  approaches  to  coldness. 
His  design  is  pure,  but  somewhat  mannered,  and  wanting  in  variety.  His  principal  works  are  Theseus 
reaognized  by  his  Father  in  the  midst  of  a  Festivity,  for  which  he  received  the  great  prize  ;  Euripides 
writing  his  Tragedies,  Dante  conducted  by  Virgil,  offering  Consolation  to  t/ie  ^Souls  of  the  Envious  (1836), 
/St.  Clair  Healing  the  Blind,  (1837),  Christ  and  tJie  Young  Children,  (1839),  St.  Louis  dictating  his 
Code  of  Laws,  (1842),  a  grand  composition,  painted  for  the  Chamber  of  Peers ;  Portrait  of  Count  A. 
(1843),  Mater  Dolorosa,  (1845),  several  portraits  (1845-6),  Najwleon  as  a  Legislator,  (1847),  painted  by 
command  for  the  Hall  of  the  Home  Department  in  the  Conseil  dEtat;  portraits,  and  a  female  study, 
(1848).  M.  Fiandrin  also  executed  a  great  number  of  monumentjil  paintings  : — as,  the  interior  of  the 
chapel  of  St.  John  in  the  church  of  St.  Severin,  completed  in  1840  ;  a  coloured  window  for  the  town  of 
Dreux,  representing  St.  Louis  taking  up  the  Cross  for  the  second  time,  (1843),  and  two  encauatic  paintings 
in  the  choir  of  the  churcli  of  St.  Germain-des-Pr6s,  on  the  subjects  of  The  Entry  of  Christ  into  Jerusalem, 
and  Christ  led  to  His  Crucifixion,  and  the  frieze  on  the  entablature  of  the  nave  of  St.  Vincent  de  Paul, 
representing  groups  of  Angels  and  Saints  advancing  towards  Christ.  M.  Fiandrin  obtained  a  second-class 
medal  in  1836  ;  a  first-class  medal  in  1838  ;  was  appointed  to  the  Legion  of  Honour  in  1841,  of  which 
he  became  an  officer  in  1853  ;  and  in  the  same  year  was  elected  to  the  Academy.  At  the  Universal 
Exposition  in  1855,  he  obtained  a  medal    of  the  first-class.      He  died  at  Rome  on  the    21»t   March,  1864. 

FLANDRIN  (JOHN  PAUL),  brother  of  the  preceding,  was  born  in  Lyons  in  1811,  and  also 
received  lessons  in  painting  from  Legendre,  Maquin  and  Revoil,  in  his  native  city,  and  from  Ingres 
at  Paris.  In  1834  he  followed  his  brother  to  Rome,  and  commenced  painting  both  landscape  and 
figure  subjects.  On  returning  with  his  brother  to  Paris,  he,  under  the  advice  of  Ingres,  took  to  the 
walk  of  historical  landscapes,  in  order  not  to  clash  with  his  brother  in  the  same  field.  His  works 
in  this  line  have  considerable  merit,  showing  much  of  poetry  in  the  conception  of  his  subject,  taste 
and  skill  in  the  arrangement  of  his  materials,  and  a  severe  correctness,  somewhat  chargeable  with 
coldness,  in  the  execution.  He  also,  like  his  brother,  painted  portraits.  He  first  exhibited  in  1839, 
The  Proscribed  taking  leave  of  his  Family,  and  Campagna  of  Rome;  and  subsequently  produced  Views 
in  the  Environs  of  Lyons,  Saint  Jerome,  (1841),  The  Banks  of  the  Tiber,  called  at  Rome  the  Promenade 
of  Poussin,  (1843),  Tivoli,  Banks  of  the  Rhone,  Twilight,  (1844);  Shepherds  Quarrelling,  Peace,  {18i7) ; 
the  Sabine  Mountain,  (1852)  ;  Environs  of  Vienne,  {Dauphine)  and  the  Reverie  (1853).  In  1855  he 
contributed  to  tlie  Universal  Exhibition,  Gorge  of  Mount  Atlas,  Solitude,  Valley  of  Montmorency,  and 
several  others.  He  also  painted  the  gallery  of  the  baptistry  in  the  church  of  St.  Severin,  and  some 
of  the  views  of  the  environs  of  Paris,  in  the  Hotel  de  Ville.  He  received  second-class  medals  in 
1839  and    1848,  and   a   first-class   medal   in    1847. 


CHARLES  LAURENT  MARECHAL.  65 

LAJOUE  (JACQIIES\  several  of  whose  pictures  grace  the  Galleries  of  Versailles,  was  born  at 
Paris  in  1686,  and  died  there  in  1761.  Besides  executing  many  excellent  paintings  entirely  liimself,  he 
aided  Watteau  by  painting  into  his  compositions  (now  generally  credited  to  Watteau)  some  of  the  most 
successful  arcliitectural  effects.  His  best  paintings  are  allegorical  subjects,  of  which  we  may  mention 
EloqueTice,  Geography,  Astronomy,  Force,  History,  Music,  itc.  One  of  his  most  prominent  pictures  at 
Versailles    is    Lajoue  and   his  Family. 

DUYAL-LE-CAMUS  (PIERRE).  Born  at  Lisieux  (1790-1854).  Chevalier  of  the  Legion  of 
Honour.  Pupil  of  David,  and.  for  many  years,  Painter  in  Ordinary  to  the  Duchesse  de  Berri.  His 
pictures  were  highly  finished ;  many  of  them  have  been  engraved.  Several  of  his  works  are  in  the 
Louvre. 

DUVAL-IE-CAMUS  (JULES-ALEXANDRE  .  Born  at  Paris,  1817.  Chevalier  of  the  Legion  of 
Honour.  Son  of  the  preceding.  Pupil  of  Drolling  and  Delaroche.  His  picture  of  Jacqms  Clement 
(1861),  is  in  the  Luxembourg.  In  1867  he  exhibited  The  Martyrdom  of  St.  Laurence;  in  1863,  St. 
Elizabeth  of  Hungary  dispensing  lier  Charities;   in    1857,    The  Flight  into  Egypt,  &c. 

SEBBON  (HIPPOLYTE'.  Born  at  Caudebec  (Seine-Inf6rieure)  in  August,  1801.  Studied  under 
Daguerre,  and  made  his  debxd  as  genre  painter  at  the  Lebrun  Gallery,  in  1824.  He  worked  for  a 
long  time  with  his  preceptor  at  the  tableaux  of  the  Diorama,  and  visited,  at  various  times,  Holland, 
Switzerland,  Italy,  England  and  Spain,  and  finally  the  United  States,  (1852).  His  principal  exhibits  are 
Interior  of  Saint  Wanrlrdle,  The  Palace  of  Farnesi,  Saint  Paul  of  Antwerp,  View  of  Broadway  and  New 
Orleans,  at   the   Universal    Exposition   of   1855. 

M.  H.  Sebron  obtained  a  medal  of  the  third  class  in  1838,  two  of  the  second  class  in  1848 
and  1849,  one  of  the  first  class  in  1844,  and  the  decoration  of  the  Legion  of  Honour  in  1867.  He 
died  September  Ist,  1879. 

HARECHAL  (CHARLES  LAURENT),  born  at  Metz  (Moselle),  in  1801,  of  poor  parents,  learned  a 
tnide  and  remained  for  some  time  a  journeyman  saddler.  His  aptitude  and  strong  will  rescued  him 
from  this  position ;  he  started  for  Paris  and  there  accomplished  all  the  studies  possible,  while  earning 
a  scant  living.  After  having  been,  for  several  years,  pupil  of  Regnault,  he  returned  (in  1825),  and 
settled  at  Metz;  the  following  year  he  exhibited  at  the  Exposition  of  the  Moselle,  a  painting  of  Job, 
which  won  for  him  the  silver  medal  of  the  first  class,  and  inaugurated  his  popularity  among  his  fellow- 
citizens.  He  opened  at  this  period  a  studio  which  was  very  successful.  In  1831  M.  Mardchal,  whose 
talent  bad  developed,  presented  to  the  king,  Louis  Philippe,  who  was  then  visiting  Metz,  a  painting  of 
genre.  The  Prayer,  and  obtained  honourable  mention  at  the  Salon  of  that  year.  But  after  having 
executed  a  few  more  paintings  in  oil,  among  others.  The  Harvest,  he  sought  in  the  crayon  a  jneans  of 
execution  more  prompt,  and  more  in  harmony  with  the  animation  and  fiery  ardor  of  his  talent.  The 
original  type  of  the  gipsy  families  he  had  met,  among  the  mountains  of  Bitche,  proved  to  him  an 
element  of  success  at  the  expositions  of  Paris,  Brussels  and  London.  He  contributed  to  the  Paris  Salons, 
among  other  pastels,  The  Sisters  of  the  Poor,  The  Hungarian  Wo'id-choppers,  The  Little  Oipsy,  (1841), 
Leisure  Moments,  Distress,  The  Adepts,  by  which  he  won  successively  a  medal  of  the  third,  one  of  the 
second,  and    one   of  the    first    class. 

Ho  was  the  originator,  in  his  native  city,  of  a  new  and  important  industry,  that  of  painting  on 
glass.      Those   he   exhibited   at   the   Crystal    Palace,  in  London,  (1851)  won  a   first   class   medal,  and    the 


66  A    COMPLETE  HISTORY   OF  FRENCH  ART. 

two  immense  hemicycles  he  executed  for  the  Palace  of  Industry  of  Paris  in  1855  caused  the  artist, 
who  had  been  decorated  in  1846,  to  be  promoted  to  the  rank  of  an  officer  of  the  Legion  of  Honour. 
He    was    elected    in    1861    correspondent   of  the    Institute. 

Among  his  pupils  we  cite  his  son,  M.  Charles  Raphael  Mar^chal,  born  at  Metz  in  1830,  author 
of  The  Simoon,  The  Night  Halt,  Tlie  Shipwrecked,  which  were  exhibited  at  the  Salons  of  1853  and 
1857.  It  is  he  who  has  made  the  cartoons  of  the  paintings  of  the  great  parlor  of  the  Minister  of 
State,  at   the   Louvre.      He   obtained   a   medal   of  the   second   class   in    1853. 

GUDIN  (THEODORE*,  was  born  in  Paris  on  the  loth  August,  1802.  He  attended  for  some 
time  the  atelier  of  Girodet-Trioson,  but  left  it  upon  enrolling  himself  in  the  romantic  school,  in  company 
with  Gerieault  and  Delacroi.x;.  He  restricts  himself  entirely  to  landscape  and  marine  subjects ;  his  first 
success  dating  about  the  year  1822.  In  1824  he  obtained  a  gold  medal,  and  in  1827  produced  The 
Burning  of  the  Kent  East  Indiaman,  now  in  the  Qullery  of  the  Luxembourg,  and  The  Return  of  the 
Fishermen,  two  of  his  best  pictures,  which  obtained  for  him  the  decoration  of  the  Legion  of  Honour 
in  the  following  year.  Between  1830  and  1842  he  exhibited  A  Oale  in  the  Roads  of  Algiers,  The 
Frigate  Syren  taken  in  a  Oale,  The  Ship  in  'Distress,  Explosion  of  the  Fort  of  the  Emperor  ai  Algiers,  A 
View  of  Constantinople  taken  from  Pera,  Boarding  of  the  English  Oaleot,  "Hazard"  by  the  "  Courier,"  Ac. 
These  works  are  all  remarkable  for  vigorous  treatment ;  and,  with  some  others,  made  an  imposing  array 
at  the  Universal  Exhibition  of  1855.  M.  Gudin  also  painted,  between  the  years  1838  and  1848,  up- 
wards  of  eighty  marine    subjects  in    the   Museum   of  Versailles. 

LEHOUX  (PETER-FRANCIS),  born  at  Paris  in  1803,  studied  under  Horace  Vernet,  made  a  voyage 
to  the  East,  and  made  his  debut  at  the  Salon  of  1831.  His  principal  exhibits  are  View  of  Alexandria, 
Ruins  of  Thebes  (1831),  Souvenir  of  the  Plains  of  Thebes  (1866),  Mercury  and  Argus  (1869),  etc.  He 
obtained   a   medal   of  the   second   class   in    1833. 

SCHOPIN  (HENRY-FREDERICK),  was  born  of  French  parents,  at  Lubeck,  (Germany),  June  12, 
1804,  entered  the  School  of  Fine  Arts  in  the  year  1821  as  pupil  of  Baron  Gros,  and  won  the  grand 
prize  of  Rome  for  painting,  in  1831,  by  the  subject,  Achilles  pursued  by  Xanthus.  On  his  return  from 
Rome,  in  1835,  he  made  his  debut  at  the  Salon  of  that  year  with  The  Last  Moments  of  the  Cenci, 
Charles  IX.  signing  the  Edict  of  the  Saint  Bartholomew,  A  Fountain  at  Albano,  and  A  Young  Girl 
and  her  Goat,  etc.,  etc. 

M.  Henry  Schopin  executed  for  the  Galleries  of  Versailles,  The  Battle  of  Hohenlinden,  Taking  of 
Antioch,  the  Picture  of  Berthier,  Prince  of  Wagram,  and  various  others.  The  majority  of  the  works  of 
this  artist  have  been  frequently  reproduced  by  engravings  and  lithographs.  He  obtained  a  medal  of  the 
first    class  in    1835,  and    the    decoration    of  the    Legion    of  Honour   in    August,   1854. 

BLANOHARD  (HENRY  L.  PHARAMOND\  was  born  at  La  Guillotiere  (Rhone),  in  February,  1805, 
and  went  to  Paris  in  1819,  where  he  studied  under  Chasselat  and  Gros.  He  undertook  several  voyages 
in  almost  every  part  of  the  globe ;  in  Spain  in  1833 ;  in  Africa  and  Mexico,  where  he  formed  part  of 
the  French  Expedition,  in  1838 ;  in  Germany,  in  the  south  of  France ;  and  in  1856  in  Russia,  where 
he  was  present  at  the  coronation  of  tlie  Emperor  Alexander  II.  Notwithstanding  being  so  frequently 
absent  from  his  native  country,  he  has  exhibited  almost  every  year  from  1833.  His  principal  works 
are  as  varied  in  subject  and  style,  as  the  various  climates  and  localities  he  visited;  as  Btdl  Hunting, 
The  Chapelle  Ardente,    The   Smugglers,  1836,    The   Brigand  Jose   Maria,   The  Disarmament  of  Vera  Cruz, 


AUGUSTUS   BARTHOLOMEW   GLAIZE.  67 

1840,  ^ which  is  at  Versailles),  Fernando  Coriez,  The  Street  of  El-Almi  at  Tangiers,  Funeral  of  a  Moor, 
Arab  Musician,  Mexican  Gamblers,  San  Isidro  Labrador,  the  Patron  Saint  of  Madrid,  Souvenirs  of  the 
Rhine,  Interior  of  the  Church  of  Chatou.  He  sent  to  the  Universal  Exhibition  of  Paris,  1855,  Vasco 
Nvnez  de  Balboa  Discovering  the  South  Sea,  (purchased  by  the  State) ;  and  Tlie  Valley  of  Jehosaphat. 
He  has  also  contributed  largely  to  "  L'lllustration,"  and  in  1855  published  "  L'ltin^raire  Historique  et 
Descriptif  de  Paris  ^  Constantinople,"  (12  plates).  He  obtained  a  third  class  medal  for  Landscape  in 
1836,  and   the   decoration   of  the   Legion   of   Honour   in    1840. 

LEFEBYBE  (CHARLES),  was  born  at  Paris,  October  16th,  1805,  studied  under  Gros  and  Abel 
de  Pujol,  and  made  his  d^but  at  the  Salon  of  1827.  He  has  exhibited,  at  the  end  of  several  voya<^es 
in  Spain,  Switzerland  and  Germany,  The  Prisoner  of  Chillon  (1827),  The  Penitent  Magdalene  (1831), 
Louis  XL  refusing  the  thanks  of  Nemours  (1833),  The  Miraculous  Virgin  (1838),  Souvenirs  of  Normandy 
(1841)  WiRvam  the  Conqueror,  Young  Baxxhancdian,  purchased  by  the  Minister  of  the  Interior  (1850), 
an  Ecce  Homo,  The  Wife  of  Candaule,  Doctor  Adelon  (1855),  The  Triumph  of  Amphitrite,  Gipsy,  In- 
habitants of  Brittany,  St.  Louis  disembarking  at  Damietta  (1859),  A  Feast  to  Bacchus,  Penitent  Magda- 
lene, cartoons  of  two  windows  executed  in  the  Church  of  Saint-Leu ;  ten  drawings,  (1861)  ;  Death  of 
William  the  Conqueror,  A  Study,  (1863)";  Moses  on  the  Mount,  (1864);  St.  Sebastian,  Martyr,  (1866). 
Let  U8  cite  also  the  paintings  executed  in  the  Church  of  St.  Louis  en-l'Ile,  Chapel  of  St.  Madeleine, 
Ac,  Ac.  This  artist  obtained  a  medal  of  the  second  class  in  1833,  one  of  the  first  class  in  1845, 
one  of  the  third  class  at  the  Universal  Exposition  of  1855,  and  the  decoration  of  the  Legion  of 
Honour   in    1859. 

OIBAUD  (PETER-FRANCLS-EUGENE),  painter  and  engraver,  was  born  at  Paris,  August  9,  1806. 
Wias  a  pupil  in  the  studios  of  Theodore  Richomme  and  of  M.  Hersent,  and  entered  at  the  latter  part 
of  1821,  the  School  of  Fine  Arts,  where  he  won  the  grand  prize  for  engraving  at  the  competition  of 
1826.  He  engraved  The  Virgin  with  the  Green  Cushion,  of  Andrea  Solari,  (1830),  then  executed  crayon 
work  as  well  as  historical  painting,  and  returned,  in  1832,  to  Paris,  where  he  exhibited  a  series  of 
canvasses  in  genre  painting  and  portraits.  In  1841  he  visited  Spain,  and  in  1847  the  East  and  Algiers. 
He  has  contributed  to  the  Salons,  since  1835,  two  master-pieces,  A  Terrace  on  the  banks  of  the  Nile, 
and    The  Agreeable  Meeting.      Honourably  noticed    at   the   Salon    of  1878. 

M.  Giraud  has  hardly  signed  as  an  engraver,  with  the  exception  of  two  important  works,  both 
exhibited  in  1833,  his  contribution  from  Rome,  The  Virgin  with  the  Green  Cushion,  and  the  Portrait  of 
John  Richardot,  after  P.  P.  Rubens.  He  obtained  for  painting  a  medal  of  the  third  class  in  1833, 
one  of  the  second  in  1863,  Knight  of  the  Legion  of  Honour,  May,  1851,  and  he  was  promoted  to  the 
rank   of  Officer,  August  13,  1866. 

OL.iIZE  (AUGUSTUS-BARTHOLOMEW),  born  at  Montpellier,  on  the  15th  day  of  December,  1807, 
pupil  of  Achilles  and  Eugene  Deveria,  made  his  debut  at  the  Salon  of  1836,  and  established  himself 
at  Paris.  After  having  first  executed  genre  paintings  and  religious  subjects,  he  sought  in  literature  and 
romantic  ideas,  inspirations  which  often  proved  happy  ones.  He  cultivated  successfully,  lithography  and 
crayon   pastel    drawing. 

M.  Glaize  exhibited,  among  his  most  notable  works:  Luca-Signorelli,  (1836);  After  the  War, 
Faust  and  Marguerite,  Poor  Family,  Psyche,  The  Flight  m  Ejypt,  (1842);  Salome,  Death  of  St.  John, 
A    Path   at   Reseboii,    (1874);     The  Adulteroujt    Womun   dragged  before    Christ,    The    Conjuraiion    (1875), 


68  A    COMPLETE  HISTORY  OF  FRENCH  ART. 

purchased    for    the    Gallery  of  the    Luxembourg ;    Cynic   and  Philanthropist,   (1876) ;    The  Blind  Man   and 
the    Paralytic,    (1877);    Force,    (1878);    The   Two  Neighbors,   (1879),  etc. 

M.  Glaize  obtained  a  medal  in  1842,  three  second  class  ones  in  1844,  1848  and  1855,  and  one 
of   the    first    class    in    1845,  and   the    decoration    of   the    Legion    of   Honour,  in    November,   1877. 

LELOIR  (JOHN-BAPTIST-AUGUSTUS),  born  at  Paris,  July  27th,  1809,  entered  tlie  studio  of  M. 
Picot  about  1827,  and  the  year  following,  the  School  of  Fine  Arts.  On  his  return  from  a  journey  to 
Italy,  he  made  his  debut  at  the  Salon  of  1835,  with  a  portrait.  He  has  exhibited  among  other  notable 
works :  Rvith  and  Naomi,  The  Parable  of  the  Ten  Virgins,  T/ie  Good  Artgel,  Saint  Cecilia,  Marguerite 
in  Prison,  (1839);  Young  Peasants  at  the  foot  of  the  Sacred  Way.  Homer,  at  the  Luxembourg  Museum. 
(1842);  The  Last  Supper,  executed  for  the  Minister  of  the  Interior;  Christian  Family  exposed  to  Wild 
Beasts,  Christ  and  the  Woman  of  Samxtria,  All-Sainfji'  Night,  Christians  in  tlie  Catacombs,  The  Captive 
Athenians  at  Syracuse,  and  a  great  number  of  portraits.  Among  which  three  fancy  portraits  on  one 
canvas   of   Claude,  Nicholas  and    Gaspar   Poussin. 

He  has  also  executed  numerous  decorations,  notably  tho.se  at  the  cliurches  of  Saint-Germain- 
I'Auxerrois,  Saint-M6ry  and  Napoleon-Saint-Leu.  He  obtained  a  third  class  medal  in  1839,  and  a  second 
class    one    in  1841. 

BUTTURA  (EUGENE  FERDINAND),  historical  landscape  painter,  son  of  the  poet,  was  born  at  Paris 
in  1812,  and  died  in  the  same  city,  in  1852.  He  commenced  his  studies  in  the  atelier  of  Bertin, 
from  which  he  went  to  that  of  Delaroche.  He  carried  off  the  great  prize  of  Rome  in  landscape,  in 
1837,  for  his  picture  of  Apollo  Inventing  the  Seven  Stringed  Lyre.  On  his  return  from  Rome  in  1842, 
he  exhibited  The  Ravine,  and  in  1848  Daphne  and  Chloe  at  the  Fountain  of  the  Nymphs,  for  both  of 
which  he  was  rewarded  with  a  gold  medal.  Amongst  his  other  more  important  works  are  Nansioaa 
and  Ulysses,  Saint  Jerome  in  the  Desert,  and  A  View  of  Tivoli.  He  also  produced  some  small  pictures, 
in  the  style  of  the  realistic  school,  such  as  Campo  Vicino,  (1845),  which  was  lithographed  by  M.  Anastasi, 
The  Temple  of  Antoninus  and  Faustina.  (1846),  a  View  of  the  Cascades  of  Tivoli,  and  A  Park  Interior, 
which  by  their  neatness  and  sharpness  of  effect  and  minuteness  of  detail  rival  the  productions  of 
photography. 

CABAT  (LOUIS  NICHOLAS),  a  landscape  painter,  was  born  at  Paris  in  1812,  and  studied  under 
M.  Camille  Flers.  Early  in  life  he  travelled  through  the  most  picturesque  parts  of  France,  more  par- 
ticularly the  banks  of  the  Indre,  the  Meurthe,  and  the  Calvados.  He  made  his  debut  at  the  Salon  of 
1833,  with  some  landscapes  which  were  accused  of  "  realism,'  (then  an  evidence  of  heterodoxy  in  art), 
but  persevered,  nevertheless,  till  1837,  in  the  style  in  which  he  had  commenced,  and  which  afterwards 
became  that  of  a  school.  During  some  years  after  the  last-named  date,  he  appeared  at  the  exhibition 
only  twice,  (in  1840  ami  1841  respectively,)  making  in  the  meantime  two  voyages  to  Italy.  He  re- 
commenced exhibiting  in  1848,  and  has  continued  regularly  to  do  so  since,  but  his  later  works  havr> 
not  the  same  originality  as  was  displayed  in  his  first  efforts.  Amongst  his  works,  besides  several  land- 
scapes of  local  scenery  in  France,  are  T/ie  Good  Samaritan,  a  historic  landscape;  You7ig  Tobii  and  the 
Angel,  The  Lake  Nemi;  at  Genzano,  near  Rotne,  (the  last  two  purchased  by  the  late  Duke  of  Orleans), 
The  Disciples  at  Emmaus,  The  Ravine  of  Villeray,  under  three  effects  of  light.  Morning,  Twihght  and 
Moonlight,  (exhibited  in  1855),  the  Po7td  in  the  Wood,  1859.  His  picture  Evening,  was  in  the  Inter- 
national   Exhibition    1862.      M.  Cabat  obtained  a  medal  of  the    second  class  in  1834  ;    and  the  decoration 


FELIX   EMMANUEL   HEN  BY  PHILIFPOTEAUX.  69 

of  the  Legion  of  Honour  in  1843 ;  officer  in  1855 ;  member  of  the  Institute,  1867  ;  and  director  of 
the   French   Academy  at   Kome,   1879. 

JACQUE  (CHABLES-EMILE),  painter  and  engraver,  born  at  Paris,  May  23d,  1813,  was  at  first 
employed  by  a  geographical  engraver,  then  enlisted  in  a  regiment  of  the  line,  and  took  part  at  the 
siege  of  Antwerp.  At  the  end  of  seven  years,  having  finished  his  term  of  service,  he  designed,  from 
1837  to  1843,  a  considerable  number  of  subjects  on  stone  and  on  wood  for  illustrated  publications,  after 
which  he  engraved,  by  the  aqua  fortis  process,  rustic  compositions  which  met  with  great  success,  their 
number  being  no  less  than  four  hundred.  M.  Charles  Jacque,  who  has  contributed  but  irregularly  to 
the  annual  Salons,  has  exhibited  paintings  and  pen  drawings  equallj'  remarkable.  He  has  obtained,  as 
engraver,  three  medals,  in  1851.  1861  and  1863,  and  as  painter  o.  landsocipes  and  animals,  three  other 
medals,  in  1861,  1863  and  1861.  He  was  decorated  Chevalier  of  the  Legion  of  Honour  in  1867. 
Being  for  a  long  time  engaged  in  the  raising  of  {wultry,  he  has  published  the  Poulailler  (Hen-House), 
a  monography  of  indigenous  and  exotic  fowls,  etc.,  (1858.  8vo.  2d  edition,  1861,  18m6.,  illustrated  by 
the  author).  His  brother,  M.  Emile  Jacque,  and  his  son,  M.  Leon  Jacque,  born  in  1841,  died  in  1871, 
have   both   engraved    with   aqua-fortis. 

COMPTE-CAUX   (FRANnS-ClAUDIUS),  born   at   Lyons,  August   28,    1813,  entered   the   School   of 

Fine  Arts  of  his  native  city,  and  followed  peculiarly  the  teachings  of  J.  CI.  Bonnefond.  He  essayed 
his  talent  in  various  styles,  but  succeeded  above  all  in  genre  painting.  His  first  contribution  to  the 
Salon  was  in  1840.  Among  his  compositions,  often  received  with  favor  and  reproduced  by  lithography, 
we  cite,  The  Mother  and  Step-Mother,  (1845);  Love  at  the  Castle  and  Love  in  the  Cottage,  (1846); 
Alone   in   the    World,   (1848);    A    Simple   Story,   (1873);    A   Little  Road  which  Leads  Ear.    Where  in  the 

deuce  are   they  going?   (1875);    He   told  me etc..  besides  a    number   of   portraits.      This    artist 

has  obtained  a  medal  of  the  thinl  class  in  1844  for  the  historical  genre  and  rappeh  in  1857,  1859 
and   1863. 

LEROirX  (CHARLES-MARY-WILLIAM),  painter  and  politician,  born  at  Nantes,  April  25,  1814,  at 
Brst  embraced  the  profession  of  barrister,  then  studied  landscape  painting  at  Paris,  in  the  studio  of  M. 
Corot,  and  made  his  dehxii  at  the  Salon  of  1834.  After  living  in  Paris  for  a  time  he  returned,  in 
1842.  to  liis  native  city,  from  whence  he  contributed  to  the  Salons :  Souvenir  of  Fontainehleau,  (1834) ; 
A  Brook,  View  of  Q-oisie,  (1848);  Jiising  of  Fog  near  Faimbceuf,  (1879),  etc.  This  artist  obtained  a 
medal  of  the  third  class  in  1840,  one  of  the  second  in  1846  and  1848  and  a  raippd  in  1859.  Knight 
of  the   Legion   of  Honour    in    1859,   he  was    promoted    to    the    rank    of  officer,  August    14,   1868. 

His  son,  M.  Celestin  Leroux,  also  established  at  Nantes,  where  ho  Wiis  born,  studied  under  his 
father  and  Rousseau  and  made  his  debid  as  landscape  painter  at  the  Salon  of  1853;  at  that  of  1861 
he    exhibited    two    paintings:    Sunrise,    Edge  of    Wood  in   the   Haut-Poitou. 

PHILIFPOTEAUX  (FELIX-EMMANVEL-HENRY),  historical  painter,  born  at  Paris,  April  3,  1815, 
entered  while  quite  young,  the  studio  of  M.  L6on  Cogniet,  with  whom  he  subsequently  worked  for  the 
Galleries  of  Versailles,  notably  on  the  Battle  of  Monthahor,  exhibited  in  1843.  His  first  exhibition 
picture  appeared  at  the  Salon  of  1833  ;  the  works  which  he  has  since  frequently  exhibited  now  decorate 
the  best  museums,  the  Luxembourg,  Versailles,  Rouen,  Strasburg  and  Marseilles.  The  principal  ones  are, 
The  Iceberg,  Episode  of  the  Wars  of  America,  (1833);  The  Retreat  from  Moscow,  (1835);  The  Capture 
of    Ypres.   (1837);    Drxith  of  Tarenne.    Th-:    Siege    of  Antwerp    in    1792,     Colonel  Fr.  Ponsonby  rescued   on 


70  A    COMPLETE   HISTORY   OF  FRENCH  ART. 

tlie  BatUe-Jield  of  Waterloo,  by  a  French  Officer,  at  the  Universal  Exposition  of  1878;  They  are  vn  our 
House,  (1880),  etc.  He  was  the  principal  author  of  the  vast  and  remarkable  panorama  representing 
the    Bombardment   of  Paris   by    the    German   Armies,    painted    in    1872. 

M.  Philippoteaux  also  contributed  some  genre  paintings:  The  Periwinkle,  The  Deception,  The  Blade 
of  Gh'ass,  The  Return  from  the  Dram-shop,  (1853) ;  a  few  military  pictures ;  a  certain  number  of  drawings 
in  the  "Journal  for  all,"  and  other  illustrated  works.  There  are  to  be  seen  at  Versaille.'*,  T/ie  BaMe 
of  the  Raab,  The  Passage  of  the  Tagliamento,  The  /Siege  of  Anttoerp  in  1832.  He  obtained  a  medal 
of  the  second  class  in  1837,  one  of  the  first  class  in  1840,  and  the  decoration  of  the  Legion  of  Honour 
in   July,   1846. 

COUTURE    (THOMAS;,   historical    and   genre    painter,  born  at   Senlis,  December    21,   1815,    received 

his  first  lessons  from  Gros,  then  passed  into  the  studio  of  Paul  Delaroche.  He  obtained,  in  1837,  a 
second  prize  at  the  competition  of  the  Institute,  and  made  his  d^but  at  the  Salon  of  1840,  with  the 
Young  Venetian  after  an  Orgy.  The  following  year  he  exhibited  a  Prodigal  Son,  a  ]Vidow,  The 
Return  from  the  Fields;  in  1843  a  Troubadour  and  two  Portraits;  in  1844  a  Jocunda  and  The  Love 
of  Gold,  (Museum  of  Toulouse),  which  revealed  in  that  artist  an  originality  and  gave  him  a  reputation 
as  a  colourist.  Rewarded  by  a  medal  of  the  third  class,  he  undertook  a  work  of  some  magnitude, 
and  sent  to  the  iSalon  of  1847,  The  Romans  of  the  De-dine,  now  in  the  Grallery  of  the  Luxembourg, 
ad    immense    c.mvas,  inspired    by  two    verses   of  Juvenal, 

"  Nunc  patimur  longae  pacis  mala :   saevior  armis 
Luxuria  incubuit,  victumque  ulciscitur  orbem." 

This  painting  was  the  grand  success  of  the  Exposition,  and  won  for  M.  Couture  a  medal  of  the 
first   class,  and    the  decoration    of   the    Legion    of   Honour. 

After  this  brilliant  stroke,  M.  Couture  permitted  four  Expositions  to  take  place  without  his  taking 
any  part  whatever,  and  only  sent  to  the  Salon  of  1852  two  portraits  and  a  head.  The  Gipsy  Girl.  At 
the  Universal  Exposition  of  1857  he  gave  a  painting  of  remarkable  design  and  coloring.  The  Falconer, 
and  re-exhibit(>d  his  Romans  of  the  Decline.  Pie  has  undertaken  since  a  large  painting,  Enrolment  of 
Volunteers,  and  (executed  two  orders,  Tlie  Return  of  the  TVoops  from  the  Crimea,  and  The  Baptism  of 
the  Prince  Imperial.  He  decorated  the  chapel  of  the  Virgin  at  Saint  Eustache,  and  thereafter  only 
appeared  in  public  in  1872,  by  a  painting  entitled  Damocles,  which  attracted  but  little  attention.  Having 
retired,  several  years  ago,  to  his  Castle  of  Villiers-le-Bel,  (Seine-et-Oise),  M.  Th.  Couture  has  had  pub- 
lished a  small  edition  of  each  of  his  two  books,  in  which  he  has  expressed  his  opinion  of  contemporary 
art:  "Method,  and  Studio  Chat,  (1867:  18rao.);  "Landscape.  Studio  Chat,  (1869:  18mo).  He  died  at 
Villiers-le-Bel,   March    31,   1879. 

DESJOBERT  (LOUIS-REMY-EUGENE^  born  at  Chateauroux,  April  16,  1817,  was  son  of  M.  Desjo- 
bert,  Registrar  of  that  city,  descendant  of  a  family  originally  from  Tssoudun,  and  who  was  a  prominent 
barrister.  On  his  motlier'a  side.  Mile.  Eugenie  Duris  de  Vineuil,  ho  was  related  to  several  political  and 
literary  notabilities  of  de  Berry,  among  others,  the  deputy  Duris-  Dufresne,  and  the  poet  Henri  de  la 
Fouche,  author    of     '  Fragoletta,  the    Celebrated    Host,"  in    the  romance    of   the    "  Wolfs    Valley." 

From  1840,  the  first  year  in  which  he  exhibited,  to  1863,  Desjobert  has  competed  in  nearly  all 
the  Salons.  His  paintings,  exiiibited  durin<T  this  period,  arc  too  numerous  to  mention,  chiefly  forests 
and.  landscapes ;  it    will    suffice    to    say,  that    from  the   beginning    he    manifested    a  remarkable  elegance  of 


CHARLE8   FE.    BAUBIGSY.  71 

design,  truthfulness  of  colouring  and  an  exquisite  distinction  of  style,  whicii  never  left  liiui,  even  when 
handling  subjects  of  the  most  familiar  kind.  He  received  medals  in  1855,  1857,  1861  and  1863,  which 
year  he  was  made  Chevalier  of  the  Legion  of  Honour.  Since  1862  he  had  been  suffering  from  a 
disease  of  the  eyes,  which  caused  his  friends  great  alarm,  and  just  at  the  time  when  these  fears  were 
subsiding  by  tue  amelioration  of  the  symptoms,  he  was  stricken  by  the  cruel  malady,  cancer,  to  which 
he    succumbed,  after   one    month    of   suffering. 

H££ERT  (AXTHOXT-AUGrSTUS-EBNEST),  member  of  the  Institute,  born  at  Grenoble,  November 
3,  1817,  ca;ue  to  Paris  in  1838,  and  studied  law,  during  which  time  he  was  under  the  tutorship  of 
David  D' Angers,  in  the  latter's  studio.  In  1839  he  exhibited  at  the  Louvre,  Tasso  in  Prison,  his 
maideu  eflfort,  which  was  bought  by  the  government  for  the  Museum  of  Grenoble.  Encouraged  by  the 
counsel  and  kindness  of  Paul  Delaroche,  he  competed  at  the  School  of  Fine  Arts,  and  won  the  grand 
prize  of  Rome.  The  subject  was:  The  Cup  found  in  Benjamin's  Sack,  (1839).  After  having  spent 
live  years  at  the  villa  Medici,  from  whence  he  sent  to  Paris  two  Odalisks  and  a  copy  of  The  Sybil, 
called  Ddphica,  he  prolonged  his  sojourn  in  Italy  three  more  years ;  brought  back  with  him  the  sketches 
for  his  best  paintings.  After  returning  from  Italy  he  exhibited  Oriental  Reverie,  executed  in  Rome ; 
The  Siesta,  Italian  Shepherd,  (1848);  The  Mwte  of  the  Woods,  (1877);  T/ie  Sultana,  (1879),  etc.,  etc., 
not   mentioning   numerous  anonymous   paintuigs. 

M.  Hubert  obtaine<l  two  medals  of  the  first  class,  one  in  1851,  the  other  in  1855,  and  one  of 
the  second  class  at  the  Universal  Exposition  of  1867,  knight  of  the  Legion  of  Honour  in  July,  1853. 
He  was  promoted  to  the  rank  of  officer,  August  7.  1867,  and  commander,  July  7,  1874.  Towards  the 
end  of  December,  1866,  he  was  appointed  Director  of  the  Academy  of  France,  at  Rome,  in  the  place 
of  M.  Robert  Fleury ;  he  remained  in  that  city  until  1873.  He  was  elected  member  of  the  Institute, 
March    21,   1874,  in   place   of  Conder. 

6UI0XET  (ADRIAN',  was  l)om  December,  1817,  at  Annecy,  in  Savoy,  where  his  father  was  the 
steward  of  a  chateau.  Impelled  by  invincible  aspirations  for  distinction  in  art,  he,  against  the  wish  of 
his  Cather,  made  his  way  to  Paris,  where  he  entered  the  studio  of  Blondel.  After  experiencing  a  long 
course  of  privations,  he  succeeded  in  making  himself  a  name  somewhat  in  the  line  of  Salvator  Rosa, 
and  of  the  French  artist  Decamps.  He  has  exhibited,  amongst  others  in  1840,  Moses  exposed  ov  the 
Nile,  Travellers  surprised  hy  a  Bear,  Joseph  explaining  his  Dream  to  his  Brothers,  Hagar  in  the  Desert; 
in  1842,  John  the  Baptist  Preaching;  in  1843,  Episode  in  the  Retreat  of  the  Ten  Thousand;  in  1844, 
Balvaijor  Rosa  amongst  the  Brigands;  in  1845,  Jossph  explaining  the  Dream  of  Pharaoh;  in  1846, 
Xerxes  bewailing  his  Army;  in  1847,  a  Ixindscape,  and  a  For-st  Scene.  In  1848,  Don  Quixote  Playing 
the  Fool,  The  Flight  into  Egypt.  He  also  executed  for  the  Duke  de  Luynes,  Chateau  de  Dampierre, 
The  Defeat  of  Attila  by  Aetvus,  Belshazzar's  Fea^t,  and  The  Gardens  of  Armida;  the  last  of  which  was 
not   quite    finished    when    he   died,  at    Paris,   19th  of  May,  1851. 

D.VrBIOXY  <PETER),  a  miniature  painter,  was  born  at  Paris  in  October,  1793.  He  became  a 
pupil  of  d'Aubry.  and  commence<l  e-xhibiting  in  1822,  having  been  a  pretty  regular  contributor  to  the 
Exhibitions  ever  since.  Amongst  his  numerous  miniatures,  which  have  attracted  notice,  were  those  of 
M.  L.  Madame   Alfred  fie  Vigny,  and  General    Gourgand. 

DAUBIONY  (CHAHLES  FB.\  nephew  of  the  above;  landscape  painter,  and  engraver  upon  copper 
inil    wocxl ;    was   born   at    Paris   in    1817,      At    the    age    of  eighteen    he    visited    Italy,  and  on    his  return 


72  A    COMPLETE   HISTORY    OF   FRENCH  ART. 

exhibited,  in  1838,  A  View  of  the  Church  of  Notre  Dame,  at  Paris.  Four  landscapes  painted  by  him, 
The  Banks  of  the  River  Oulins,  View  of  tJie  Seine  at  Charenton,  The  Island  oj  Bezons,  and  The  Beiiie 
at  Bezons,  were  purchased  by  the  Minister  of  the  Interior.  A  View  on  the  Banks  of  the  Seine,  painted 
in  1852,  is  in  the  Museuffi  at  Nantes ;  and  The  Pool  of  Gilieu,  near  Optevoz,  (Isere),  was  purchased 
by  the  Emperor  Napoleon  III.,  and  is  in  the  Palais  of  St.  Cloud.  As  a  copper-plate  engraver,  he  has 
produced  the  illustrations  for  several  works  published  by  Curmer,  such  as  "  Le  Jardin  des  Plantes," 
"  Revue  des  Beaux  Arts,"  &i\  He  has  engraved  on  wood  for  "  L'lllustration,"  "  Journal  des 
Artistes,"  &c.  In  1855  he  exhibited  A  Scene  on  the  Istre;  1857,  Springtime;  and  The  Vintage,  1865; 
all  three  of  which  are  in  the  Gallery  of  the  Luxembourg.  He  was  decorated  Chevalier  of  the  Legion 
of  Honour,   1859;    Officer,   1874;    he   died   in  1878. 

YVON  fADOLPHUS,  historical  and  battle  painter,  was  born  at  Eschwiller,  on  the  Moselle,  in 
1817.  He  came  to  Paris,  and  entered  the  atelier  of  Paul  Delaroche,  contrary  to  the  wishes  of  his 
family,  who  intended  him  for  the  government  service.  He  first  exhibited  in  1842,  a  portrait  of 
Madame  Ancelot.  In  1843,  during  a  journey,  he  made  a  series  of  designs,  which  were  exhibited  at 
the  Salon  in  Paris  in  1847  and  1848.  Amongst  other  works  which  he  exhibited,  are,  Portrait  of 
General  Neumayer  (1844),  The  Remorse  of  Judas  (1846),  The  BaMle  of  Koulikowo  (1850),  A  Fallen 
Angel  (1852),  The  First  Consul  Descending  the  Alps,  which  is  in  the  Palais  of  Compiegne.  In  1855, 
M.  Yvon  sent  to  the  Universal  Exposition  Marshal  Ney  supporting  the  rear  guard  in  the  Russian 
Campaign,  a  large  and  effective  work ;  and  The  Seven  Capital  Sins,  in  illustration  of  Dante.  M. 
Yvon  having  been  sent  by  the  Emperor  Napoleon  III.  to  the  Crimea,  at  the  time  of  the  Siege  of 
Sebastopol,  exhibited  in  1857  his  great  battle  picture.  The  Taking  of  the  Malakoff,  (intended  for  the 
Gallery  of  Versailles);  and  in  1859  The  Gorge  of  the  Malakoff,  and  The  Curtain  of  the  Malakoff.  Tliis 
artist,  who  displays  a  perfect  knowledge  of  his  art,  and  a  free  and  forcible  pencil,  received  a  medal 
of  the  first  class  in  1848,  and  one  of  the  second  class  1855;  and  the  great  med^l  of  Honour  in 
1857,  and   officer   of   the   Legion   of  Honour   in    1867. 

GUILLEMIN  (ALEXANDRE  MARIE\  born  at  Paris  in  October,  1817.  He  was  a  pupil  of  Gros, 
and  exhibited  in  1840  a  work  called  First  Success,  being  a  souvenir  of  the  studio;  and  Chasseurs  and 
a  Milk  Woman/  in  1844,  God  and  the  King,  T/ie  Blues  are  there,  an  episode  of  the  Vendean  War, 
The  Consultation,  and  The  Old  Sailor;  in  1845,  T/ie  Miser,  Reading  the  Bible,  The  Vendor  of  Images; 
in  1849,  Milton,  An  Hour  of  Liberty ;  in  1852,  The  Empiric,  The  Virgin,  and  After  the  Repast,  subjects 
of  sufficient  variety.  Correctness  of  design,  a  truthful  study  of  nature,  and  great  freshness  and  purity 
of  colour  distinguish  the  work  of  this  artist.  He  was  decorated  Chevalier  of  the  Legion  of  Honour, 
1852.      He   exhibited   as   recently  as  1877. 

ANTIGNA  (JEAN  PIERRE  ALEXANDER\  born  in  1818  at  Orleans,  at  the  College  of  which 
lown  he  was  educated,  being  taught  drawing  by  M.  Sahnon,  a  professor  of  merit,  who,  discovering  the 
lalent  of  his  pupil,  induced  him  in  1836  to  go  into  the  atelier  of  M.  Norblin.  After  remaining  here 
a  twelvemonth,  he  placed  himself  under  Delaroche,  from  whom,  during  seven  years,  he  received  instruc- 
tion and  counsel.  Under  his  influence  he  made,  in  1841,  his  d%ut  in  religious  subjects,  which  he 
continued  to  paint  until  the  year  1845  inclusive.  After  this  he  adopted  a  more  independent  course, 
and  a  pamphlet  which  appeared  at  that  time,  entitled,  "  L'Art  de  devenir  Depute,  Ministre,  &c.,' 
suggested    his    picture    of    The   Poor   Family,  one    of   his  most  original  productions,  which  at  once  revealed 


AUGUSTUS   G  END  RON.  73 

the  bent  of  his  talent.  M.  Antigna  obtained  a  third  class  medal  in  genre-historique  in  1847,  a  second 
class  medal  in  1848,  a  first  class  in  1851,  and  a  third  class,  with  the  decoration  of  the  Legion  of 
Honour  at   the   Exposition   Universelle   in    1855.      He   died   in   1878. 

LELEVX  (ADOLPHE),  born  at  Paris,  1812.  Chevalier  of  the  Legion  of  Honour.  He  studied 
his  art  absolutely  alone.  He  traveled  in  France  and  Algiers,  and  met  with  remarkable  success  in  his 
pictures  of  manners  and  customs,  which  is  principally  due  to  his  exactness  of  representation.  His 
Wedding  in  Brittany  (1863)  is  at  the  Luxembourg.  At  the  Salon  of  1877  he  exhibited  A  Salon  of 
CreniUe  and  The  Family  of  a  Maker  of  Wooden  Shoes  in  Lower  Brittany.  Among  his  pictures  are, 
A  Market-Day  at  Finist^e,  Spring  Flowers,  A  Fhineral  in  Brittany,  Arab  Women  in  the  Desert,  Bedouins 
attacked  by  Dogs,  etc.      At   the    Salon  of   1878  he  exhibited    Washerwomen  in  Berry  and  The  Departure. 

LELEUX  (ARMAND),  genre  painter,  brother  of  Adolphe  Leleux,  (also  an  artist),  was  born  at  Paris 
in  1818,  entered  in  1832  the  studio  of  M.  Ingres,  and  followed  him  to  the  villa  Medici,  in  1834. 
After  sojourning  two  yeturs  in  Italy,  he  exhibited  at  the  Salon  of  1839  a  small  Scene  in  Brittany  and 
a  Saint  Jerome  Beading  the  Bible,  then  gave  his  attention  to  genre  painting,  in  which  his  brother, 
Adolphe,  had  already  gained  a  reputation.  He  contributed  from  tliat  time ;  Return  from  the  Chase 
(1840);  Interior  of  a  Stable  (1841);  Swiss  Dance,  Interior  of  a  Studio,  Alpine  Hunter  (1846)  etc. 
Whilst  in  the  midst  of  these  works,  M.  Leleux  made  two  subsequent  voyages  to  Italy,  and  one  to 
Germany.      In    1846,  he  was   entrusted  with   a   mission   to   Madrid. 

M.  Arraand  Leleux  obtained  a  medal  of  the  third  class  in  1844,  two  of  the  second  class  in 
1847  and  1848,  a  rappd  in  1857,  a  medal  of  the  first  class  in  1859,  and  the  decoration  of  the 
Legion  of    Honor   in    1860. 

HAFFNER  (FEIIX),  born  at  Strasburg  in  1818,  studied  under  M.  Sandman,  and  devoted  himself 
to  genre  and  landscape  painting.  At  the  end  of  '  a  voyage  made  to  Germany,  he  made  his  dtbut 
at  the  Salon  of  1844,  and  has  exhibited  since  then:  A  Brewery  near  Munich  (1845J ;  Rohertzau, 
environs  of  Strasburg  (186(i);  Pond  of  the  Mineau  (1867);  Apple  Trees  in  Alsace  (1868);  Watching 
far  Ducks   (1869);     The   Double  Shot   (1870). 

He  obtained  a  medal  of  the  third  class  in  1849,  and  one  of  the  second  class  in  1852.  M. 
Haffner  died   at   Mcsnil    Amelot    (Seine-et-Marne),  in   January,  1875. 

HILLEMACHER  (EUGENE-ERNEST),  born  at  Paris  in  1818,  entered  the  studio  of  M.  Leon  Cogniet, 
and  adopted  his  style.  Among  his  principal  works  is  to  be  found  :  Saint  Sebastian  Dying,  1854  ; 
The  Cmfeasumal  in  St.  Peter's  at  Rome,  (1855) ;  General  Duval,  (1873) ;  The  Young  Turenne,  (1874) ; 
Archimedes,  (1877),  and   Phidias,   (1878). 

M.  Hillemacher  has  obtained  a  medal  of  the  second  class  in  1848,  a  mention  at  the  Universal 
Exposition  of  1855,  a  medal  of  the  first  class  in  1861  and  renewal  of  the  medal  of  the  second  class 
in  1857,  also  renewal  of  a  medal  of  the  first  class  in  1863,  and  the  decoration  of  the  Legion  of 
Honour   in    1865. 

OENDRON  (AUGUSTUS),  historical  painter,  born  at  Paris  in  1818,  was  pupil  of  Paul  Delaroche, 
and  spent  six  years  in  Italy,  where  he  executed  his  first  paintings,  among  others,  Dante  Criticised  by 
Boccacio,  (Salon  of  1844);  The  Willises,  several  times  reproduced  by  lithography;  The  Nereids,  etc.  On 
his   return   to   France   he   executed   and   exhibited   successively  Saint   Catharine  Buried  by  Angels,   After 


74  A    COMPLETE  HISTORY   OF  FRENCH  ART. 

Death,  (1847) ;  Tke  Athenian  Tribute  to  the  Minotaur,  (1876)  ;  Mr.  Pwrgon  arrives  inopportunely,  (1877), 
etc.  This  artist  painted  in  1850  a  Frieze  executed  on  porcelain  at  the  manufactory  of  Sevres,  used 
as  an  ornamentation  on  a  jardiniere,  eight  cases  for  the  decoration  of  a  waiting  room  of  the  Exchequer, 
and  the  ceiUng  of  the  little  parlor  of  the  Minister  of  State,  at  the  Louvre,  (1861),  he  obtained  a  third 
class  medal  in  1846,  one  of  the  second  class  in  1849,  and  another  of  the  third  class,  with  the  decoration 
of   tiie  legion   of    Honour   at   the    Universal    Exposition    of   1855. 

CHASSERIEAU  (THEODORE),  was  born  at  Samana  (in  the  Antilles),  in  1819;  and  being  brought 
whilst  quite  a  boy,  to  France,  was  placed  in  the  studio  of  M.  Ingres,  and  afterwards  followed  that 
master  to  the  French  school  at  Rome,  but  subsequently  quitted  him  in  order  to  give  himself  up  more 
freely  to  his  own  inspirations.  He  next  fell  under  the  influence  of  the  leader  of  another  great  school, 
M.  Pekiroche.  M.  Chasserieau  executed  several  large  mural  paintings  in  the  staircase  of  the  Palace 
of  the  Council  of  State,  and  in  the  churches  of  St.  Merry,  St.  Roch,  and  St.  Philipp  du-Rucole  at  Paris. 
Of  his  various  works  may  bo  cited  The  Tepidarium  at  Pompeii,  in  the  Museum  at  the  Luxembourg : 
Arab  Cavaliers  carryin'j  away  their  Dead,  /Susannah  and  tlie  Elders,  Christ  in  tlic  Garden  of  Olives, 
Mary  /Stuart  defending  Rizzio  against  his  Assassins.  He  also  left  behind  him  fifteen  etchings  of  subjects 
from  Shakespeare's  Othello,  and   thirty  from   Hamlet.       He   died    in    1856. 

COIJRBET   (GUSTATE),  was   born   at   Ornans   (Denbs.),  in   June,    1819,   and   was   educated   at   the 
seminary  of  his    natal    town,  and   afterwards   at   the    College    of   Besancon.       His    father   destined   him  for 
the    bar,  and    sent    him   to    Paris    in    1839,  to   pursue    his    legal   studies.       But  our  subject,  neglecting  the 
latter,  took    to    painting    with    groat   ardour,   his    first   picture    being   admitted   to   the    exhibition    of   1844. 
He    then    took  some  lessons  from  Steuben,  and  M.  Hesse,  but  depended  still  chiefly  upon  his  own  studies, 
which    were   founded   chiefly  upon   the   schools   of  Holland,  Florence,  and   Venice.      He  was   at  this  time 
also    led   away  to    a    considerable    extent   by  the    spirit   of  romanticism,  read  Goethe,  and    painted  an  alle- 
gorical   picture,  suggested   by  "  Walpurgis's    Dream.  '      The    revolution    of    1848  only  increased   his  ardour 
and    his   ambitious   aspirations,  and   he    sent   to    the  exhibition  of  that  year  ten  pictures  or  designs,  which 
met   with   distinguished  success.      He  now  began  to  accomplish  in  painting   a  revolution  analogous  to  that 
which    had    taken    place    in    literature ;    the    culture    of    the    ideal,    in    combination    with   the    sentiment   of 
realism.      To    the    same    criticisms    which    greeted    his    Afternoon   at    Ornans,    1849,    and    The   Burial  at 
Ornans,  1850,  he   replied    with    Tlie   BatJiers,  1853.      In    1855,  being    dissatisfied    with    the  places   in  the 
Universal    Exposition,  which   had    been    assigned    to    his    pictures,  he    withdrew  his   pictures,  and  opened  a 
separate    exhibition    of  his    own.      On    the    other   hand,  at    the    exhibition    of   1860,    £t    Munich,    the  jury 
showed    their    estimate    of  his    pretensions    by  reserving   for    him    an  entire  room.       Amongst  his  exhibited 
works    were,  in   1848,   The    Violincella  Player,  three  landscapes — Morning,   Mid-day,  and  Evening;    and  in 
1819,   The  Common  of   Champagne  by  Sunset;  in  1850,  Ruins  of  the  Castle  of  8cey  {ex  Vavais) ;  Peasants 
of  Flagey  returning  from  the  Fair,  and  Stone-breakers,  one    of  his  best  performances ;    in  1852,  The  Young 
Girls  of  the    Villages;    in    1853.    Womun   Spinning;    in    1857,    The    Deer    Hunt,  and    Hind  forced  to  take 
to  the    Water,  both    very  remarkably  effective.       One   of  his    finest    pictures    represents  Deer  in  the  Forest 
of  Fontainebleau.       His   better    pictures   are    much    appreciated    by  connoisseurs,  and   command  high  prices, 
which    will    be    increased    by  his   death.      One    is    forced    to    add,    in    giving    an    account    of   Courbet,  that 
he    was   a   Communist   in    1871,  and   authorized    the  destruction    of  the  column  Vend6me.       He  was  tried 
at   Versailles,  and    sentenced    to    six    months    in    prison,  and    a   fine.       He  was    first  confined  in  St.  Pierre 
at   Versailles,  then    in    Sainte-Pelagie,  and,  his   health    failing,  he    was    placed    in    the    care    of  Dr.  Duval, 


CHARLES  FRANCIS  JALA  BERT.  75 

who  performed  on  Lira  a  serious  operation.  In  May,  1872,  the  jury  of  admission,  at  the  suggestion  of 
Meissonier,  decided  that  the  works  of  Courbet  could  not  be  received  at  the  Salon.  Many  violent  articles 
in  the  Paris  journals  were  occasioned  by  this  decision.  In  1870  he  exhibited  The  Stormy  Sea  and 
The  Reach  at  Etreiat  after  a  Storm;  in  1869,  The  Stag  Whoop, — an  Episode  of  the  Chase,  and  The 
Siesta  in  the  HayiTig-season,  Mountains,  Doubs;  in  1868,  The  Charity  of  a  Beggar,  Springtime;  in  1866, 
Woman  vrith  a  Parrot.  After  his  liberation  from  prison,  Courbet  lived  in  Switzerland,  and  in  the  summer 
of  1876  he   exhibited   his   later  works    at   Chaux   de   Fonds.      He  died   at   Paris,  December  31,  1877. 

FRERE  (PIERRE  EDOUARD),  younger  brother  of  Theodore,  is  a  distinguished  painter  of  the 
modern  French  school,  and  was  born  at  Paris,  on  January  10th,  1819.  In  1836  he  became  the  pupil 
of  Paul  Delaroche,  pursuing  concurrently  his  studies  in  the  Ecole  des  Beaux  Arts.  Notwithstanding  the 
elevated  stage  upon  which  he  commenced  his  artistic  life,  and  the  grand  example  before  liira,  M.  Frere 
appears  to  have  determined  from  the  commencement  of  his  practice  (he  first  exhibited  in  1843)  to 
restrict  himself  to  the  genre  school  of  painting ;  his  subjects  being  for  the  most  part  selected  from 
amongst  the  characteristics  and  incidents  of  domestic  life ;  and  these  he  paints  with  a  truthfulness,  and 
a  loving  tenderness,  which  constitute  them  a  school  entirely  his  own ;  and  in  which,  as  yet,  he  has 
bad  no  successful  imitators.  It  may  be  sufficient  to  enumerate  a  few  of  his  favorite  creations,  many 
of  which  are  well  known,  from  having  been  exhibited  in  this  country,  and  some  of  them  engraved : — 
The  Little  Glutton,  The  Little  Mountebank,  The  Cook,  The  Hen  with  her  Golden  Eggs,  The  Workshop, 
The  Washerwoman,  Womsn  Knitting,  The  Rjading  Lesson,  The  Sunday  Toilette,  Going  to  School,  The 
Mute  Lesson,  &c.  M.  Frdre  received  two  third  class  medals  in  1850  and  1855  respectively,  a  second 
class  medal  in  1852 ;  and  the  decoration  of  the  Legion  of  Honour  after  the  Universal  Exposition  of  1855. 

FRERE  (CHARLES-EDOUARD),  born  at  Paris.  Pupil  of  E.  Frdre  and  of  Couture.  At  the  Salon 
of  1877  he  exhibited  L'Embatage  and  A  Bit  of  Paris;  in  1876,  The  Snow;  in  1875,  Before  the 
Rain;   in    1878,  a   portrait   and   Machine  d  battre,  d  FrcpUhn. 

JALABERT  'CHARLES- FRANCIS),  born  at  Nlmes  in  1819,  studied  under  Paul  Delaroche.  After 
three  successive  competitions  he  only  succeeded  in  obtaining  a  second  prize.  He  spent  three  years  in 
Italy,  and  brought  back  his  picture  of  Virgil  Reading  his  Georgics,  which  appeared  at  the  Salon  of 
1847,  and  was  afterwards  placed  at  the  Luxembourg.  M.  Jalabert  then  practiced,  at  the  same  time, 
portrait,  genre  and  religious  painting.  In  this  last  style,  he  produced  a  Saint  Luke,  which  was  ordered 
for  Sevres,  (1852);  an  Annunciation,  for  the  Minister  of  State,  (1853)  ;  Christ  on  the  Mount  of  Olives, 
(1855),  etc.  As  landscape  or  genre  painter,  we  cite.  La  Villanella,  A  Souvenir  of  Romj,  The  Nymphs 
Listening  to  Orpheus,  Romeo  and  Jvdiet,  Raphael,  (1849-1857) ;  A  Widow,  (1861) ;  Christ  Walking  on 
the  Sea,  Maria  Ahruzeze,  (1863)  ;  seven  Portraits  of  women,  (1864-1869),  etc.  He  obtained  a  medal 
of  the  third  class  in  1847,  one  of  the  second  class  in  1850;  two  of  the  first  class,  one  in  1853,  tlio 
other  in  1855,  and  a  second  class  medal  at  the  Universal  Exposition  of  1867.  Knight  of  the  Legion , 
of  Honour   since    1855,  he    was   promoted   to    the    rank   of  officer,  June  29th,    1867. 

"The  practical  work  of  such  a  painter  as  Jalabert  depends  greatly  on  the  use  of  the  razor. 
First,  the  dead-colour  is  laid  of  about  equal  thickness  throughout,  and  then  scraped  down  with  a  very 
sharp  razor  till  it  presents  a  |)erfectly  smooth  and  even  surface  everywhere.  On  this  surface,  slightly 
oiled,  the  artist  proceeds  to  work,  this  time  in  thinner  colour,  and  after  successive  scrapings  and  repaint- 
ings  the    picture   arrives,  finally,  at   a   sort  of  finish  remarkable  for  an  extreme   equality  of  surface,  which 


76  A    COMPLETE  HISTORY  OF  FRENCH  ART. 

has  always  a  certain  charm  for  the  popular  mi  ml.  And  the  popular  mind  is  right  to  some  extent, 
for,  although  roughness  of  loading  would  not  signify  in  the  least  if  the  picture  were  always  to  be  seen 
by  a  light  equally  diffused  over  the  whole  of  its  area,  it  is  true,  nevertheless,  that  since  pictures  are 
always  seen  by  a  light  either  coming  from  above  or  from  one  side,  many  of  the  rough  projections  of 
paint  will  catch  lights  and  project  shadows  of  their  own  quite  independently  of  the  light  and  shade  of 
the  picture,  and  often  altogether  destructive  to  it.  Horace  Veniet  said,  and  truly,  that  light  resides  in 
the  quality  of  the  tone  and  not  in  the  thickness  of  the  pigment ;  and  the  love  for  smoothness  of  sur- 
face which  marks  Jalabert  and  some  others  is  perfectly  compatible  with  artistic  power,  both  in  colour 
and  chiaroscuro,  whilst  it  is  more  than  '  compatible '  with  drawing,  being  positively  favourable  to  form. 
Of  Jalabert's  works  I  like  his  portraits  best,  and  the  single  figures  which  resemble  portraits,  and  are, 
in    fact,  portraits   of  models,  more    or   less   idealized." — P.  6.  Hamerton,  Painting  in  France. 

GIRAUD  (SEBASTIAN-CHARLES),  brother  of  Peter-Francis-Eugene  Giraud,  and  uncle  to  Victor 
Giraud,  both  artists  mentioned  in  this  work,  was  born  at  Paris,  January  18th,  1819,  entered,  in  the 
latter  part  of  1835  at  the  School  of  Fine  Arts.  He  visited  America,  after  an  expedition  to  the 
Marquesas  Islands,  (1843-47)  and  participated  in  the  artistic  commission  conducted  by  the  Prince  Na- 
poleon in  the  northern  latitudes,  (1856).  M.  Charles  Giraud  was  decorated  with  the  Legion  of  Honour 
on  his  return  from  Tahiti,  December  19th,  1847.  He  exhibited  numerous  paintings  at  the  Salons, 
including  genre   and    interiors,   (1850-1878). 

GIRARDET  (EDWARD-HENRY),  painter  and  engraver,  being  the  second  of  three  artists  of  the 
same  name,  was  born  at  Neufch^tel,  July  21,  1819,  came,  at  an  early  age,  to  Paris,  with  his  elder 
brother  Karl,  studied  under  the  direction  of  his  father,  then  travelled,  principally  in  Egj'pt  and  Algeria. 
The    paintings  which    M.  Edward  Girardet   has   exhibited   since    1839  all    pertain    to   genre. 

M.  Edward  Girardet  obtained,  as  genre  painter,  a  medal  of  the  third  class  in  1842,  one  of  the 
second  class  in  1847,  with  a  rappel  in  1859,  the  decoration  of  the  Legion  of  Honour  in  1866,  and 
a  medal  of  the  first  class  for  engraving  in  1861,  a  rappel  in  1863,  and  a  medal  of  the  second  class 
at   the    Universal    Exposition   of   1867. 

BERCHERE  (NARCISSE),  landscape  painter,  born  at  Etampes  (Seine-et-Oise),  September  11,  1819, 
studied  painting  in  the  studios  of  Renoux  and  Charles  Esmond,  and  made  his  first  contribution  to  the 
Salon  of  1844.  He  travelled  through  Spain,  and  three  years  after  sailed  for  the  East.  Among  his 
principal  works  we  notice,  a  Landscape,  taken  from  "Gil  Bias,"  (1844);  Nubia,  in  the  Grallery  of  the 
Luxembourg. 

M.  Berchere  has  published,  "The  Desert  of  Suez,  Five  Months  at  the  Isthmus."  (1863.  18mo.) 
He  obtained  for  landscape  painting,  a  medal  of  the  third  class  in  1859,  a  renewal  in  1861,  a  medal 
in    1864,  and    the   decoration    of  the    Legion    of  Honour,  June    22,   1870. 

ANASTASI  (AUGUSTUS-PAUL-CHARLES),  landscape  painter  and  lithographer,  born  at  Paris,  No- 
vember 15,  1820,  studied  painting  under  Messrs.  Delarochc  and  Corot,  and  made  his  dehid  at  the  Salon 
of  1843.  Since  1849  he  has  been  a  very  successful  lithographer.  He  exhibited  as  landscape  painter, 
Democritm  and  the  Ahderitans,  Road  of  Normandy,  Roch  and  Heather,  Under  the  Trees,  Craivs  Marsh, 
taken  from  the  woods  of  Fontainebleau,  (1848);  Return  of  the  Flock,  (1861);  Terrace  of  the  Villa  Pam- 
philia,  purchased  for  the  Luxembourg  Museum ;  Aqueducts  of  Claudius,  (18&4) ;  The  Forum  at  Suns-f. 
and    T/ie  Banhs  of  the    Tiber,    ai   Rome,    (1865);    the    last  of  these  appeared  at  the  Universal  Exposition 


FRANCOIS  LEON  BENOUVILLE.  77 

of    1867;    Terrace  of  a   Convent  at   Rome,    (1866);     A   Nook   in  a    Village    at    /Sunset,    (1863);    J/ay, 
(1869),  etc. 

He  obtained,  as  a  painter,  a  medal  of  the  second  class  in  1848  and  in  1865,  as  lithographer, 
a  medal  of  the  third  class  in  1850,  and  honourable  mention  in  1855.  He  won  the  decoration  of  the 
Legion  of  Honour  in  1868.  Stricken  with  blindness  in  1869,  M.  Anastasi  was  aided  by  his  fellow- 
artists,  who  organized  two  sales,  one  of  his  own  works,  the  other  of  objects  of  art  which  they  proffered 
him,  and  the  amount  realized  from  these  sales,  placed  beyond  the  reach  of  want  the  artist  so  cruelly 
afflicted. 

CUEZON  (PAUL  ALFRED  DE),  was  born  at  Moulinet,  near  Poictiers,  in  1820;  he  entered  the 
atelier  of  Drolling,  about  the  year  1840,  and  that  of  M.  Cabat  in  1842,  and  made  his  first  appearance 
at  the  exhibition  of  1843,  with  a  small  landscape.  After  passing  a  year  in  Italy,  he  obtained  at  the 
Ecole  de  Beaux  Arts  the  second  prize  in  historic  landscape  in  1849,  and  through  the  influence  of  M. 
Chenavard,  was  sent  again  for  two  years  to  Italy.  Before  his  return  home  he  visited  Greece,  the 
Morea,  and  Syria.  M.  Curzon  has  produced  a  great  number  of  landscapes  of  spots  in  his  native  land. 
and  of  various  places  visited  in  his  travels ;  also  Democritus  in  Meditation,  Dante  and  Virgil  on  the 
Confinea  of  Purgatory,  Women  of  Pleiniaco,  A  Garden  in  the  Convent,  Albanian  Woman,  Psyche,  Tasso 
at  Sorreido,  Pandora,  dc.  He  has  also  executed  several  sketches  in  lithography,  water-colours,  and 
pastel ;  as.  The  Baihera,  The  Serenade,  Ac.  He  obtained  a  second  class  medal  in  1857,  and  decoration 
of  the   Legion   of  Honour,  1865. 

DUBUFFE  (LOUIS-EDWARD),  was  bom  in  Paris,  1820.  He  studied  first  under  his  father,  and 
afterwards  under  Paul  Delaroche.  He  made  his  debut  at  the  Salon  of  1839,  with  an  Annunciation, 
and  HufUreas.  In  the  following  year  he  exhibited  The  Miracle  of  the  Roses,  conceived  in  the  same 
spirit  of  sentiment  as  his  fiatber's  two  succebsful  works,  Lot  Souvenirs,  and  Les  Regrets.  In  1841  Mr. 
Eldward  Dubuffe  took  to  scriptural  subjects,  which  during  five  years  he  trea,ted  with  considerable  success ; 
Tobii,  Charity,  BathaJieba,  Morning  Prayer,  and  The  Prodigal  Son  belong  to  this  period.  Eventually, 
however,  he  commenced  devoting  himself  to  portrait  painting,  a  department  of  art  in  which  his  father 
had  made  so  great  a  reputation,  and  with  a  success  quite  equal  to  his.  In  1846  he  exhibited  the 
portraits  of  M.  Jules  Janin,  and  M.  Paul  Grayrard ;  and  in  1853  a  portrait  of  the  Empress  Eugenie, 
and  four  other  female  portraits,  which  attracted  general  admiration.  At  the  Universal  Exhibition  of 
1855  he  contributed  seven  portraits ;  in  1857  he  exhibited  seven  portraits,  including  a  very  fine  one 
of  Mile.  Rosa  Bonheur,  the  eminent  landscape  and  animal  painter,  which  has  been  engraved;  in  1859, 
The  Portrait- Group  Picture  of  the  Congress  of  Paris,  and  six  other  portraits.  M.  E.  Dubuffe  obtained  a 
third  class  medal  in  1839,  two  second  class  medals  in  1840  and  1855  respectively ;  a  first  class  medal 
in    1814,  and   was   decorated   with   the   Legion    of  Honour   in    1853,  and   officer   in    1869. 

BENOUVILLE  (FRANCOIS  LEON),  historical  painter,  was  born  at  Paris,  March  30,  1821.  He 
became  a  pupil  of  M.  Picot.  His  earliest  exhibited  works  were.  Mercury  and  Argus,  in  1839;  The 
Hermit  and  the  Slothful  Knights,  (1841),  taken  from  an  incident  in  Sir  Walter  Scott's  "Ivanhoe;" 
Judith,  (1844);  Esther,  (1845);  in  the  last  named  year  he  obtained  the  great  prize  of  Rome,  with 
his  picture  of  Jejtus  in  the  Judgment  Hall.  In  1852  he  exhibited  a  large  picture  of  The  Death  of 
St.  Francis  of  Assist,  which  at  once  placed  him  in  a  distinguished  rank  in  his  art;  it  was  purchased 
for  the  Luxembourg  Gallery.  To  the  Universal  Exhibition  of  1855,  M.  Benouville  sent  Christian  Martyrs. 
Hp   died    in    1859. 


78  A    COMPLETE   HISTORY   OF  FRENCH  ART. 

LUMINAIS  (EVARISTE- VITAL),  born  at  Nantes,  October  18,  1821,  is  the  eon  of  a  Deputy  of 
the  National  Assembly  of  1848,  who  died  in  1869,  and  grand-son  of  a  member  of  the  Council  of  Five 
Hundred.  He  came  to  Paris  and  studied  under  M.  Leon  Cogniet,  and  made  his  first  contribution  by 
a  few  subjects  of  genre  painting  at  the  Salon  of  1843.  His  principal  works  which  have  been  exhibited 
are,  Civil  War  Scene  under  the  Republic,  Inierior  of  a  Stable,  A  Fair  in  Brittany,  Young  Girls  Crossing 
a  Ford,  Sick  Young  Girl,  After  the  Battle,  (1843-1847);  Deaih  of  Chramn,  (1879),  etc.,  with  some  por- 
traits, and  a  great  number  of  drawings,  etc.  M.  E.  Luminals  has  obtained  two  third  class  medals  in 
1852  and  1855,  two  rappels,  one  in  1857,  the  other  in  1861,  and  the  decoration  of  the  Legion  of 
Honour,  August   12,   1869. 

LECOMTE-VERNET  (CHARLES-HIPPOLTTE-EMILE),  born  at  Paris,  in  1821,  studied  genre  and 
historical  painting  under  H.  Vernet  and  M.  Leon  Cogniet,  and  made  his  debxd  at  the  Salon  of  1833. 
We  will  cite  from  this  artist :  an  Eace  Homo,  Tlie  Departure,  inspired  by  a  Grerraan  ballad ;  Studies 
and  Souvenirs  of  a  Double  Voyage  in  Italy  and  Syria,  (1846) ;  Dawn,  Night,  Ugolin,  The  Visitation, 
Young  Styrian  Girl  Playing  with  a  Panther,  Orpheus  and  Eurydice,  (1843-1853);  Penelope,  Ahnee, 
(1874),  etc.  M.  Lecorate  obtained  a  medal  of  the  third  class  in  1846,  a  rappel  in  1863,  and  the 
decoration    of   the    Legion    of   Honour    iu    1864. 

LAMI  (LOUIS  EUGENE\  Born  at  Paris,  1800.  Chevalier  of  the  Legion  of  Honour,  1837,  officer 
since  1862.  Pupil  of  Gros,  Horace  Vernet,  and  I'Ecole  des  Beaux- Arts.  He  has  engraved  on  stone, 
made  lithographs,  and  painted  in  water-colours  and  in  oils.  A  Supper  in  the  Salle  de  Spectacle  at 
Versailles  and  An  Interior  of  a  Church  (water-colours),  are  at  the  Luxembourg.  He  has  given  much 
time  to  water-colours,  and  seems  most  fond  of  that  mode  of  representation.  But  he  has  also  painted 
live  or  more  battle-pieces,  in  oils,  for  the  Gallery  at  Versailles,  and  has  a  facility  of  execution  in 
whatever   he    undertakes. 

LAMBINET  (EMILE).  Born  at  Versailles  (1810-1878).  Chevalier  of  the  Legion  of  Honour, 
Pupil  of  Drolling.  Made  his  debut  at  the  Salon  of  1833.  A  Landscape  (1855)  is  at  the  Luxembourg. 
His  views  are  those  of  his  own  country,  such  as.  The  Seine  at  Bougeval,  Norman  Meadows,  Coasts  of 
Normandy,  The  Valley  of  Arqucs,  etc.  At  the  Salon  of  1877  he  exhibited  Tlie  Village  of  Quinevillc; 
in  1876,  Summer  and  Le  Bas-Prunay.  Mrs.  H.  E.  Maynard,  of  Boston,  has  three  landscapes  by  this 
artist   in    her   collection.      Two    of  his    works    were   exhibited   at  the   Salon   of   1878. 

"  Lambinet  is  a  man  of  less  power,  but  in  his  limited  choice  of  lowland  scenery,  natural  and 
simple,  having  a  refined  taste  and  defined  execution,  suggesting  details  by  emphasis  of  brush  rather  than 
by  accurate  finish.  He  fills  his  pictures  with  clear,  bright  light,  rivaling  Nature's  tones  as  fully  as 
pigments  may.  But  it  is  a  hazardous  process,  and  no  way  so  satisfactory  as  the  lower  tone  of  Corot, 
whose  treatment  of  light  is  unequaled.  Those  who  follow  Lambinet  in  this  respect  would  do  well  to 
recall  Leonardo's  maxim  in  regard  to  pure  white,  '  Use  it  as  if  it  were  a  gem.'  Lambinet's  landscape, 
although  ever  repeating  himself,  is  fresh  and  fragrant,  like  a  bouquet  of  flowers." — Jaeve3,  Art  Tlioujhts. 

LANDELLE  (CHARLES),  born  at  Lavalle,  (Mayenne),  in  1821,  studied  under  P.  Delaroche,  and 
made  his  debut  with  a  Portrait  of  the  Author,  at  the  Salon  of  1311.  He  has  since  devoted  himself 
to  historical  painting  and  religious  subjects,  and  has  oft-times  exhibited  while  travelling  afar  off;  among 
the  most  notable  of  his  works,  we  cite,  Fra  Angelica  of  Fiesole,  (1842),  a  large  number  of  portraits, 
among   others,  those   of   Mile.  Fix,  Alfred   de   Musset,    (1855),  etc.       Hi   also    executed   six   paintings    for 


ROSALIE  BOj^HEUB.  79 

the  parlor  of  the  aides-de-camp  at  the  Palace  of  the  Elysium.  M.  Ch.  Landelle  has  obtained  two  medals 
of  the  third  class  in  1842  and  1855,  one  of  the  second  in  1815,  one  of  the  first  in  1848,  and  the 
decoration    of  the    Legion    of   Honour  in    December,   1855. 

"  This  distinguished  painter  has  a  commonplace  facility,  which  he  dispenses  in  a  perpetual  repetition 
of  himself.  He  is  consecrated  for  the  rest  of  his  days  to  what  is  called  character  figures,  young 
gypsies,  Egyptian  women,  Moorish  women,  Ethiopian  women.  As  he  knows  how  to  mix  the  right  dose, 
and  in  very  decent  proportions,  of  the  romantic  and  picturesque,  with  gravity  and  classic  correctness, 
he  never  fails  to  please  the  public." — Ernest  Duverqier  de  Haurannb,  Bevm  des  Deux  Mondes, 
June,  1871. 

"If,  carried  away  by  the  sympathy  which  the  artist  inspires,  one  said  that  the  decoration  of  the 
chapel  of  Saint-Joseph  was  a  work  of  the  first  order,  he  might  be  accused  of  thoughtless  enthusiasm; 
but  he  would  be  unjust  not  to  see  in  it  one  of  those  works  which  hold  an  equilibrium  between  dis- 
paragement and  eulogy.  M.  Landelle,  whom  the  public  of  the  Salons  knows  so  well,  has  wished  to 
make  himself  appreciated  on  a  larger  scale.  Without  being  presumptuous  he  had  the  right  to  make 
the  attempt,  as  he  has  now  the  right  to  repeat  it.  The  charming  painter  of  Fellahs  and  Moors  quitted, 
one  fine  day,  the  gallery,  already  long,  of  his  Oriental  beauties.  He  has  elevated  his  art  by  ascending 
the  steps  of  the  church.  Only  an  exigency  could  demand  of  him  to  leave  forever  the  voluptuous  seraglio 
that  he  has  created  and  peopled ;  but,  now  that  he  has  penetrated  the  temple,  he  owes  it  to  himself  to 
return  there  to  work  and  to  purify  his  profane  talent.  His  name,  it  is  true,  would  not  be  more  celebrated, 
but  it  would  be  more  enduring." — Roger  Ballu,   Gazette  dea  Beaux-Arts,  February,  1878. 

BEAUIONT  (CHABLES-EDWABD  DE),  painter  and  designer,  born  at  Lannion  (Cotes-du-Nord), 
about  the  year  1821,  is  son  of  a  distinguished  sculptor,  and  pupil  of  A.  F.  Boisselier.  His  first  contribu- 
tions were  landscapes  taken  from  the  environs  of  Cernay  and  Senlis  (1838,  1839,  1840),  then  after 
frequent  withdrawals  from  trials  of  mythological  subjects,  he  exhibited  Andromeda,  (1866);  Clrc^,  (1867); 
Leda,  (1868);  he  has  also  executed  some  allegorical  and  genre  paintings;  The  Beefs  of  Life,  (1855);  Women 
Chasing  Truth,  (1864);  The  Captain's  Part,  (1868),  one  of  the  finest  pictures  of  the  Luxembourg;  The 
Women  are  Dear,  (1870);  The  End  of  a  Song,  and  Where  in  the  devil  does  Love  go  to  Boost?  (1873)' 
and  numerous  lithographic  and  water-colour  pieces.  He  illustrated  an  edition  of  "The  Devil  in  Love," 
Cazotte,  (1845,  12rao.),  of  "  Celebrated  Dwarfs,"  by  d'Alban^s  and  G.  Fath,  (1845,  12mo.),  and  several 
chapters  of  the  edition  of  "Our  Lady  of  Paris,"  published  by  Perrotin,  (1845,  large  8vo.),  and  that  of 
a  great  many  invitation  and  menu  cards,  afterwards  reproduced  by  chromo-lithography,  which  have  been 
in  vogue  for  some  years.  M.  de  Beaumont  has  received  a  medal  at  the  Salon  of  1870,  a  medal  of 
the  second  class   at  that  of   1873,  and  the  decoration  of  the  Legion  of  Honour  in  1877. 

BONHEUB  (ROSALIE),  commonly  called  Rosa  ;  animal  and  landscape  painter,  was  born  at  Bordeaux, 
on  the  22d  of  March,  1822.  Her  father,  Raymond  Bonheur,  (who  died  in  1849,)  an  artist  of  some  merit, 
was  her  instructor  in  the  art  of  painting,  in  which  she  was  destined  to  attain  so  distinguished  a  position. 
To  show  the  unity  and  persistency  of  her  talent,  we  enumerate  some  of  her  earlier  works.  Her  first 
appearance  before  the  public,  was  in  1811,  when  she  exhibited  two  small  pictures:  Two  Babbits  and  Sheep 
and  Ooats.  In  the  following  year  she  exhibited:  Cattle  in  a  Pasture — Evening,  A  Cow  lying  down  in  a 
Field.  A  Horse  for  Sale. 

In  1849  appeared.  Ploughing  in  the  Nivernais,  a  chef-d'oeuvre,  which  justly  obtained  the  honours  of 
the  Luxemlx)urg.     During  the  next  two  years,  Mile.  Bonheur  did  not  send  anything  to    the  annual  exhibi- 


80  A    COMPLETE   HISTORY   OF  FRENCH   ART. 

tion,  so  completely  was  her  time  engrossed  in  executing  the  commissions  of  private  collectors,  but  in  1853 
she  crowned  her  fame  by  the  production  of  the  famous  Horse  Fair,  which  has  been  engraved  by  Landseer, 
and  published  in  London ;  and  Cows  and  Sheep  in  a  Roadway  Hollow.  The  International  Exhibition, 
1862,  contained  this  artist's  Ploughing  in  tlue  Neighbourhood  of  Nevemaia.  Mile.  Rosa  Bonheur 
belongs  to  a  family  peculiarly  gifted  in  art.  Her  father,  as  already  stated,  was  a  painter  of  no  mean 
accomplishment,  and  all  his  children  are  artists  also;  Augustus,  a  painter,  Isidor,  a  sculptor,  and  Juliette, 
(married  to  M.  Peyrol,)  a  painter  in  the  same  walk  as  that  adopted  with  such  distinguished  success  by  her 
sister  Rosa.  It  remains  to  be  added,  that  Mile.  Rosa  Bonheur  is  directress  of  a  gratuitous  school  of 
design  for  girls,  confided  to  her  in  1849,  by  the  city  of  Paris,  in  which  she  is  assisted  by  her  sister. 

This  eminent  artist  obtained  a  first  class  medal  in  1848,  rappel  in  1855,  in  1867  was  chosen 
member  of  the  Institute  of  Anvers — in  1868  she  returned  to  Fontainebleau,  where,  during  the  German- 
Franco  war  of  1870-71,  the  Prince  Royal  of  Prussia  specially  instructed  that  her  property  should  be 
unmolested  and  herself  protected. 

BONHEUR  (FRANCOIS-AUGUSTE).  Born  at  Bordeaux,  1824.  Chevalier  of  the  Legion  of  Honour. 
Brother  of  Rosa  Bonheur  and  pupil  of  his  father.  At  the  Salon  of  1845  he  exhibited  Children  and 
CocJcchafers.  He  travelled  in  the  Pyrenees,  Auvergne,  etc.,  and  made  sketches  for  his  finest  pictures. 
His  portraits  of  his  father  and  sister  (1847  and  '48)  are  his  best  efforts  in  portraiture.  Like  his  sister 
he  paints  oxen  with  remarkable  truthfulness,  but  in  her  overshadowing  fame  that  of  her  brother  has 
been  lessened,  and  he  has  not  always  received  the  praise  justly  his  due.  The  following  are  some  of  his 
works :  The  Ruins  of  Apchon  (purchased  by  M.  de  Morny) ;  The  Coasts  of  Brageac  (Museum  of  Amiens) ; 
The  Gorges  of  Fuij-Grion,  (purchased  by  the  State) ;  Herd  of  Caws,  (1859)  ;  Meeting  of  two  Herds  in  the 
Pyrenees,  (1861);  Return  from  the  Fair,  (1864);  The  Sleeper,  Souvenir  of  the  Pyrenees,  (1867);  En- 
virons of  Jalleyrac,  The  Shepherd  and  the  Sea  (1868) ;  The  Lost  Road,  a  souvenir  of  the  Pyrenees 
(1869) ;  Souvenir  of  Auvergne,  (1874) ;  Avant  la  pluie,  (1875).  At  a  London  sale,  1872,  Caitle  returning 
Home,  sold  for  240  guineas.  This  artist  has  sometimes  sent  his  works  to  the  London  Academy  exhi- 
bitions. At  the  Salon  of  1878  he  exhibited  the  Valley  of  the  Jordane  and  a  Landscape  with  Animals. 
He   died   in    1881. 

"  Bonheur  is  a  hearty  realistic  painter,  fresh  in  color,  healthful  in  feeling,  with  an  out-door 
consciousness  of  work  about  his  pictures ;  not  imaginative,  inclined  to  the  literal,  but  possessing  the 
ability — in    which    his    sister    is    deficient — of    giving   vitality    to    his    work." — Jarves,  Art  TJwughts. 

Auguste  Bonheur  has  dared — and  it  is  great  audacity — to  unvarnish  nature,  to  take  away  the 
smoke  and  the  dirt,  to  wash  off  the  bitumen  sauce  with  which  art  ordinarily  covers  it,  and  he  has 
painted  it  as  he  sees  it.  His  animals  have  the  soft  and  satin-like  skin  of  well-to-do  animals ;  his  foliage, 
the  bright  freshness  of  plants  washed  by  the  rain  and  dried  by  the  sun.  Certain  parts  are  complete 
in  deception,  and  produce  the  illusion  of  relief  like  the  stereoscope ;  ,  .  •  .  doubtless  this  illusion  is 
unnecessary  in  historical  painting,  where  the  ideal  and  style  should  predominate ;  but  it  adds  a  charm 
to   the   representation    of    physical    nature. — Theophile  Gautiee,  Abccidaire  du  Salon  de  1861. 

BONHEUR,  (JUIIIETTE  now  MADAME  PETROL\  Born  at  Paris,  1830.  Sister  of  Rosa  Bonheur 
and  also  a  pupil  of  her  father.  Her  pictures  are  A  Flock  of  Geese,  A  Flock  of  Sheep  lying  down,  and 
kindred  subjects.  The  last  was  much  remarked  at  the  Salon  of  1875.  Madame  Peyrol  is  well  known 
by  her  association  vvith  her  sister  in  the  care  of  the  Free  School  of  Design,  founded  in  1849  by  the 
latter.       To    the    Salon    of    1878    she    sent    The    Pool  and    The    Mother's    Kiss. 


EMILE   LEVY.  81 

BONHEUR  (JTliES  ISIDORE\  Born  at  Bordeaux,  1827.  Medals  1865  and  1867.  Brother  of 
Rosa  Bonheur.  Sculptor  and  painter.  He  studied  with  his  father,  and  made  his  debut  at  the  Salon  of 
1848  with  a  canvas  and  a  marble,  each  representing  a  Cov^bat  between  a  Lioness  and  an  African 
Horseman.  Since  then  he  has  abandoned  painting.  His  specialty  is  the  representation  of  animals. 
The  Zebra  and  Panther  has  been  cast  in  bronze  for  the  government.  The  Bull  (1865),  Dromedary 
and  Royal  Tiger  (1868),  A  Lioness  and  her  Young  (1869),  An  Ox  and  a  Dog  (1870),  A  Mare  and 
Colt  (1872),  Pepin  le  Bref  in  the  Arena  (1874),  and  The  Tiger-Hunter  (1877),  may  be  mentioned  among 
his  most  important  works.  At  the  London  Academy,  in  1875,  he  exhibited  Tlie  Head  of  a  Running 
Dog  and  The  Head  of  a  Dog  at  Rest,  both  in  bronze.  In  1878  he  exhibited  two  groups  in  plaster, 
Cheval  de    Course  and    Cheval  de   Man^'ge. 

TOULMOUCHE  (AUGUSTUS^  born  at  Nantes,  September  21,  1829,  was  a  pupil  of  Gleyre  and 
made  his  debut  at  the  Salon  of  1818  with  a  Portrait.  After  having  for  several  years  searched 
for  his  style,  and  even  attempted  historical  painting  with  his  Joseph  and  the  Wife  of  Potiphar  (1852), 
he  finally  adopted  genre  painting,  as  applied  to  priv^ate  and  worldly  life,  and  rapidly  made  himself  a 
reputation.  Among  his  most  notable  productions  since  1852,  we  notice  Forbidden  Fruit,  After  Break- 
fast, FUrtatum,-  etc. 

M.  Toulmouche  obtained  a  medal  of  the  third  class  in  1852,  with  a  rappel  in  1859 ;  one  of 
the  second  class  in  1861,  a  medal  of  the  third  class  at  the  Universal  Exposition  of  1878,  and  the 
decoration  of   the  Legion  of    Honour  in    1870. 

CHAPLIN  rCHABLES),  painter  and  engraver,  born  at  Andelys  (Eure),  June  8.  1825 ;  of  English 
origin ;  was  pupil  to  Drolling,  and  made  his  dehid  with  landscapes  endowed  with  wonderful  life-like 
eentimcnt  of  reality.  Soon  changing  his  style,  he  devoted  himself  to  the  reproduction  of  beautiful 
types  of  women  or  graceful  allegories.  Among  his  most  remarkable  works,  we  cite :  8t.  Sebastian 
pierced  with  Arrows  (1847);  A  Street  in  a  Village  of  the  Basse- Auvergne  (1848);  Portrait  of  the 
Duke  d Audiffret-Pa;8quier  (1877);   Soap  Bubbles  (at   the    Luxembourg);   Aurora  (1878). 

M.  Chaplin  has  engraved  a  certain  number  of  aqua- fortes,  after  his  own  paintings  or  drawings, 
as  well  as  from  those  of  Rubens,  The  Endxirkment  for  Oythera,  after  Watteau,  for  the  copper-plate 
print  of  the  Louvre,  and  The  Foolish  Virgins,  after  M.  Bida,  for  the  large  edition  of  the  Scriptures. 
In  1861  he  painted  the  ceiling  and  the  door  designs  of  the  Salon  of  Flowers  at  the  Tuileries ;  also 
the  ceiling  of  the  salon  of  the  hemicycle  at  the  Elyseum ;  in  1864  he  executed  on  glass,  in  the 
same  palace,  eight  panels  for  the  baths  of  the  Empress.  M.  Chaplin  obtained  a  medal  of  the  third 
class  in  1851,  one  of  the  second  class  in  1852,  a  medal  in  1865 ;  receiving  the  decoration  of  the 
Legion   of    Honour  in   August,    1865,    he   was   promoted   to   the   rank   of    officer   in    1877. 

LEVY  (EMILE),  born  in  Paris,  August  29,  1826;  entered  the  School  of  Fine  Arts  as  pupil  of 
Abel  de  Pujol  and  of  Picot,  and  won  the  Prize  of  Rome  in  1854.  He  contributed,  from  Rome, 
the  following  year,  to  the  Universal  Exposition,  his  painting  of  Noah  Cursing  Ham,  bought  by  the 
State.  He  contributed  to  the  following  Salons  works,  some  of  which  attracted  much  attention :  in 
1859,  The  Free  Supper;  1866,  The  Deaih  of  Orpheus,  which  received  the  honours  of  the  Luxem- 
bourg, and  Rtdh  and  Naomi;  in  1878,  Caligula;  in  1879,  The  Young  Husband  and  Wife,  etc.  Several 
of  his  paintings  were  exhibited  a  second  time  at  the  Universal  Exposition  of  1878.  M.  Emile  Levy 
obtained  a  medal  of  the  third  class  in  1859,  two  medals  in  1864  and  1866,  a  medal  of  the  third 
class  at  the  Universal  Exposition  of   1867,  and  the  decoration  of  the  Legion  of  Honour  the  samo  year. 


82  A    COMPLETE  HIS  TO  BY   OF  FRENCH  ART. 

LAMBERT  (EUGENE  LOUIS),  born  at  Paris  in  September,  1825,  was  pupil  of  Eugene  Delacroix. 
He  has  earned  a  brilliant  reputation  in  genre  painting,  by  illustrating  familiar  scenes  of  domestic  life, 
where  the  principal  subjects  are  almost  exclusively  dogs  and  cats.  Among  his  most  remarkable  con- 
tributions to  the  annual  Salons,  we  cite:  Interior  of  a  Stable  (1852);  Jack  Sam  Shot  in  the  Salon 
of  1875 ;  T/ie  Cats  of  the  Cardinal  de  Richelieu,,  Fallen  Greatness  (1878),  etc.  M.  Eugene  Lambert 
obtained  medals  in  1865,  1866  and  1870,  and  the  decoration  of  the  Legion  of  Honour  in  1874. 

BERTRAND  (JAMES),  painter,  born  at  Lyons  in  1825;  pupil  of  M.  A.  Perrin ;  made  his  debut 
at  the  Salon  of  1857  with  An  Idyl,  and  devoted  himself  to  religious  and  historical  painting.  The 
Conversion  of  Sainte  Thais  (1861);  Death  of  Virginia,  in  the  Luxembourg  Grallery  (1869);  Dawn, 
and  the  Marguerite  of  Faust  (1876),  won  for  him  in  1861  a  medal  of  the  third  class,  which  was 
followed  by  a  rappel  in  1863,  another  medal  in  1869,  and  the  decomtiou  of  the  Legion  of  Honour  in  1876. 

GARNIER  (JULES-ARSENEj,  born  at  Paris,  January  22,  1847,  was  a  pupil  at  the  Academy  of 
Toulouse  and  of  M.  G6rome.  He  made  his  debut  at  the  Salon  of  1869,  with  a  Bather,  and  soon 
sought  in  subjects  of  genre  and  history  a  success  which  in  no  wise  proved  fruitless.  We  will  cite : 
The  Right  of  the  Lord  (1872);  The  Tithe  (1873);  The  King  Amuses  Himself  (1874);  A  Capital 
Execution  (1875) ;  The  Punishment  of  the  Adulterers  (1876),  and  especially  T/te  Liberator  of  the  Terri- 
tory (1878),  a  grand  political  contemporary  scene ;  The  Day  of  the  Fete,  which  has  been  popularized 
by  engravings  and  photographs.  We  are  also  indebted  to  him  for  the  designs  of  a  series  of  aqua- 
fortis  plates   for   an   edition   of    the    "  Tales   of    the   Queen   of    Navarre." 

BIDA  (ALEXANDER),  was  born  at  Toulouse  in  1823,  and,  when  young,  went  to  Paris,  where 
he  studied  drawing  and  water-colour  painting  under  Eugene  Delacroix.  He  visited  Constantinople 
and  the  East  in  1844-1846,  where  he  picked  up  an  immense  mass  of  materials,  which  form  the 
subjects  of  works  which  he  has  produced  since;  amongst  others  —  A  Turkish  Shop,  Arab  Coffee- 
house, The  Slave  Market,  Armenian  Barber,  Beturn  from  Mecca  (purchased  by  the  State),  Sohmans 
Wall,  etc.  He  has  also  executed  several  portraits,  amongst  the  rest  one  of  the  Duke  de  Morny. 
Since  1860  he  has  been  one  of  the  principal  illustrators  of  "  Le  Tour  du  Monde,  Journal  des  Voyages." 
He  obtained  a  medal  of  the  second  class  in  1848,  and  one  of  the  first  class,  together  with  the 
decoration  of  the  Legion  of  Honour,  in  1855 ;  officer  1870.  His  last  and  greatest  work  is  a  series 
of  one  hundred  drawings  for  the  illustration  of  The  Four  Gospels,  which  have  been  copied  by  first- 
class   etchers,   and   published   by   Hachette   &   Co.,  of  Paris. 

HENNER  (JEAN-JACQUES),  born  at  Bernwiller  (Alsace),  March  5,  1829;  pupil  of  Gabriel  Gu6rin, 
Drolling,  Picot  and  M.  Goutzwiller ;  entered  in  1848  at  the  School  of  Fine  Arts,  but  was  compelled 
by  ill-healtli  to  leave  temporarily,  and  passed  two  years  at  his  home,  where  he  painted  portraits. 
Readmitted  at  the  School,  he  carried  ofi",  in  1854,  the  prize  at  the  competition  for  the  Prize  of 
Rome  with  Adam  and  Eve  Discovering  the  Body  of  Abel.  While  at  Rome,  where  he  profited  by 
the  counsels  of  Hippolyte  Flandrin,  M.  Henner  painted  four  pieces  for  the  Museum  of  Colmar :  The 
Penitent  Magdalen,  Christ  in  Prison,  Young  Roman  Girl,  Young  Bather  Asleep.  He  made  his  dcbvi 
at  the  Salon  of  1863  with  this  last  painting  and  a  portrait  of  Victor  Schnetz,  which  attracted  much 
attention.  He  has  since  contributed.  The  Chaste  Susannah  (1865),  purchased  by  the  State  for  the  Luxem- 
bourg Gallery ;  The  Dead  Christ,  Evening,  •  and  several  portraits,  already  known,  reappeared  at  the 
Universal    Exposition   of   1878,  with    the    portrait   of   M.  C.  Hayem. 


HUGUE8  MERLE.  83 

M.  Henner  obtained  medals  at  the  Salons  of  1863,  1865  and  1868.  Decorated  with  the  Legion 
of  Honour   November    1,  1873,  he    was   promoted   to   the    rank   of  officer   July  10,   1878. 

BOULAXGER  (GUSTAYUS-RODOLPHE-CLARENCE),  born  at  Paris  April  25,  1824,  was  a  pupil  of 
P.  Delaroche  and  M.  Jollivet ;  attended  the  School  of  Fine  Arts,  where  he  carried  off  the  Prize  of 
Rome  in  1849,  by  his  painting  of  Ulysses  Recognized  by  Eurydes.  On  his  return  from  Italy,  in 
1856,  he  participated  successfully  at  the  annual  Salons,  where  he  has  exhibited  Jvlius  Cassar  at  the 
Rubicon,  The  Choaasce,  The  House  of  the  Tragic  Poet  at  Pompeii,  A  Scene  in  the  /Street  of  the  Tombs, 
Maestro  Palestrina.  M.  Boulanger  obtained  a  medal  of  the  second  class  in  1857,  in  1859  and  in  1863, 
and  was  decorated  with  the  cross  of  the  Legion  of  Honour  in  August,  1865. 

YOLLON  (ANTOINE),  born  at  Lyons  April  20,  1833,  was  a  pupil  at  the  School  of  Fine  Arts 
of  that  city,  and  made  his  dehui  at  the  Salon  of  1864  with  a  vigorous  study  of  inanimate  nature : 
Art  and  GluMony.  He  has  since  given  in  that  style,  in  which  he  was  not  long  in  attaining  the 
foremost  rank :  Interior  of  Kitchen  (1865) ;  The  Return  from  Market,  The  Ape  and  the  Accordeon, 
now  to  be  seen  at  the  Lyons'  Museum,  (1866) ;  Sea  Eish,  /Southern  Grapes,  (1867) ;  Curiosities, 
Portrait  of  Peter  Plachat.  Fisherman  at  Mera  near  Trtpcrrt,  (1868);  After  the  Ball,  (1869);  A 
Comer  of  my  Studio,  Sea  Fish  (1870);  New  Years  Day,  The  Cauldron  (1872);  A  Market  Comer 
(1874);  ^rwior  (1875);  The  Chicken  Woman  (1876);  Rdrn^t  of  Henry  II.,  A  Spaniard  (1878).  M. 
Vollon  has  also  contributed  to  exhibitions  of  lesser  note  landscapes  and  water-colors  which  have  attracted 
considerable   attention. 

Tliis  artist  obtained  three  medals,  in  1865,  1868  and  1869,  and  a  medal  of  the  first  class  at 
the  Universal  Exposition  of  1878.  Decorated  with  the  Legion  of  Honour  in  1870,  he  was  promoted 
to  the  rank  of  officer  October  20,  1878. 

BERMER  (CAMILLE),  bom  at  Colmar  in  1823,  pupil  of  M.  L.  Fleury,  has  become  known  since 
1848,  at  the  annual  Salons,  by  landscapes  representing  principally  scenes  in  Brittany.  Such  are : 
Moor  near  Rannalec,  Approaches  to  a  Farm  in  Brittany  (1867);  Pathway  among  the  Weeds  (1868); 
Moor  of  Kergaladrie,  Spring  in  Brittany  (1869);  From  Anndour  to  Bannalec  (1873).  The  first  three 
contributions  won  for  him   three   medals,  and   the   last   the   decoration   of    the   Legion   of    Honour. 

LAU6EE  (DESIRE-FRANX'OIS),  born  at  Maromme  (Seine-Inf(5rieure),  January  25,  1823,  entered  in 
1840  the  studio  of  M.  Picot,  and  followed  that  same  year  the  courses  of  the  School  of  Fine  Arts. 
He  afterwarrls  made  his  debut  at  the  Salon  of  1845.  and  at  once  undertook  both  historical  and  por- 
trait painting.  Besides  numberless  Portraits  (1845-1853),  he  has  executed,  among  other  remarkable 
works  at  the  Salons :  Van  Dyck  at  Savdthem,  The  Assassination  of  Rizzio,  Death  of  Zurbaran,  ordered 
by  the  Minister  of  the  Interior  (1850),  and  a  great  number  of  others  too  numerous  to  mention ;  he 
has  also  executed  mural  decorations  for  many  churches,  etc.  M.  Laug^e  obtained  a  medal  of  the  third 
class  in  1850,  one  of  the  second  in  1855  and  in  1859,  a  medal  of  the  first  class  in  1861  and  in  1863. 
He   received   the   decoration   of    the   Legion   of    Honour   in    1865. 

MERLE  rmJOUES),  bom  at  Saint-Marcellin  (Is^re)  in  1823,  was  pupil  of  M.  L^on  Cogniet,  and 
made  hifl  debut  at  the  Salon  of  1843  with  The  Willises.  He  has  since  exhibited :  Migration  of  the 
Alpine  Shepherds  (1850);  A  Recreation  (1852);  Pxheccas  Farewell  to  Lady  Rowena,  Berangers  Lisette, 
Alpine  Shepherdess  (1855) ;  In  DefauU  of  Keys  here  are  the  Doors,  Episode  of  JVapoleon  I.  at  Grenoble 
in    1815  (1857);    Resting  of  the  Holy  Family  in  Egypt  (1859);    The   Beggar    Woman  (1861),  bought   by 


8t  .A    COMPLETE   HT^TOh^   OF  FRENCH  ART. 

the  State  and  placed  in  the  Luxembourg ;  Assassincilon  of  Henry  III.  (1863) ;  Primavera,  The  Fird 
Thorns  of  Science  (1864) ;  A  Young  Mother,  Portraits  of  the  Sons  of  the  Duke  of  Momy  (1865) ;  Mar- 
guerite Trying  on  Jewels  (1866) ;  Women  and  the  Secret  (1867) ;  The  Bather,  Young  Girl  of  Etretat 
(1870);  The  Straight  Road  (1873);  Pemetta  the  Spinner  (1874);  Night  and  Day,  a  fragment  of  decora- 
tion (1875);  Odetta  and  Charles  VI.  (1878);  The  Redeemer  (1879);  Hebe  after  her  Fall,  Carmosine 
(1880),  etc.  M.  Hugh  Merle  obtained  a  medal  of  the  second  class  in  1863  and  in  1865,  and  the 
decoration   of    the   Legion   of    Honour   in    1866. 

George  Merle,  pupil  of  his  father,  made  his  debut  at  the  Salon  of  1876,  by  an  historical 
painting :  The  Passage  of  Arms  of  the  Tree  of  GouJ  He  has  since  exhibited :  Faust  and  the  Three 
Braves  (1877) ;  Death  of  Philip  Arteveld  (1878) ;  Timon  of  Athens,  The  League  (1879) ;  Contrast,  The 
Fishermjans  Daughter  (1880),  etc. 

RIBOT   (THEODULE-AUGUSTIN),   born   at  Saint-Nicolas-d'Ath^ze   (Eure),    in    1823,    son   of  a   civil 

engineer,  began  with  geometrical  work  and  linear  drawing.  He  was  making  the  necessary  preparations 
to  enter  the  artistic  career,  when  the  death  of  his  father  forced  him  to  seek  remunerative  employ- 
ment. After  having  painted  frames  for  a  manufacturer  of  mirrors,  and  followed  the  teachings  of  Glaize 
in  the  latter's  studio,  he  set  out  for,  and  spent  thr'^e  years  in,  Algeria,  superintending  the  erection  of 
works  being  constructed  there.  On  his  return,  in  18i)l,  he  executed  for  manufacturers  a  great  number 
of  designs.  He  was  able  to  appear  in  the  Salon  '>nly  from  1861 ;  he  contributed  for  his  deind  six 
canvases,  representing  interiors  of  kitchens  and  poultry-yards.  He  has  since  exhibited :  The  Prayer  of 
the  Little  Girls,  Morning  Toilet  (1864) ;  Singing  of  th"  Canticle,  The  Tinkers,  Martyrdom  of  St.  Sebastian 
(1865),  bought  by  the  State  for  the  Luxembourg;  Christ  in  the  Midst  of  the  Doctors,  The  Fluiist  (1866); 
Old  Fishermen  of  TrouviUe  (1877) ;  Housekeeper  Balxf^cing  her  Accounts,  Mother  Morieu,  (1878),  etc.  M. 
Theo.  Eibot  has  also  successfully  handled  aqua-fortis  and  water-colors.  He  obtained  two  medals,  in 
1864  and  1865,  a  medal  of  the  third  class  at  the  Universal  Exposition  of  1878,  and  the  decoration 
of    the   Legion   of    Honour   the   same   year. 


THE    END    OF  VOL.  I. 


I  OU!SK    AllIiEMA.  PI»!7., 


ORAVURE,  OOUPIL  ET  C«» 


M  ]L  A  N  C  ]H[  E    B  AM  ]ti  Jfl  T  TAo 


KROM  THE   ORIGINAL  PAINTING  IN  THE    ORBKN  HOOM  OF  THE    THEATRE    COMEDIE-FRJlNCAISE- 
mCES    OF  FRENCH  A UT. 


Blanche  Barretta. 

(PROX   THE  OBIOISAL   MCTCBE   IS   THE   OREE^I   KOOM   OF  THE    THEATRE  COMEDIE  PBANOAISE.) 


Louise  Abbema,  Pinx. 


GOUPIL  &  Co.,   Gravure. 


ODERN  Histrionic  French  Art  is  represented  by  many  brilliant  names,  foremost 
among  the  feminine,  are  Sarah  Bernhardt,  Sophie  Croizette  and  Blanche 
Barretta.      The    latter,  a   pupil   and    protegee   of  Mile.  Bernhardt. 

Blanche  Barretta  was  bom  in  Paris  in  1862,  and  made  her  debut  at 
the  Theatre  Comedie-Franpaise,  in  1878,  and  immediately  captured  the  hearts 
of  the  Parisians. 

The     talented    Painter    Louise    Abbema,  is    remarkable  for  her   successful 
portrait  painting,  and  having  identified  her  career  with  the  theatrical  fraternity, 
is  known    in    Paris   as   the   theatrical    portrait   painter,  par  excellence. 

A   more    pleasing   portrait   of  a   beautiful  woman  it   has   seldom   been  our  good  fortune  to  behold. 
especially  "  The   liquid   loveliness   of  eye,"  and  no  wonder  that  it  was  the  chief  favorite  among  portraits 

in   the  Salon   of  1880.  ' 

Mile.    Abbema   is   so   young,  that  we  will   be   forgiven   the    admission,  that  we   do    not    know  her 
age — she   is   however   old   enough    to   have    earned   a   distinguished   and   honorable    fame. 


© 
as 


© 


© 

< 

PS 
Ed 


Terrace  of  the  Villa  Doria  Pamfili,  Rome. 

(FBOX    THE    OKIOIKAL    PAJ5TISQ    IH    THE    OAXLEBT    OF    THB    LUXEMBODKO.) 


AuQUSTE  Anastasi,  Finx. 


GoupiL  (fe  Co.,   Gravure. 


ONG,  LONG  AGO!"  is  the  idea  first  suggested  by  the  mention  of  Rome;  but  in  this  elegant 
painting  we  have  a  picture  of  Rome  of  the  modern  time.  The  Villa  Doria 
Pamfili,  the  most  extensive  and  delightful  of  the  Roman  villas,  was  laid  out 
in  the  seventeenth  century  by  Prince  Camillo  Pamfili,  nephew  of  Pope  Innocent 
X.,  under  the  direction  of  the  celebrated  sculptor  Algardi.  A  favorite  part 
of  these  lovely  grounds  is  the  Terrace,  of  which  the  artist  has  given  us  a 
representation  so  faithful,  that  it  almost  imparts  the  delicious  sensations  peculiar 
to  the  spot  itself.  In  the  background,  looming  through  an  atmosphere  charged 
with  light  and  heat,  is  the  giant  dome  of  St.  Peter's ;  to  the  left  is  Mount 
Mario,  while  between  these  elevations  the  campagna  stretches  away  in  dim 
vista,  and  finally  melts  into  the  horizon.  But  as  the  eye  returns  from  that  panorama  bathed  in  the 
garish  light  of  a  Southern  sun,  how  it  refreshes  itself  in  this  garden  retreat !  How  mind  and  body 
alike  find  repose  and  delectation  on  this  smooth  and  lofty  floor,  fanned  by  the  pure,  upper  air,  shaded 
by  noble  trees,  beautified  by  statues,  stately  plants,  and  the  bloom  and  fragrance  of  flowers!  To  be 
there  were  joy  indeed !      But   next  to   that   is   the   satisfaction    of  a   perfect   picture   such   as   this. 

First  exhibited  in  the  Salon  of  1864,  the  original  painting  was  acquired  by  the  State  and  added 
to  the  treasures  of  the  Luxembourg.  M.  Anastasi  was  awarded  medals  in  1848  and  1865,  and  was 
made   a   chevalier   of  the   Legion   of  Honour   in    1868. 


/■  i. 


G  '  ^  J    1  >:■ 


J.  AUBERT,  I'irj.X 


GRAVURE  GOUPIL  ET  C" 


YOUT 


THE    MASTERPIKCES  OF  TRENCH  ART 


Youth. 


Jean -Ernest  Aubekt,  Pinx. 


GouPiL  &  Co.,   Gravure. 


HE   maiden,  from   her  basket   of  flowers,  has  adorned   her  dress  with  a  choice  spray. 
which   the   young  man  (sly  rogue)  wishes  to    inspect   very  closely,  which    inspection 
the   maiden   gently  deprecates,  conscious,  no  doubt,  that  on    the  edge  of   the  flower 
T      decoration 


"  Underneath   the  muslin   lid, 
Jost  showed  the  treasures   that  it  hid." 


Modest  and  beautiful  as  all  this  artist's  pictures  are,  we  think  this  his  chef  d'osuvre. 

"Oh,   for  one  day   of  youthful  joy; 
Give  back   my  twentieth   spring; 
I'd   rather  dance,  a  bare- legged   boy, 
Tlian   reign   a  grey-haired   king." 

So  sung  Oliver  Wendell  Holmes,  and,  doubtless,  so  also  thought  Aubert,  when  in  his  fiftieth  year 
he   drew   on   his   remembrance   such   a   draft  as   the   picture   before   us. 

Aubert  was  bom  in  Paris,  in  1824,  and  after  winning  the  Prize  of  Rome,  as  an  engraver,  in 
1844,  he    entered   the   studio   of   Paul    Delaroche.  adding   another    to    his    illustrious    list    of  pupils. 


.^^ 


Mb 


^ 


i 


JULES  BASTIE?;  LriA'-.K    !'!Ny. 


SARAH    BERNHARBTo 


TilE  MASTERPIECES   OF   FRENCH  ART. 


Sarah  Bernhardt. 


(PBOM  THJS  OKiaiKAL   VAlVTTaQ  IS  TH»  OAUERT  OF  THE  THEATER  COMEDIE,    FBAKCE.) 


Jules  Bastien-Lepaoe,  PItix. 


GJouPiL  &  Co.,  Oravure. 


^ARAH  BERNHARDT,  whose  recent  visit  to  the  United  States  must  be  fresh  in  the 
memory  of  many  of  our  subscribers,  was  born  at  Paris  on  the  22d  day  of  October, 
1844.  Her  parents  were  Hollandaise  Jews,  but  she  was  baptized  and  educated  in 
a  convent ;  she  commenced  her  career  on  the  stage  in  her  fourteenth  year,  and  has 
ever   since   held   a   prominent   position. 

She  has  also  achieved  some  distinction  as  a  painter  and  sculptor,  but  we  question 
very  much  whether   she  would  ever   have    been    heard    of  in    either,   had   she  not   been 
famous   as   an   artist   on   the   mimic   stage.      She   holds   in    her   hand   a   clay   model   of 
a  piece   of  sculpture    which   she   is   moulding. 

The   great    portrait    painter,    J.    Bastien-Lepage,    was    born    at   Danvilliers    in    1846.       He    entered 

the   studio   of  M.   Cabanel    in    1868,   and    speedily  showed   his   great   talent.     He  was    represented   in    the 

Exhibition   of    1878    by   four   paintings,    where    he   received    a   first   class   medal    and    decoration   of    the 

Legion   of  Honor,    having   previously,   in    1874,  received  a  third  class  medal,  and  in  1875  a  second   class. 

Mademoiselle    Bemhardt's    portrait    was    painted   in    1879. 


P  J  ABAUDRY.  PINX 


GRAVUHE,  GOUPIL  ET  C» 


F (DETUNE   AND  TEE  INFANT  o 

FROM  THE    ORIGINAL    PAINTING    IN  THE    GALLERY   OF   THE    LUXEMBOURG. 


THE  MASTERJIECES  OF  FRENCH  ART 


GEBBIE  8tC0 


Fortune  and  the  Infant 

(raO)!   THE  0M0I5AL   PAI5TINO   jm   THE    OALLERY    OF   THE   LUXEMBOURCr.) 


Paul-Jacques-Aime  Baudry,  Firix. 


GoupiL  &   Co.,  Gh-avure. 


N  depicting  Infancy  caressed  by  Fortune,  our  artist  has  responded  to  the  involuntary 
prayer  of  every  kindly  heart.  A  little  child  is  the  most  interesting  of  objects,  from 
the  fact  that  all  things  are  possible  unto  it.  Its  life  is  all  unlived,  and  what  will  be 
the  unfoldings  of  its  destiny  ?  Will  it  be  success  or  failure,  virtue  or  vice,  happiness 
or  misery  ?  Who  can  surely  tell  ?  What  cause  for  rejoicing  then  when  the  budding 
life  is  favored  by  auspicious  circumstances ;  and  how  sad  the  spectacle  of  an  infancy 
clouded  by  adversity,    and  frowned  upon   by    Fortune. 

Happy  child  in  the  picture  before  us !  The  serene  and  sunny  sky,  the  sheltering 
trees,  the  refreshing  fountain,  the  endearments  of  Fortune,  all  affirm  a  blissful  present  and  prophesy  a 
happy  fiiture. 

There  are  reminiscences  at  once  of  Titian  and  of  Corregt^io  in  this  pleasing  composition.  The 
child  is  notably  fine  in  all  its  traits,  and  both  of  the  figures  exemplify  that  mastery  in  flesh-paint- 
ing for  which  M.  Baudry  is  distinguished.  The  original  was  first  exhibited  in  the  Salon  of  1857, 
when  the  artist  was  awarded  a  medal  of  the  first  class.  It  is  now  one  of  the  treasures  of  the 
Luxembourg. 


\Ai^u  ^„  BEAuwoxr.  riNx 


WRAVimE.  OOL'PII,  ET   C« 


PERSEUS  AND  AFDK OMED A. 


THE    ICAaTKRPIEt^KS   OP   FHENCH  ART. 


Perseus  and  Andromeda. 


Charles  Edward  De  Beaumont   Pinx. 


GOUPIL  &  Co.    Gravure. 


'ABLED  in  Greek  mythology,  Andromeda  was  the   daughter  of  Cephus,  King  of  Libya. 
who  boasted  that   she  was  fairer  than  the  daughters  of  Nereus. 

Nereus,  in  revenge  for  thi.s,  requested  King  Poseidea  to  make  the  Libyan 
plains  into  a  sea,  which  he  did,  till  only  the  hills  remained  above  them;  and 
a  mighty  monster  came  forth  and  devoured  all  the  fruits  of  the  land,  while 
Andromeda  was  fastened  to  a  desolate  rock,  and  each  day  the  monster  came 
nearer  to  her  as  the  waters  rose. 

But,  Perseus,  the  son  of  Zeus  and  Danae,  after  having  cut  off  the  head 
of  Medusa  by  the  aid  of  Hermes  and  Minerva,  among  other  adventures,  slew  the  monster,  rescued 
Andromeda,  and   married   her. 

De   Beaumont's   picture   shows   Perseus   equipped   and   in    the   act   of   rescuing   the    maiden. 
De   Beaumont  will   be   further   represented   by  his    Luxembourg  picture    "  The  Captain's  /Share    of 
Ike  Booty." 


eg 

< 

02 


;J2  i 


>-<   t. 


O 

X- 

H 


The  Captain's  Share. 


(FBOM   the  OEtGISAT.   PAISTINO    IN   THE    LUXKMBOt'fiO  GALLfl.Vl 


Charles  Edward  de  Beaumont,  Pinx. 


GoupiL  &.  Co.,    Gramire. 


^  jf]  r  ET  the    student   of  history  turn    to   the    pages   of  Gibbon,  and  he  may  there  take  his 

^r"/^^'^    choice  of  events  in  which  Huns,  Vandals,  Gauls,  Goths  and  other  barbarian  tribes 

-^         and    nations,    pillaged    Rome   and   other   cities   during   the    early    centuries    of    the 

' '\     Christian    era,    from   which   De   Beaumont   may    have    drawn    his   picture   of    The 

Captains  Part. 

It  is  a  scene  of  riot  and  pillage,  and  a  scene  which  we,  who  live  in 
happier  times,  look  on  with  disgust  and  dismay.  But  such  scenes  in  times  of 
war  and  anarchy,  were  of  common  occurrence. 
This  picture  is  one  of  the  grandest  in  the  Luxembourg,  and  illustrates  the  artist's  power  in  his 
best  and  strongest  points,  the  rendering  of  the  nude.  The  central  attraction  is  the  two  female  captives 
tied  to  a  stake  in  the  market-place,  against  which  either  the  Captain  or  some  witty  friend  has  hoisted 
a  rude  advertisement,  "  La  Part  du  Oapitaine,"  and  in  the  painting  the  bare  pole  is  decorated  with  a 
palm-branch,  the  bright  green  leaves  of  which  make  a  beautiful  colour  contrast  with  the  yellow  hair 
and   flesh   tints   of  the   unfortunate   girls. 

The  totU-en-semble  is  all  in  keeping,  although  to  the  Captain  has  fallen  the  lion's  share ;  yet 
other  prizes  are  evident.  The  duck  hoisted  aloft,  the  pig,  red-eared  and  fat,  tied  by  a  string  to  the 
short   trooper,  who   is   stretching   his   short   neck   to   get   a   look   at  the   Captain's   prize. 

De  Beaumont  was  bom  at  Lannion  (Cotes-du-Nord),  in  1832.  Studied  in  the  school  of  Boisselier; 
decorated    Chevalier   of  the    Legion    of   Honour    in    1877. 


s 

C3 


© 


o 

H 

fr^ 


"^"4' 


The  Garden  of  Monsieur  the  Cure. 


Etienne-Prosper  Berne-Bellecour.  Pinx. 


GOUPIL  &  Co.,   Gravure. 


['R  Curfe,  evidently,  is  not  a  professional  gardener;  the  unkempt  appearance  of 
the  ground  shows  that.  One  article  of  his  creed,  we  fancy,  is  "a  sound 
mind  in  a  healthy  body,"  and  this  exercise  among  the  trees  and  flowers, 
is  a  welcome  change  from  the  cares  and  confinement  of  his  priestly  office. 
His  good,  intelligent,  contemplative  face  assures  us,  too,  that  he  is  one  wlio 
can  find  both  companionship  and  instruction  in  observance  of  bird,  and  bee, 
and  butterfly,  and  tlie  myriad  creatures  whose  wonderful  structure  and  habits 
proclaim   creative   wisdom ;    and   that   be   is   no   less   apt   to   find 


"  tongues   In  trees, 
Books   in   the   running  brooks,   sermons   in  stones, 
And  good   in  everything." 


Every  accessory  of  this  well-composed  picture  conspires  to  produce  the  effect  of  tranquil  enjoy- 
ment ;  yet  the  artist  has  equal  facility  in  portraying  scenes  of  war  and  carnage.  He  won  Salon 
medals   in    1869  and    1872. 


•*Vi     -•T  ■'■-."(  • 


JAMES    DERTHA"H:.>,   PINX. 


MARGUERITE    TEMPTED. 


THE    MASTERPIECES    OF   PREWCH   ART. 


Marguerite  Tempted. 


James  Bertilvxd,  Pinx 


GoUPiL  &  Co.,   Gravure. 


OETHE,  in  his  masterpiece  of  "Faust,"  has  furnished  modern  artists  with 
a  fruitful  field  from  which  to  glean  subjects  for  pictures,  and  among 
the  many  who  have  illustrated  Marguerite's  temptation  and  fall,  none 
have  done   it   more  gracefully  than   James   Bertrand. 

The  scene  of  the  Temptation  is  chosen  as  illustrative  of  the  fol- 
lowing passage,  when,  after  Faust  has  mysteriously  placed  the  jewels 
in   her   chamber,    they  are    discovered  by  Marguerite,  who   soliloquises : 

"  How  comes  this  casquet  here  to  me  ? 
I  locked  the  press  most  certainly, 
'Tis  truly  wonderful,  what  can  it  be? 
And  here  there  hangs  a  key  to  fit  it. 
I  have  a  mind  to  open  it. 

What  is  that  ?      God  in  the  Heaven !   whence  came 
Such  things.      Never  beheld  I  aught  so  fair. 
Rich  ornaments  such  as  a  noble  dame 
On  highest  holidays  might  wear. 
How  would  this  chain  of  pearls  suit  my  hair? 
Ah!  who  may  all  this  splendour  own? 
[5^  steps  before  tfie  mirror,  adorning  herself  with  the  jewelry^] 
Oh,  were  the  ear-rings  only  mine. 
They  give  their  wearer  such  an  air ! 
What  helps  one's  beauty  ?      Youthful  blood. 
One  may  possess  that, — well  and  good, 
But  jewels  make  one  twice  as  feir?" 


JAMES    PERTRAKD.  PINX 


GRAVURE,  OOUPI 


MARGUERITE   BETEAYEBc 


THE  MASTERPIECES    OF   FRTOTCH  AHT. 


Marguerite  Betrayed. 


James  Bertrand,  PIjix. 


GoupiL  &  Co.,   Gravure. 


EVER  has  such  a  warning  been  given  to  inexperienced  maidenhood  as  is  given 
in  the  story  of  Faust  and  Marguerite.  Bewildering  in  its  grandeur,  but  painfully 
truthful  in  its   human    picture   of  the    inevitable  result  of  unguided   paspion. 

The  sequel  of  the  Jewels  is  in  this  companion  picture ;  when,  after  hearing, 
at  the  town  pump,  the  story  of  Barbara,  meant  to  warn  her  that  her  secret  is 
known — she  returns  home  much  disturbed  in  mind,  and  soliloquises,  as  she  reaches 
her  mother's  door : 


"  How  scornfully  I  once  reviled, 
When  some  poor  maiden  was  beguiled, 
More  speech  than  any  tongue  suflBces 
I  craved  to  censure  other's  vices. 
Black  a.s  it  seemed,  I  blackened  still 
And  blacker  yet  was  in  my  will ; 
And  blessed  myself  and  boasted  high, 
And  now,  a  living  sin  am  I ! 
Yet — all  that  drove  my  heart  thereto, 
God!  was  so  good,  so  dear,  so  true." 

James    Bertrand,    born    at   Lyons,    in     1840,    was     a    pupil    of   P6rin,  was    made    Chevalier    of   the 
Legion   of  Honour,  1876,  on  the  occasion  of  the  purchase  of  his  Death  of  Virginia  for  the  Luxembourg. 


o 

< 


b 
o 

Q 


COCO'S   Last   Ration. 


Pierre-Marie  Beyle,  Pinx.  Goupil  &  Co.,  Gravure. 


ERILY !    here    is    serious    trouble. 

"A   most  poor"   family  "made   tame  by   Fortune's   blows; 
Who,  by  the   art   of  known    and  feeling   sorrows, 
Are   pregnant   to  good   pity." 

All  that  they  have  in  the  world  is  with  them  on  this  bleak  spot. 
Evidently  their  humble  peddler's  trade  has  not  thriven  of  late ;  and  driven 
to  this  journey  in  mid-winter,  their  faithful  beast,  faint  with  toil  and  age 
and  scanty  nourishment,  has  fallen  on  the  icy  road.  The  wagon-shaft  is 
broken :  but  no  one  thinks  of  that :  the  poor  horse  claims  their  anxious  attention.  He  tries  in  vain 
to  rise,  and  after  a  few  faint  struggles  and  convulsive  gasps,  he  lies  dead  at  their  feet.  This  is  a 
heavy  blow,  paculiarly  oppressive  from  their  isolated  position,  far  from  the  haunts  of  men,  amidst  ice 
and  snow,  and  under  a  frowning  .sky  that  threatens  momently  to  break  in  storm  upon  their  heads. 
We  are  very  sure,  however,  from  the  attitude  and  expression  of  these  unfortunate  people,  that  they  feel 
a  sorrow  deeper  than  the  sense  of  pecuniary  loss  and  physical  inconvenience,  though  surely  that  were 
enough  to  weigh  them  down.  This  dead  animal,  over  which  they  grieve,  was  something  more  than  a 
beast  of  burden.  For  long  years  the  sharer  of  their  exposures  and  vicissitudes,  he  became  in  effect 
one  of  themselves;  and  their  bereaved  feeling,  as  they  behold  him  dead,  will  be  readily  appreciated 
by  any  one  who  has  lost  a  pet  animal  or  bird.  What  pathos  in  the  attitude  of  the  kneeling  woman  ! 
Her  cla.sped  hands  and  the  pained,  though  submissive  expression  of  a  face  furrowed  by  many  cares,  are 
more  eloquent  than  words.  And  the  man,  coarse  and  rude  though  he  be,  has  a  heart  deeply  touched 
by  this  affliction.  Even  the  thoughtless  boy  is  infected  with  the  sorrow.  And  the  dog  !  perhaps,  after 
all,  he  is  the  chief  mourner.  Between  the  two  dumb  creatures  the  closest  intimacy,  the  most  intel- 
ligible fellowship,  subsisted.  What  despondency  is  in  the  look  and  posture  of  the  dog  as  he  leans  over 
his  fallen  comrade !  Ah  well  I  this  is  altogether  a  sad  picture,  but  a  typical  one ;  for  the  prevailing 
chords    in  life's   great   symphony  are    in    a   minor   key. 

The   original    of  this   admirable   picture    was    exhibited    in    the    Salon    of   1878. 


ALEXANDRE   BinA,PlHX, 


ORAVURE.  GOUPIL  ET  CS 


MASSACRE  OF  T)HIE   MAMELUKES, 

FROM  THK   OR!G!NAIi  PAINTI>fC,  '.N  THE  GALLERY  Of  THE  LUXEMBOURG 


GI-:l!H!!':  »rCO 


Massacre  of  the  Mamelukes. 


(FROM   THE   ORinlSAL    IN    THE   GALLERY   OF     THE    LtTXEMBOURO.) 


Alexandre  Bida,  Pinx. 


GotTpiL  &  Co.,   Gravure. 


GYPT  has  produced  in  her  long  career  many  strange  and  significant  historical 
characters.  Although  the  Mamelukes  (as  the  name  imports)  were  originally  a 
slave  class  in  Egypt,  they  became,  about  the  middle  of  the  thirteenth  century, 
masters  of  the  country,  and  maintained  their  dominance  until  the  beginning  of 
the  present  century.  Napoleon  found  them  formidable  antagonists  at  the  battle 
of  the  Pyramids,  and  in  subsequent  encounters,  but  he  almost  annihilated 
them.  When  Mehemet  AH  became  Viceroy  of  Egypt  he  found  the  proud  and 
turbulent  Mamelukes  a  serious  obstacle  to  the  peace  and  prosperity  of  the 
country,  and  at  length,  in  1811,  he  adopted  a  decidedly  Asiatic  remedy  for 
the  evil.       Inviting  a   great  number   of    the    Mameluke    chiefs    to    a  banquet   in 

Cairo,  the   guests,  after  being  feasted,  were  shot  down  in   the  corridors  and  courts  of  the  palace.     About 

one  thousand  were  thus  massacred. 

M.   Bida  has  given  us  a  vivid  picture  of  this  high-carnival  of  death.       Hemmed  in  on  every  side 

the  helpless  victims  are  shot  at    from    the    housetop    and    the    windows.       Terrified    and   plunging  horses  ; 

"  riders  and  horses  in  one  red  burial  bleat "  ;    the    groans  of  the   dying ;     the  shrieks    of   despair    and    of 

defiance  and  hate ;    the  pitiless  rain  of  death-dealing  bullets — such  are    the   elements  of    this   graphic    and 

bloody  episode. 

The    original    is   one    of  a   number   of   M.  Bida's  crayon  drawings  that   have  been  honored  with  a 

place    in   the  Luxembourg. 


CO 


The  Castle  Terrace,  xvth  Century. 


JasEPH-C^LEsTiN  Blanc,  Pvnx. 


GrOUPIL  &  Co.,   Gravure. 


P^   0  I     We  are  here  enabled,  by  the  magic  wand  of  the  painter,  to   gaze  on  a  picturesque  phase 

of  life  four  centuries  ago.  The  rich  dress  and  easy  elegance  of  the  aristocratic 
youths  whose  pastime  we  witness,  indicate  the  pride  and  luxury  of  a  privileged 
life.  The  presence  of  the  dwarf — an  important  adjunct  of  the  establishments 
of  kings  and  wealthy  nobles  in  former  ages — witnesses  to  the  pomp  and  cir- 
cumstance of  the  castle  whose  terrace  furnishes  the  scene  of  our  picture.  The 
youth  on  the  extreme  left  seems  to  be  afflicted  with  ennui,  and  one  or  two  of 
__  his  comrades  show  signs  of  indolence, — possibly,  however,  their  languor  may  be 
~  tx.  the  result  of  previous  exercise,  for  we  observe  some  hunting-hawks,  or  falcons, 
and  some  battledores  and  shuttles  by  the  balustrade  on  which  one  of  the  lads 
is  negligently  leaning.  The  figures  are  all  skilfully  drawn ;  but  two  of  them  are  exceptionally  distinguished 
in  character.  The  boy  in  the  left  foreground  who  leans  forward,  hand  on  knee,  watching  the  game  in 
which  he  is  engaged,  has  both  a  fine,  manly  form  and  a  noble  head,  while  his  companion  with  the  close- 
fitting  cap,  lias  a  presence  of  rare  dignity  and  grace,  and  a  beauty  recalling  that  of  Raphael  in  his  youth- 
ful days.  The  picture  is  admirably  composed ;  the  architectural  mass  on  the  right  being  balanced  by  the 
cluster  of  figures  on  the  left,  while  the  open  central  space  discloses  the  commanding  view  from  the  terrace, 
and  gives  due  eflFect  to  the  luminous  expanse  of  sky. 


s 


©  ° 

&4     s 


Ploughing  in  Nivernais. 


(from    the   original   PAISTISa  IN    THE  LUXEMBOURG  GALLERY.) 


Rosa  Bonheur,  Pinx. 


GoiTPiL  &  Co.,   Gravure. 


describing    this     picture    we     cannot    do    better    than    quote    Mr.    Hamerton's    enthusiastic 
description : 

"  I  hear,  as  I  write,  the  cry  of  the  ox-drivers — incessant,  musical,  monotonous. 
I  hear  it  not  in  imagination,  but  coming  to  my  open  window  from  the  fields. 
The  morning  air  is  fresh  and  pure,  the  scene  is  wide  and  fair,  and  the  Autumn 
sunshine    filters   through   an    expanse    of    broken,    silvery    cloud. 

They  are  ploughing  not  far  off  with  two  teams  of  six  oxen  each — white  oxen 
of  the  noble  Charolais  breed — sleek,  powerful  beasts,  whose  moving  muscles  show 
under  their  skins  like  the  muscles  of  trained  athletes.  Where  the  gleams  of  sunshine  fall  on  these 
changing   groups,  I    see    in    nature    that   picture    of   Rosa    Bonheur's    Ploughing   in   JVivernais." 

There  is  a  touching  anecdote  in  connection  with  this  picture.  Her  father,  also  an  artist,  when 
on  his  death-bed,  and  feeling  his  end  approaching,  desired  to  see  his  already  famous  daughter's  latest 
work,  and  there  was  brought  to  his  bed-side,  Ploughing  in  Nivernais.  The  dying  artist  beheld  and 
WEPT.  A  silent  tribute,  it  is  recorded,  more  prized  by  his  daughter  than  all  the  world's  applause  in 
after    years. 

An    appreciative    biography    of   Rosa    Bonheur    will    be    found    in    the    Historical    Text. 


^'% 


1 


A   W  BOUGEREAU.FINX 


GRAVURE,     GOUFIL    ET    C" 


THE    BIRTH    OF    VENUS, 


THE    MASTERPIECES   OF  FRENCH  ART 


The  Birth  of  Venus. 

(rBOM   THE  OKIOINAL   PAISTISa   IN   THE  OALLEBY   OF   TBE    LUXEMBOUBQ.) 


Wm.    AiX)LPHE   BoUQUEREAU,    PlTlX, 


GoupiL  &  Co.,   Qravure. 


REATEST  among  the  great  paintings  of  the  year  1879,  was  Bouguereau's  Birth  of 
Venus.  This  picture  came  very  near  (more  than  once)  gracing  an  American  col- 
lection— the  price  was  high  and  required  some  courageous  consideration,  and  on  each 
occasion,  as  two  Americans,  to  our  knowledge,  each  in  his  turn,  concluded  to 
give  the  price  asked,  behold !  its  price  had  been,  during  the  time  of  considera- 
tion, advanced,  till  finally  it  found  its  most  appropriate  place  in  the  National 
QuUery  of  the   Luxembourg,  where    it   attracts    crowds   of  gazers   and    copyists. 

A    biography  of   this  artist  will   be  found   in    the    text   in  the   body  of  the 
history. 

Of  Venus,  the  goddess  of  love  and  beauty  of  the  Romans,  identical  with  Aphrodite  of  Olympia, 
tradition  says  that  she  sprung  from  the  foam  of  the  sea.  According  to  Hesiod,  the  goddess,  after  rising 
from  the  foam,  first  approached  the  island  of  Cythera,  and  thence  went  to  Cyprus,  and  as  she  was 
walking  on  the  sea-coast,  flowers  sprung  up  under  her  feet,  and  Eros  and  Himeros  accompanied  her  to 
the  assembly  of  the  other  great  gods.  According  to  the  Cosmozonic  view  of  the  nature  of  Venus  (or 
Aphrodite)  she  was  the  personification  of  the  generative  powers  of  nature,  and  the  mother  of  all  living 
beings. 

The    surrounding  Nymphs  and  Cupids  are,  of  course,  the  privileged  license  of  the  poet  and  painter. 


C;    K  BOULANGEK  ,    PINX. 


GRAVURE  ,    GOUPIL     ET.  C>« 


A  PROMENADE  IN  THE  STREET  OF  THE   TOMBS .[  POMPEII. 


THE  MASTERPIECES   OF  FREKCH  ART 


The  Promenade  in  the  Street  of  the  Tombs. 


G.  R.   BOULANGER,  Pinx. 


GouPiL  &  Co.,   Gravure. 


lOMPEII,  by  excavations  on  its  site,  reveals  to  us  of  the  present  day  a  representation 
of  the  manners  and  customs  of  that  Roman  city  of  two  thousand  years  ago,  as 
vividly  as   a   fly   cased    in    amber,  preserves   its    form   for  all    time. 

Gustave  Rodolphe  Boulanger,  born  in  Paris,  1824.  Pupil  of  Paul  Delaroche, 
and  Chevalier  of  the  Legion  of  Honour  ;  has  made  ancient  Rome  his  particular  study. 
Tlie  Street  of  the  Tombs  was  manifestly  a  fashionable  Pompeiian  promenade,  and 
one  would  say,  especially,  a  fitting  promenade  for  a  widow.  It  appears,  however,  that  Boulanger  believed 
that  envy  and  all  uncharitableness  existed  2,000  years  ago,  as  naturally  as  now,  for  the  jeer  and  the 
titter  of  the  ladies  who  are  passing  on  the  upper  sidewalk,  is  offensive  and  rude  as  the  ogle  of  the 
Pompeiian   gallant,  who   has  slackened   his   pace,  evidently  to   have  something   to   say  to   her. 

Widows  are  a  difficult  and  delicate  theme  to  discuss,  and  the  healthy,  vigorous  woman  (like  the 
widow  in  our  picture),  left  alone,  with  her  experience  gained,  is  generally  a  more  attractive  mark  for 
the  marrying  man,  than  the  "  maiden  coy,"  even  with  advantages  of  beauty  and  position  in  her  favour. 
Why?      We   cannot   say. 


QUSTAVE     BlUOK,  X'linv. 


iHAVrrRB,  GOUPIL  ET   CM 


THE    IDAY  OF    BAPTISM. 


■.'/■:"'''KiipiKci';B  oi-'  i-'ni':nc'ii  Aicr 


The  Day  of  Baptism. 


GusTAVE   Brion,  Pinx. 


GoTJPIl.  &  Co.,  Gh-avure. 


ABIES,  under  any  circumstances,  are  the  most  interesting  objects  in  the  world, 
and,  apart  from  the  religious  association  a  charming  picture  of  infancy  is  here 
given.  The  artist  has  expended  much  labor  upon  the  laces  and  rich,  quilted 
coverlet,  and  has  therein  achieved  a  fine  piece  of  texture-work ;  but  that  is 
only  a  setting  for  the  precious  jewel  of  a  babe,  whose  dimpled  face  and 
hands,  soft,  pulpy  flesh,  large,  liquid,  wondering  eyes,  and  rosebud  mouth,  con- 
quer  all   hearts   by  their   cherubic   loveliness. 


Who  can  tell  what  a  baby  thinks? 
Who  can  follow  the  gossamer  links 

By  which  the  manikin  feels  his  way 
Out  from  the  shore  of  the  great  unknown, 
Blind,  and  wailing,  and  alone, 

Into  the  light  of  day? 
Out  from  the  shore  of  the  unknown  sea. 
Tossing  in  pitiful  agony ; 
Of  the  unknown  sea  that  reels  and  rolls. 
Specked  with  the  barks  of  little  souls, — 
Barks  that  were  launched  on  the  other  side, 
And  slipped  from  heaven  on  an  ebbing  tide ! 

What  does  he  think  of  his  mother's  eyes  ? 
What  does  he  think  of  his  mother's  hair? 

What  of  the  cradle-roof  that  flies 
Forward  and  backward  through  the  air? 

What  does  he  think  of  his  mother's  breast, 
Bare  and  beautiful,  smooth  and  white. 


Seeking  it  ever  with  fresh  delight, 

Cup  of  his  life  and  couch  of  his  rest? 
What  does  he  think  when  her  quick  embrace 
Presses  his  hand  and  buries  his  face 
Deep  where  the  heart-throbs  sink  and  swell, 
With  a  tenderness  she  can  never  tell, 

Though  she  murmur  the  words 

Of  all  the  birds,— 
Words  she  has  learned  to  murmur  well  ? 

Now  he  thinks  he'll  go  to  sleep ! 

I  can  see  the  shadow  creep 

Over  his  eyes  in  soft  eclipse, 

Over  his  brow  and  over  his  lips, 

Out  to  his  little  finger-tips ! 

Softly  sinking,  down  he  goes! 

Down  he  goes !   down  he  goes ! 

Seel  he's  hushed  in  sweet  repose. 

— Dr.  Holland. 


This  painting  was  the  artist's  contribution  to  the  Salon  of   1875. 
honors   of  the   Salon.      See   Biography. 


M.  Brion  has  won  the  highest 


k 


Waiting. 


Ulysse-Loots-Auguste  Butin,  Pinx. 


GOUPIL  &  Co.,   Gravure. 


lAN  we  look  on  this  masterly  picture,  and  not  be  touched  by  the  feeling 
that  "there  is  sorrow  on  the  sea?"  These  toiling  women,  accustomed 
to  the  exposures  and  anxieties  peculiar  to  their  lot,  are  at  present 
moved  by  no  common  solicitude.  The  fishers, — their  husbands  and 
sons,  —  have  so  long  over-stayed  the  time  of  their  return,  that  the 
watchers  are  distressed  by  fears  of  every  conceivable  danger.  Too  un- 
happy to  remain  in  their  cabin  homes,  they  have  abandoned  their  do- 
mestic cares,  and  have  come  to  the  beach  to  wait,  and  watch,  and 
pray.     How  vividly   Kingsley's   pathetic   lines   are   suggested,    with   that   dirge-like   refrain: 

For  men   must  work,   and   women   must  weep, 
And  the  sooner   it's  over,   the  sooner  to    sleep, 
And  the  harbor  bar  is   moaning! 

The  mother  in  the  foreground  has  brought  her  children  with  her;  and  even  the  little  ones  are 
infected  with  the  general  sadness.  Apart  from  its  telling  sentiment,  how  admirable  is  the  picture  as 
a  work  of  art  I  How  perfect  the  drawing  and  pose  of  the  principal  figure !  How  fine  the  rendition 
of  the  surf  and  the  wet  sand,  the  sea-mist,  and  the  effect  of  distance  I  The  picture  was  painted  in 
1875,    and   secured   for   the   artist   a  Salon   medal.     M.  Butin    also   gained   a  medal    in    1878. 


1 


Portia. 


THE   CASKET   SCENE,    FROM   THE       MERCHANT   OF   VENICE. 


Alexandre  Cabanel,  Plnx. 


GoupiL  &  Co.,  Gravure. 


OTWITHSTANDING  her  dislikes  or  her  predilections,  Portia,  a  young  heiress, 
richly  dowered  as  well  with  beauty  and  accomplishments  as  with  estates,  must, 
in  compliance  with  her  father's  will,  marry  only  the  suitor  who  shall  make 
a  fortunate  choice  from  among  three  caskets,  one  of  gold,  one  of  silver,  and 
one  of  lead.  The  first  bears  the  inscription :  "  Who  chooseth  me  shall  gain 
what  many  men  desire";  the  second,  "Who  chooseth  me  shall  get  as  much 
as  he  deserves";  the  third,  "Who  chooseth  me  must  give  and  hazard  all  he 
hath."  Many  illustrious  suitors  have  made  trial,  chosen  amiss,  and  greatly 
to  the  lady's  relief,  have  gone  their  ways.  But  at  length  comes  Bassanio, 
who  passionately  loves  her,  and  whom  she  as  deeply  loves.  She  dreads  the 
ordeal  that   must   decide   their   destiny,   and   therefore   says : 

"  I   pray  you   tarry ;    pause  a  day  or   two, 
Before   you  hazard;    for   in   choosing  wrong 
I  lose  your  company ;    therefore,  forbear  a  while : 
There's  something  tells   me   (but  it   is   not  love), 
I  would   not  lose  you;    and   you   know   yourself, 
Hate   counsels   not   in   such   a  quality." 

But  Bassanio  cannot  endure  the  strain  of  this  uncertainty.  "Hope  deferred  maketh"  his  "heart 
sick";    and    so  we    arrive   at   the    crucial   moment.       Portia   consents  with  fainting   heart,   and   says: 

"Let  music  sound,  while   he   doth   make   his   choice; 
Then,  if  he  lose,  be   makes   a  swan-like   end, 
Fading   in   music:    that   the   comparison 
May  stand   more  proper,  my  eye  shall   be   the   stream, 
And  watery  death-bed  for  him." 

And  now  behold  the  lover  standing  upon  the  brink  of  Paradise  or  of  perdition,  he  knows  not 
which.  Regard  the  gentle  Portia  averting  her  gaze  from  the  too  painful  sight,  and  striving  to  quiet 
her  agitated  heart.  Witness  the  eager,  tense  observance  of  the  spectators ;  and,  in  imagination,  hear 
the  strains  of  music  that  will  soon  become  either  a  Te  Deum  for  Love's  victory,  or  a  requiem  for 
lost   hopes  I 

All  this  the  painter  has  expressed  in  a  picture  characterized  by  masterly  drawing,  effective  grouping, 
and   a   superb   setting   of  architecture   and    costumes — a   tout   ensemble  worthy  of  his   great   reputation. 

M.  Cabanel  has  received  many  honors,  including  the  Prize  of  Rome  in  1845,  the  Salon  Medal 
of  Honour  in  1865,  and  the  Medal  of  Honour  at  the  Universal  Exposition  of  1867,  and  a  rappel  of 
the   latter   in   1878.      He   is   an   officer   of  the   Legion   of  Honour,  and   a  member   of  the   Institute. 


1=1 


m 


The   English    Promenade   at    Nice. 


Joseph  Castiglione,  Pinx. 


GoupiL  &  Co.,  Gh-avure. 


ATELY,    Nice,    on    the    south    coast  of    France,   has     become    one    of  the     favorite    resorts    for 
/^  English    and    American    invalids. 

This  ancient  city  has  undergone  many  changes  of  masters  and 
frequently  changed  its  nationality ;  it  is  now  the  capital  of  the  Department 
of  the  Alpes-Maratimes,  and  is  beautifully  situated  at  the  foot  of  the  Alps 
on  both  sides  of  the  mouth  of  the  Paglione.  It  belonged  to  the  family 
of  the  Duke  of  Savoy  until  1388,  and  after  frequently  changing  hands  was 
ceded  to  France  after  the  battle  of  Solferino,  as  part  payment  of  the 
services  rendered  by  Napoleon  III.  and  France  in  the  cause  of  Italian 
unity.  The  waters  of  the  Mediterranean  wash  its  walls  on  the  South, 
while  on  the  North  and  the  East  the  mountains  enclose  it  in  the  form  of 
an  amphitheatre.  The  height  in  the  rear  is  crowned  by  an  old  castle  enclosed  by  bastioned  walls. 
Nice  has  two  noble  squares,  one  of  them  surrounded  with  porticos;  and  adjacent  to  the  other  is  a 
raised  terrace,  which  serves  as  a  defence  for  the  town  against  the  sea,  and  affords  a  delightful 
promenade — this  is  called,  from  the  large  number  of  English  speaking  frequenters,  The  English 
Promenade. 

Castiglione    was   born    in    Italy    but  early  went   to    France,    and   is    now   a   naturalized  Frenchman. 
He    exhibits    with    Frenchmen    at   all    International    Exhibitions. 

The  beautiful  sweep  of  ocean  beach  coming  smoothly  up  to  the  line  of  the  promenade,  along 
which  orange  trees  in  leaf  and  blossom  make  the  scene  a  perfect  paradise — and  when  we  are  informed 
of  the  glorious  company  of  English  and  American  sojourners  who  are  always  to  be  found  in  this 
quaint,  comfortable    old    city — we   are  almost   tempted    to    envy  the   sick    people    who   have    to    go    there. 


I 


o 


m 
< 


o 


© 

a. 


Episode  in  the  Siege  of  Naumburg. 


Jaroslav   Cermak,  Pinx. 


GoupiL  &  Co.,  Oravure. 


N  the  religious  wars  of  the  fifteenth  century,  Andrew  Prokop,  the  leader 
of  the  Hussites,  exhibited  the  highest  military  skill.  He  defeated,  in  turn, 
the  most  formidable  armies  that  Austria  or  Germany  could  marshal  against 
him,  and  for  several  years  achieved  an  unbroken  series  of  successes.  He 
overran  Bohemia  and  various  parts  of  Germany,  laying  waste  many  towns, 
capturing  prisoners,  and  seizing  vast  stores  of  treasure.  He  was  particularly 
harsh  in  his  dealing  with  all  places  that  were  in  any  wise  implicated  in 
the  martyrdom  of  Huss.  Among  the  towns  that  were  represented  in  the 
Council  that  condemned  Husa  to  the  stake  was  Naumburg.  The  terror 
and  despair  of  the  people  of  this  town  may  therefore  be  conceived,  when  the  dreaded  Chieftain  with 
his  victorious  army  appeared  beneath  their  walls,  and  began  operations  for  the  destruction  of  the  place. 
The  embassy  that  they  sent  to  sue  for  mercy  was  so  sternly  treated  as  to  rob  them  of  all  hope. 
While  some  of  the  people  abandoned  themselves  to  grief  and  terror,  and  others  with  calm  desperation 
prepared  to  sell  their  lives  as  dearly  as  possible;  a  venerable  schoolmaster  proposed  a  last  possible 
means  of  touching  the  hard  heart  of  their  foe.  His  proposition  w^as  nothing  less  than  to  lead  out 
all  the  little  children  to  the  hostile  camp,  that  their  infant  lips  might  plead  for  the  salvation  of  the 
town.  At  first  the  parents  were  horrified  at  the  thought  of  exposing  their  tender  lambs  to  ihe  ravenous 
wolf;  but,  on  reflection,  it  was  clear  that  the  children  would  surely  perish  in  the  general  destruction 
that  was  soon  to  come,  and  how  could  they  bear  the  sight !  And  then,  possibly,  though  they  scarcely 
dared  indulge  the  hope,  the  children's  prayers  would  not  be  unavailing.  And  so  the  little  ones  went 
forth  from  the  town — the  strange  procession,  including  the  tiniest  prattlers,  dressed  mostly  in  white 
and  carrying  flowers  and  palm  branches,  marched  fearlessly  through  the  ranks  of  the  stern  soldiery 
up  to  the  general's  tent,  and  there  fell  on  their  knees  in  the  attitude  of  suppliants.  The  rude  warrior 
had  sufi'ered  many  assaults,  but  none  so  formidable  as  this.  He,  at  first,  assumed  anger,  and  threat- 
ened to  kill  the  audacious  schoolmaster ;  but,  finally,  his  heart  utterly  relented.  The  whole  camp 
caught  the  infection  of  mercy  and  grace.  The  children  were  petted,  fed  with  cherries,  and  sent  back 
to  their  agonized  parents  with  messages  of  peace.  For  several  centuries  the  anniversary  of  this  event 
was  celebrated  in  Naumburg  by  a  procession  of  children  to  the  site  of  Prokop's  camp.  The  in- 
cident, a  worthy  theme  for  poet  or  painter,  is  most  naturally  and  effectively  treated  in  the  excellent 
composition  before  us.  It  was  exhibited  in  the  Salon  of  1876.  Though  of  Bohemian  birth,  M. 
Cermak  finished  his  art  education  under  a  French  master,  and  resided  continuously  for  twenty  years 
in    Paris,    and    thus   became    closely   identified    with    the    French    school. 


> 

Q 

© 


© 
© 


A  Good  Point  of  View. 


V.  Chevilliakd.  Pinx. 


GOUPIL  &  Co.,  Gravure. 


HIS  artist  was  lately  a  neglected  genius,  wandering  rather  aimlessly  among  the  troops 
of  artists  who  populate  the  woods  of  Fontainebleau  and  drink  cheap  claret  at  its  humble 
taverns.  Whatever  he  painted  was  admired,  but  would  not  sell.  One  day  an  artist  friend 
happened  to  come  along  with  a  bundle  of  priest's  robes,  which  he  had  borrowed  for  a  religious 
subject  he  was  painting.  Chevilliard  persuaded  him  to  put  on  the  costume,  and  made  a 
painting  of  the  young,  laughing,  impudent  face  and  figure  of  the  Paris  artist  in  its  inappropriate  clerical 
garb.  The  picture  sold,  more  like  it  were  ordered,  and  soon  the  dealers  could  not  get  enough  of  the 
"  priests  of  Chevilliard."  He  paints  priests,  not  of  the  heaven-aspiring  order,  but  priests  as  they  really 
appear  in  their  every  day  life  "  off  duty,"  and  with  a  kindly  satire,  never  approaching  ofFensiveness. 
In  the  present  example  one  of  the  gay  priests  turns  the  tables  on  Art,  which  has  so  often  satirized 
him.  He  has  found  a  ruined  piece  of  masonry  over  which  to  peep,  an  abandoned  artist's  stool  and 
easel,  and  a  litter  of  wrappings  that  seems  to  indicate  a  scene  of  the  artist  and  his  wife  taking  a  bath. 
Needless   to   say   that    he   peeps,    and   thoroughly   enjoys   the   scene. 


CHEVlLLIAKb  .    VlUyi 


OKAVUKE.   GOUPIL    ET    C« 


OKE    AFTER   VESPERS. 


7-  w  i^r  !■■  '■!!■  q  or-  ^r^T.vcit^  at^'i 


Smoke  after  Vespers. 


V.  Chevilliard,  Pinx. 


GOUPIL  &  Co.,   Gravure. 


^'HOEVER  has  enjoyed  a  pleasure,  either  wholly  or  partially  forbidden,  secretly, 
will  sympathize  with  the  quiet  delight  of  Chevilliard's  priest  in  his  Smoke 
after  Vespers.  The  little,  droll,  kindly  figure  has  sought  the  seclusion  of  his 
garden  wall,  and  there,  shut  out  from  the  world,  and  every  eye,  he  devotes 
himself  to   a   blissful   reverie   and   his   sinful  pipe. 

Even   the    difficulty    in    securing   a    "  good   light,"   with   his   two   hands 
formed   into  a  protecting  lantern,  and  the  evidence  of  his  successful  endeavour 
in    the    fine   cloud   that   arises   against    the    garden    wall,  are    enough    to    make   a  smoker's  mouth   water. 

His  intent  at  devotional  study  has  not  been  overlooked,  as  may  be  seen  in  the  religious-looking 
book  on  the  bench  beside  him.  But  that  is  to  be  enjoyed  after  his  smoke  has  been  securely  set  a-going. 
Pleasure   before    business,  in    this    case. 


F.  C.  COMPTR-CALnCPraX. 


anjcvBs.  ooupiL  et  c" 


POOH    7_.0VE, 


T^F,    WAPTP-iMIECKS    OF    KIIV.MCI!    AH"' 


"Poor   Love! 


Frakcois-Clauditjs  Compte-Calix,  I\nx. 


GoupiL  &  Co.,  Gravure. 


OOR   LOVE"! 

However  much  unfeeling  observers  may  be  disposed  to  smile  at  the  suffer- 
ings of  the  timid  lover,  those  pangs  are  serious  enough  to  the  subject  of  them. 
Truly,   as   a   poet   sings, 

"A  mighty  pain   to  love   it  is." 

Deep  sadness   shadows   the   handsome  features   of  this   young   man,    yet    we 

have     lively    hopes     in     his     favor.       His    lovely    companion — innocent    cause    of 

his    distress — is   very   sympathetic.      She    appreciates    his    trouble,    and   would   fain 

minister   consolation.      As    they    pass    Cupid's    image,    she    presses    her    lover's    arm   and,  with   a  gentle 

gesture,  ejaculates,  "Poor  Love!"     Unless  we  greatly  mistake,  this  proof  of  sympathy  will  so  inspire  the 

youth's   confidence   that   ere   long   he  will   be   as   supremely  happy  as   he   is   now  profoundly  dejected. 

The  painter  has  treated   the   subject  with   refined    and    poetic    taste.      How  beautiful    the   shaded 
walk,  and  what  a   charming   play  of  light   there   is   among   the   trees ! 

Compte-Calix  (born  at   Lyons   in   1813)  was   honored  with  Salon   medals  in  1844,  1857,  and  1863. 


p.  c.  coMTE,  pnr/.. 


WURE,  OOtrPIL   ET    CIE 


MARIE     TOUCHETo 


GBBBrE  &  CO, 


Marie  Touchet. 

(IH     THE     GALLERY     OF     M.     LEBOr,      BOULEVARD     ITALIESS,      PARIS.) 


P.    C.    COMTR,    Pinx. 


GoupiL  &  Co.,  Gravure. 


she   did   until    liis   death. 


ARIE  TOUCHET,  the  mistress  of  Charles  IX.,  though  noted  for  her  beauty,  amia- 
bility and  spirit,  was  even  more  remarkable  for  the  domesticity  of  her 
nature,  and  the  entire  absence  of  those  passions  for  political  intrigue  and 
the  acquisition  of  wealth,  which  commonly  characterizes  the  favorites  of 
Kings.  She  seemed  content  to  possess  the  heart  of  her  royal  lover,  which 
She  was  probably  the  only  person  whom  Charles  ever  truly  loved,  and  the 
constancy  of  his  affection  for  her,  all  selfish  though  it  were,  is  the  most  pleasing  feature  in  the  wretched 
and  sanguinary  career  of  this  King.  The  two  daughters  whom  she  bore  the  King,  were  reared  by  Marie 
with  motherly  devotion  and  severe  morality.  But  unhappily,  these  daughters  followed  the  example  rather 
than  the  precepts  of  their  mother.  One  of  them,  the  Marquise  de  Verneuil,  is  well  known  as  the  mistress 
of  Henri  IV.;  the  other  was  long  the  mistress  of  Marshal  Bassompierre,  With  the  exception  of  her 
unlawful  relation  to  the  King,  Marie  Touchet  appears  to  have  been  a  woman  of  pure  life  and  elevated 
character,  especially  if  we  consider  the  moral  laxity  of  the  age  in  which  she  lived.  After  the  deatli  of 
Charles,  she  became  the  wife  of  Francois  de  Balsac  d'Entraigues;  and  on  the  death  of  Henri  IV., 
she  forsook  the  court  and  devoted  her  life  to  meditation  and  serious  studies.  In  this  pleasing  picture 
the  artist  has  judiciously  presented  his  subject  in  the  most  winning  and  characteristic  of  her  traits — 
that    of  a    mother,   content    and    happy   in    her   home. 


PIERRE    DE     CONINCK.,  PIIIX. 


aOUPlL  ET    C?s 


LES     CONFETTI, 


oBiinij-;  &  CO. 


Les  Confetti. 


Pierre   DeConinck.  Pinx. 


GoupiL   &   Co.,  Gravure. 


S 


A  BELLE  France  and  her  sister  Italy,  especially  Rome,  are  treasure  houses  of  costume 
and  artistic  scenery  and  picturesque  events.  M.  DeConinck  has  more  than  once  illus- 
trated the  scenes  of  the  Carnival,  his  MoccoU;  or,  Feast  of  Tapers,  is  a  well  known  and 
much  admired  picture.  Les  Confetti  {Confections)  is  a  worthy  companion.  For  three  days 
preceding  Ash  Wednesday,  beginning  on  Saturday,  when  a  great  bell  is  tolled  on 
the  Hill  of  the  Capitol  announcing  the  commencement  of  the  festivities,  a 
succession  of  processions  fill  the  Via  del  Popolo.  From  the  balconies  of  this 
thoroughfare,  fashion  and  beauty,  with  curiosity  witness  the  parading  and  varied 
multitude.  It  is  a  privilege  of  the  Carnival  time  for  friends  to  pelt  friends  with  souvenirs,  which 
generally  take  the  form  of  sweetmeats.  Les  Confetti.  Hence  the  picture.  This  is  a  day-time  amuse- 
ment. There  is  a  kind  of  confit  manufactured  for  this  pelting,  which  is  not  eatable,  but  composed 
of  flour  and  plaster-of-paris,  and  it  is  not  considered  outrageous  for  the  best  society  of  noble  Roman 
dames  to  shower  indiscriminately  these  missiles  on  the  promiscuous  good-natured  crowd.  The  three 
Roman  damsels  doing  duty  in  M.  DeConinck's  picture  might  be  the  three  graces  disguised  in  Roman 
costume,  so  fresh  and  beautiful  are  they.  This  picture  was  exhibited  in  the  Salon  of  1873,  and  won  for 
its   exhibitor  a  medal   of  the  third  class. 


m 

& 

e 
m 

< 


e 


< 


The  Woman  and  the  Paroquet. 


GUSTAVE    COURBET,    Pinx. 


GoTJPiL  &  Co.,  Gravure. 


J<^^  LOWING   with   healthful   beauty,   a  woman,    prepared   for  the   bath,   falls    back 
'  upon   her   couch,  in   the   abandon    of  perfect   privacy,  and   amuses  herself  with 

a   pet   bird.      The   chief  motive   of  the   picture,  however,  is   the   study  of  the 
human    form   which    it   involves.      A    work   of  this    character   necessarily  loses 
much   of  its   charm  in   being   translated   into   black   and   white.      The  delicate 
rose-tint   of  the   flesh,  as   distinguished    from   the    white    drapery,    and   as   con- 
trasted with   the  dark,  warm  colors  of  the  background,  are  here  wanting ;    but 
there  remain  the   perfect  drawing  and  superb  modelling  of  the  voluptuous  form; 
the    velvety    texture   of  the    skin ;    the   firm   yet   tender   quality    of  the   flesh ; 
the  light  entangled  in  the  meshes  of  the  dark,  luxuriant   hair;    the   expansive   masses  of  light  and  shade 
which    impart    breadth    and    brilliancy   to    the    composition, — all    these    attributes    conspire    to   make  an 
efiective   picture,  and   to    suggest   the    still   greater  charms  of  the   original. 

The   painting   was   exhibited   in   the   Salon  of  1866.      M.  Courbet  obtained  a  second-class  medal  in 
1849,  and  rappels  in   1857   and   1861. 


a 


'/J 


< 

m 


Manon  Lescaut. 


p.  A.  J.  DaGKAN BOUVERET,  P'mx. 


GOUPIL  &  Co.,   Grmmre. 


'NDOUBTEDLY  one  of  the  most  popular  of  tlie  minor  French  classics  is  the  Abh^ 
Provost's  novel,  "Manon  Lescaut,"  taking  rank  with  "  Paul  and  Virginia,"  "  Pic- 
ciola"  and  "The  Exiles  of  Siberia."  "Manon  Lescaut"  is  a  story  of  stormy, 
passionate  love,  amounting  to  infatuation — repulsive  in  its  immorality,  but  en- 
thralling in  its  interest. 

After  many  vicissitudes,  the  heroine  is  transported  to  Louisiana,  at  tire  time 
of  the  novel  one  of  the  French  penal  colonies,  whither  she  is  voluntarily  accom- 
panied by  her  infatuated  lover,  who  is  a  gentleman  of  good  family.  On  their 
arrival  there  he  declares  Manon  Lescaut  to  be  his  wife,  and  she  is  treated  with 
much  consideration  by  the  Governor.  They,  for  a  time,  enjoy  a  season  of  real 
felicity,  till  the  nephew  of  the  Governor  discovers,  accidentally,  their  real  rela- 
tionship, and  having  been  inspired  with  a  passion  for  the  beauty  of  Manon,  he 
takes  steps  for  the  separation  of  the  lovers,  in  the  furtherance  of  his  selfish  ends. 

The  lovers,  becoming  aware  of  their  danger,  escape  into  the  w'lderness,  where,  in  two  days  Manon 
is  seized  with  a  malignant  fever  and  dies.  Her  lover,  in  mournful  despair,  buries  her  in  the  sand, 
digging   hc-r   grave    with    his    hands. 

The  story  of  Manon  Lescaut  has  long  been  a  favourite  witn  French  painters,  and  many  of  the 
incidents   of  her   painful    story  have    been    illustrated    by  first-class    artists. 


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The   Embarkation   of   Manon   Lescaut. 


Charles-Edouard  Delort.  Pinx. 


GoupiL  &  Co.,  Gravure. 


lEETINGrS  and  farewells.  How  largely  these  enter  into  our  unstable 
lives ;  but  how  infinitely  they  vary  in  their  degrees  of  joy  or  of 
sorrow  I  This  picture  presents  a  critical  incident  in  the  Abb6  Prevost's 
tragic  romance  of  Manon  Lescaut.  Manon's  idolatrous  passion  for  her 
lover  impels  her  to  every  sacrifice,  even  that  of  honor.  Her  devotion 
is  ardently  reciprocated.  The  parents  of  the  young  man,  who  is  of 
excellent  family,  at  length  procure  an  order  for  Manon's  transportation, 
with  a  view  to  the  effectual  separation  of  the  lovers.  But  the  Cheva- 
lier follows  Manon  from  Paris  to  Havre,  where  he  rejoins  her  at  the 
moment  of  embarkation,  and  resolves  to  abandon  every  other  tie  and 
link  his  destiny  to  hers.  In  his  well-studied  and  masterly  picture,  M.  Delort  portrays  the  scene  in 
which  the  lovers  look  for  the  last  time  on  their  native  land,  which  they  are  now  to  exchange  for 
the  unknown  trials  of  a  penal  colony.  Our  attention  is  first  arrested  by  the  grand  old  Transport-ship,  a 
splendid  specimen  of  the  naval  architecture  of  the  last  century.  We  next  revert  naturally  to  the 
passengers  mounting  the  ship's  side,  and  to  those  in  the  boats  below,  whose  movements  and  exchange 
of  greetings  and  adieus  are  so  faithfully  portrayed  that  the  scene  is  made  real  to  us.  But  soon  our 
sympathetic  regards  are  riveted  upon  the  nearest  boat,  which  is  itself  a  picture  of  rare  excellence  and 
pathos.  Here  are  the  hapless  lovers,  who,  perhaps,  with  all  their  present  pain  and  anxious  forebodings, 
httle  think  how  soon  Death  will  remorselessly  tear  them  asunder.  The  picture  has  a  deep,  general 
interest,  independent  of  its  special  motive.  It  won  a  medal  in  the  Salon  of  1875.  The  artist  studied 
under    Gleyre    and    Gerome.      See  Biography, 


THE   PASSING   REGIMEFTo 


IF.  MJR'PKHPIFXES   O?  FBr.KCd  ART. 


I'anM  Tnn  oHiomAi,  paint;no  in  the  corcohan  oallery,  washmoton,  d.c. 


The  Passing  Regiment. 


[FEOM    the    COKCOEAJf    GALLEEY,    WASHIKOTON,    D.  c] 


Edward  Detaille,  Pinx. 


GoupiL  &  Co.,   Graw,re. 


PiANCE,   although  vanquished  in  the   war  with  Germany  in    1870,   ia  now  a  greater 
,         military  power  than    she   was    in   her   more  boastful  days  of  the  third  Napoleon ; 
in  full  preparation,  that  she  shall  have  no  more  "regiments  on  paper"  when  the 
next   war   time    comes. 

The  visitor  to  Paris  may  witness,  any  day,  the  scene  painted  by  Detaille, 
passing   along   the    Boulevards  Italian,  Poissoniere  and  St.  Martin. 

The  exact  spot  chosen  by  the  painter  is  opposite  one  of  those  splendid 
arches  erected  by  "  Louis  the  Grand,"  several  of  which  are  scattered  about  Paris, 
as    memorials    of  the    "Grand    Monarch." 

The  arch  in  the  picture  is  known  as  "The  Porte  St.  Martin,"  being 
at  the  entrance  to  the  Rue  St.  Martin,  branching  from  the  Boulevard  St.  Martin. 
The  great  marvel  of  this  painting  is  its  wonderful  perspective.  Viewed  through  a  hand  glass, 
you  can  see  the  miniature-finished  perfect  heads  of  the  soldiers  and  their  escorts  stretch  away  along 
the  boulevards,  as  far  as  the  eye  can  reach.  The  snow-covered  roof,  the  umbrellas  and  omnibusses, 
and  the  mount<>d  officers  in  the  middle  of  the  marching  infantry,  aid  the  illusion ;  on  the  extreme  right 
is  Detaille's  preceptor,  Messonier,  his  hands  in  his  coat  pockets.  Altogether  this  is  one  of  Detaille's 
best    pictures,  and    the    gem    of   the    Corcoran    Gallery,  at  Washington. 


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The  Marseillaise  Hymn 


GUSTAVE  DORE,    PlTlX. 


GoupiL  &  Co.,  Gravure. 


S  the  French  people,  driven  to  despair,  were  rising  against  wrongs  that  made  Ufa 
insupportable,  a  young  officer,  Roget  de  L'Isle,  composed  a  song  that 
thrilled  all  his  countrymen  with  a  wild  passion  of  patriotism.  In  the 
language  of  Carlyle,  "the  sound  of  it  did  tingle  in  men's  veins,  and 
whole  armies  and  assemblies  did  sing  it,  with  eyes  weeping  and  burn- 
ing, with  hearts  defiant  of  death,  despot,  and  devil."  Dor6's  stirring 
picture  tells  its  own  story.  The  central  figure  is  the  very  incarnation 
of  outraged  Liberty  come  to  avenge  her  wrongs.  The  people  crave  but 
a  leader,  and   under  Liberty's   standard   they   rush   to   death    as    to    a    banquet.        From    every   house, 

from   the   streets,    and   from    every   sphere   of    life,    old   and    young,    men   and    boys,    flock    to    swell    the 

ranks   of  the   troops.     And  as   they   march   they   sing : 


Ye   sons  of  France,   awake  to  glory  I 

Hark !  hark !  what  myriads  bid  you   rise  ! 
Your  children,  wives,   and  grandsires  hoary, — 

Behold  their  tears,    and  hear   their  cries ! 
Shall  hateful   tyrants,   mischief  breeding. 

With  hireling  hosts,   a  ruffian   band, 

Affright  and   desolate   the  land, 
While  liberty  and  peace  lie  bleeding  ? 

To  arms !    to  arms !    ye  brave ! 

The   avenging  sword   unsheathe ! 
March   on !   march   on !    all   hearts   resolved 

On   victory   or   death  1 

Now,   now,   the   dangerous   storm   is    rolling, 
Which   treacherous   kings  confederate   raise  ; 

The  dogs   of  war,   let  loose,   are  howling, 
And   lo !    our  fields   and   cities   blaze. 

And  shall   we   basely   view  the   ruin. 
While   lawless   force,    with   guilty   stride, 
Spreads  desolation   far  and   wide, 


With   crimes   and   blood,  his  hands  imbruing? 
To  arms !   to  arms !    ye  brave !  etc. 

With  luxury  and  pride  surrounded. 

The   bold,   insatiate   despots    dare — 
Their   thirst   of  gold   and  power  unbounded — 

To  mete   and   vend   the  light   and  air. 
Like  beasts   of  burden   would  they  load  us, 

Like   gods  would  bid   their   slaves  adore ; 

But  man   is   man,   and   who   is  more  ? 
Then  shall   they  longer  lash   and   goad   us? 
To  arms !    to  arms  1    ye   brave  I  etc. 

0   Liberty,   can   man   resign   thee. 

Once  having  felt  thy  generous  flame? 
Can   dungeons,   bolts,    or   bars   confine   thee. 

Or   whips   thy   noble   spirit   tame  ? 
Too   long   the   world   has   wept,    bewailing, 

That   Falsehood's   dagger  tyrants   wield  ; 

But  Freedom   is  our  sword  and   shield, 
And  all   their  arts   are    unavailing. 

To  arms  I    to  arms !    ye    brave  I    etc. 


L    E   IjEBUFE:,  P'!:x 


CRAVURE,    GOUPIL    ET    Cl  = 


C  H  A  R I  T  Yo 


THE   MASTERPIECES    OP    FRENCH    ART. 


Charity. 


L.  Edwaed  Dl'bufe,  Pinx. 


GOUPIL  &  Co.,   Gravure. 


EDWARD   DUBUFE,  born   in    Paris   in    1818,  officer  of  the  Legion  of  Honour,  studied  under 
Paul    Delaroche ;    in   his  earher  career  he  devoted   himself  to  religious  subjects,  but  of  late 
gives    his    whole    attention    to  portrait   painting. 

The   noble    example   of  this   artist   which   we   have    chosen  as  a  representation 
of  his    style,  is    a   theme   grateful    to   all   generous   minds. 

The  Lady  Bountiful  moves  in  her  unostentatious  mission  like  a  veritable  angel, 
and  the  beautiful  face    of  the    missionary,  the    practical  evidence  of  her  kindness, 
and   the    grateful    attitude  and  expression  of   the  recipients,  all  mark  a  result  that 
can    only  be   accomplished   where    the   artist's   whole   heart  goes    with    his    work. 

We   are   reminded   of  the    words   of   Holy  Writ,    "  And    now    there    remain,  Faith,    Hope,    Charity, 
these  three ;   but   the   greatest   of  these   is   Charity." 


M'LLE  CROIZETTE. 


(feom  ihe  oriqinal  paintino  in  the  green  boom  of  the  theaibe  fbancais,  paejs  1 


Carlos  Duran,  PItix. 


GouPiL  &  Co.,   Gravure. 


HIS  conihinalion  of  a  study  of  a  very  pretty  lady  on  a  splendid 
horse  by  the  fresh  blue  sea  may  be  called  a  family  picture. 
M.  Carlos  Duran  married  the  sister  of  Mad'lle  Sophie  Croizette, 
the  celebrated  French  actress.  Her  brother-in-law,  in  this  portrait, 
has  placed  her  on  horseback  by  the  sea,  with  its  long  line  of 
coast  and  its  endless  perspective.  In  our  collection  of  French 
Art  we  have  given  three  portraits  of  their  most  celebrated  actresses,  viz.  :  Sarah  Bernhardt,  by  Bastien- 
Lapage ;    Blanche    Barretta,  by  Louisa  Abbema ;    and   Sophie    Croizette,    by    Carlos    Duran. 

The  career  of  Sophie  Croizette  has  been  one  of  steady  increase  in  the  public  favour.  Born  at 
St.  Petersburg,  in  March,  1847,  of  French  parentage,  she  was  educated  in  the  schools  of  Versailles, 
passed  her  examination  for  a  teacher  in  Paris,  and,  for  a  time,  hesitated  in  the  choice  of  a  career, 
but  becoming  acquainted  with  M.  Bressant,  he  introduced  her  to  the  public  in  the  Gymnase  Theater, 
and  after  playing  in  minor  parts,  she  quickly  controlled  the  "  leading  business"  till  her  supreme 
triumph  in  The  /Sphinx,  in  which,  dying  by  poison,  she,  by  some  chemical  mystery,  contrived  to  turn 
a  pale-green  colour  after  death.  This  picture  was  one  of  the  most  prominent  in  the  French  section 
of  the  Centennial  Exhibition  of  1876,  and  won  for  its  master  a  medal  of  the  first  class.  Mad'lle. 
Croizette  has  figured  as  model  to  several  artists,  among  others,  to  M.  Jules  Lefebvre,  who  exhibited  her 
beautiful  form  at  the  Salon  of  1870,  as  Truth.  This  painting  now,  in  its  superb  nudity,  graces  The 
Gallery   of  the    Luxembourg. 


p.  N.  A.  FEYRN    PERHIN,    PINX. 


GRAVCTRE.  OOUPIL  ET    Cff 


IRE  TURN    OF     THE     FISHERS    AT    LOW    TIDEo 


(■-■■l^JiTJC    ft  CO. 


Return  of  the  Fishers  at  Low  Tide. 


PRANpOIS-NlCOLAS-AuGUSTIN     FeYEN-PeERIN,    PlTlX. 


GotrpiL  (fe  Co.,  Oravwre. 


FEYEN-PERRIN  has  invested  his  homely  subject  with  a  poetic  charm.  The 
composition,  though  so  simple,  could  hardly  be  more  effective.  The  curve 
given  to  the  procession  of  fishers  is  very  pleasing  to  the  eye,  while  the 
sense  of  distance  is  admirably  conveyed  l)y  the  lessening  figures  and  by  the 
dim,  watery  horizon,  where  "the  stately  ships  go  by."  The  realism  of 
the  picture  is  noble  and  refined.  So  much*  depends  upon  the  spectator's  eye 
and  heart!  Those  who  look  for  what  is  coarse  and  common,  seldom  fail 
to  find  it;  but  our  artist  has  detected  in  these  humble  "toilers  of  the  sea," 
a  certain  dignity, — a  something  worthy  of  our  thoughtful  regard.  The 
girls  in  the  foreground  are  of  a  fine  physical  type.  If  we  look  through  the  throng  of  faces  we  find  a 
variety  of  expressions,  but  the  prevailing  one  is  denoted  by  the  grave  countenance  of  the  man  with  the 
pipe.  These,  evidently,  are  people  who  feel  the  pressure  of  life's  burdens.  They  symbolize  the  myriads 
of  earth's  toiling  masses,  and  as  we  listen  to  their  passing  footfalls,  we  seem  to  hear 

"  The  still   sad   music  of  humanity." 


This  painting  was  the  artist's  contribution  to  the  Salon  of  1880. 


The  Warm  Hand. 


Jose  Frappa,  Pinx. 


GoL'PiL  &  Co..   Oravwre. 


MORE  excellent  illustration   of  the  caustic  passage,   "  Men  are  but  children,  of  a  larger 
growth,"    was    never    more    faithfully   portrayed    than    in    Frappa's    picture   of 
The   Warm  Hand. 

Every  schoolboy  knows  the  game  of  "  Buck !  Buck !!  Buck !!!  How  many 
horns  do  I  hold  up?"  To  which  question  the  kneeler  in  the  position  of  the 
guesser,  in  the  picture,  ventures  the  guess,  and  if  right  he  is  released,  if  wrong, 
he  has  to  bear  the  infliction   of  a    stipulated    number   of   slaps. 

It  is  perhaps  a  daring  innovation  to  introduce  priests  as  participators  in  such 
a  game,  but  human  nature  is  human  nature,  in  prince,  priest,  or  protestant  alike, 
and  a  more  likely  game,  for  a  lot  of  solemnity  oppressed  monks,  debarred  from  nearly  every  pleasure 
common  to  the  rest  of  mankind,  in  a  period  of  recreation,  than  "  Hot  Hand "  or  Warm  Hand  could 
not  be  suggested.  Every  face  and  figure  is  a  study,  from  tlie  "slipper  wielder,"  whose  brawny  arm  is 
laying  it  on  "with  a  will,"  to  the  "Cushion"  who  hastily  points  to  the  coming  Abbot,  lifting  his 
hands  in    holy  horror,  at    such   a  scene ! 

Frappa   was    born    at   St.   Etienne  in    1845 ;    was   a    pupil  of   M.  Cerate,  and    is    now  a  resident  in 
Paris. 


EUGENE  FROMENim,  PINX. 


GRAVURE,  GOUPIL  ET  C"? 


FALCON  CHASE  IM  ALGIERS » 

FROM  THE   ORIGINAL  PAINTING  IN  THE  GALLERY  OF  THE  LUXEMBOURG 


GEBBIE  8t  CO. 


Falcon  Chase  in  Algeria 

THE   HAWK'S    REWARD. 

(fP.OM    the    OEIGIXAL    PAIIfTIXG    IN    THF,   GALLERY    OF    THE    LUXEMBOURG.) 


EuGEXF,  Fromentix.    Pinx.  GorPTL  &  Co.,  Gravure. 


ALCON-HUNTIXG  was  introduced  into  Europe  from  the  East,  and  the  pastime  has 
a  peculiar  interest  from  the  fact  that  it  was  almost  the  only  out-door 
sport  in  which  women  of  rank  in  the  Middle  Ages  took  an  active  part. 
While  this  sport  has  now  almost  disappeared  from  Europe,  it  is  still  in 
high  favor  in  its  ancient  home,  the  East.  The  Italian  historian,  Cibrario, 
gives  the    following    interesting   account   of  a   falcon-chase : 

"  Tlie  sportsmen  rode  out  with  their  falcons  resting  on  their  strongly- 
gloved  wrists.  When  a  bird  was  discovered  suited  to  the  nature  and  the  habits  of  the  falcon,  the 
little  hood  which  covered  its  eyes  was  drawn  oflP,  and  the  falcon  rose  in  rapid  circles  high  above 
its  destined  prey  ;  if  the  quarry  was  a  small  bird,  she  then  suddenly  swooped  (or  stooped  as  the 
phrase  was)  directly  upon  her  victim ;  but  if  the  latter  was  a  large  and  powerful  bird,  formidable 
in  beak  and  wing,  the  falcon  was  cautious  and  cunning  in  her  advances,  turned  and  wheeled  with 
great  dexterity,  seizing  only  the  favorable  moment  to  strike.  Having  secured  the  prize,  she  swept 
in  large  circles  over  the  head  of  the  falconer,  and  finally  presented  him  the  booty ;  the  falconer  put 
it  in  the  game-bag,  and  then  set  before  his  falcon  the  food  prepared  for  her.  Falcons  which  soared 
high  and  pursued  birds  of.  lofty  flight  were  called  altani;  others  took  a  lower  but  more  extended 
range ;  some  were  for  the  inland  country,  others  for  aquatic  birds.  These  last  were  assisted  by  dogs. 
When,  for  example,  a  flock  of  herons  is  discovered,  the  falconer  approaches  them  secretly  and  sud- 
denly beats  a  drum  before  the  •  herons  can  get  sight  of  the  falcon,  otherwise  they  would  not  dare  to 
rise.  Frightened  by  the  drum,  they  take  to  flight;  then  the  sportsman  lets  loose  his  falcon,  and 
while  she  prepares  to  seize  the  herons  in  the  air,  the  barking  of  the  dogs  prevents  the  poor  birds 
from  hiding  again  in  the  water.  Eagles  and  falcons  of  the  largest  species  may  be  trained  for  this 
chase,    and   they    will    even    take    foxes   and  hares." 

In  M.  Fiomentin's  spirited  painting  we  observe  on  the  right  a  group  of  mounted  chiefs  wiih 
falcons  on  their  wrists,  watching  some  Arabs  in  the  foreground  who  deliver  to  the  falcons  the  hare  that 
they  have  just  seized.  The  picture  is  replete  with  charms  of  color.  The  brilliant  costumes  and  rich 
caparisons,  and  the  luminous  landscape,  form  a  harmonious  ennemhle.  M.  Fromentin  is  unequalled  in 
the   delineation    of   African    subjects.        He    lias    achieved    literary    as    well    as    artistic    renown. 


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The  Day  of  the  Fete. 


JtTLES   Garnier,  P'mx. 


GouPiL  &  Co.,   Gravure. 


NE   of  the  most   interesting    pictures    of    the   Salon    of   1879    was    Jules    Garnier's    picture 

iS     of     The   Day   of  the   Fete,  wonderful    in   its   brilliancy  of  color,  motion    and   animation. 

The    scene    is    in    Flanders    at    the    height    of    the    Carnival.      Young    men    and 

women    are    going    about    singing    and    dancing,   and    in    skilful    contrast,    monks    are 

reciting   their   prayers. 

The   youngest  monk  carrying   the  wallet,  in  which    he   has    collected    alms    for   the 
community,  looks    wistfully,  timidly  and    nervously  at    the   enjoyment  which    he    in    his 
austerity  has    forsworn. 

The  Falstaffian  monk  in  the  centre  is  perhaps  "  on  the  fence,"  whether  to  bestow  some  kindly 
sympathy  on  the  innocent  enjoyment  of  the  scene,  or  join  his  left-hand  friend  in  deep  disgust  at 
such  levity.  Altogether  the  picture  is  one  that  once  seen  can  never  be  forgotten,  for  all  parties, 
(priests    included)   are   enjoying   themselves   in   their   own  way  with   a   remarkable   unanimity. 

Garnier,  decidedly  one  of  the  best  painters  of  France,  will  receive  due  notice  at  the  proper 
place    in    the    History. 


The  Tribute  to  the  Minotaur. 


AuQusTE  Gendeon,  Pinx. 


GouPiL  &  Co.,  Gravure. 


LUTARCH  has  furnished  the  artist  with  the  subject  for  this  painting.  Gendron  was 
one  of  Paul  Delaroche's  favourite  pupils  who,  neariy  thirty  years  ago,  in  1855,  achieved 
the  distinction  of  Chevalier  of  the  Legion  of  Honor.  "  The  Tribute  to  the  Mino- 
taur "  is  one  of  his  latest  pictures,  and  the  reader  need  not  be  told  how  well  it 
tells  the  sad  story  of  mythology  attributed  to  the  polished  but  superstitious  Greeks 
of  the  legendary  age.  The  Minotaur  was  believed  to  be  a  monster  with  a  human 
body  and  a  bull's  head,  the  offspring  of  the  intercourse  of  Pasiphae  with  the  bull,  sent  from  the  sea 
to  Minos,  who  shut  him  up  in  a  Crossian  labyrinth,  and  fed  him  with  the  bodies  of  the  youths  and 
maidens  whom  the  Athenians,  at  fixed  times,  were  obliged  to  send  to  Minos  as  tribute.  The  monster 
was   slain    by   Theseus. 

The  picture  shows  the  arrival  of  the  boat  from  Athens,  at  the  entrance  to  the  labyrinth  with 
the  periodical  tribute,  and  the  boatman  winds  his  horn  down  the  foul  cave  to  announce  his  presence 
with   his   hopeless   victims. 


J   L  GEROME,  PINX 


GRAVURE,  GOUPIL   ET    C?? 


THE    TWO  AUGURS, 


THE  MASTERPIECES    OF    FRENCH    ART. 


The  Two  Augurs. 


J.  L.  Geeome,  Pinx. 


GouPiL  <fe  Co.,   Gravure. 


IHERE   is  an   ancient  saying  which  has  come  down  to  modern  times,  "  Two  augurs  can  never 

encounter   each   other  without   laughing." 

G^rome  has  reproduced  the  Roman  sanctum,  the  sacred  chickens  fed  with  consecrated 

oats,  a   bag   of  which   one    of   the  worthies  has  dropped,  in  his  "appreciative  roar"  at  the 

funny  comment   his    brother   is    making    concerning   the    divining  wand,   or  lituus,  which  he 

gingerly  holds   between    his    finger   and    thumb. 

The  plain  meaning  of  the  two  ancient  priests  is  simply  this,  "  What  jolly  humbugs 

we  are — and  how  softly  the  people  accept  our  humbug."  This  satire  of  G6rome's  is  a 
many-edged  weapon — though  pointed  directly  at  the  exploded  ancient  Roman  mythology,  it  has  a  far 
wider  application.  The  Delphic  Oracle  of  the  Greeks,  the  mysteries  of  Isis  and  Osiris  of  the  Egyptians, . 
and  the  faiths  of  other  mighty  nations  have  been  shown  to  be  no  sounder  than  that  represented  by 
Augurs  of  the  Romans ;  and  in  our  own  days,  we  each  who  differ  from  each,  believe  that  the  tongue 
of  the  priest  of  the  sect  in  which  we  don't  believe,  may  be  found  in  his  cheek  as  he  meets  his  brother 
— our  own  belief  being  the  only  truthful  and  genuine  faith  in  which  no  tongues  in  the  cheek  'are  to 
be   found. 


in 


m 

1=1 
u 


Alcibiades  at  the  House  of  Aspasia. 


J.  L.  Gerome,  Fiiix. 


GouPiL  <fc  Co..  Gravure. 


^r- 


N  Plutarch  the  story  is  told  of  that  wonderful  Greek  dandy,  that  privileged  char- 
acter who  was  allowed  to  commit  every  prank  that  came  into  his  head, 
to  prowl  through  the  city  at  night  with  his  fellow-revelers  and  upset  the 
marble  statues,  to  invite  himself  to  everybody's  dinner-table  and  be  cons'dered 
an  acquisition  and  a  boon,  to  create  a  blockade  in  the  middle  of  the  road 
by  flinging  himself  into  the  dust  before  the  carts,  to  outshine  all  the  men 
and  captivate  all  the  women.  When  Aspasia  the  blue-stocking,  the  fair 
islander  from  Miletos,  came  to  Athens,  with  little  baggage  but  her  wise  head 
and  her  fair  face,  Alcibiades,  the  most  impudent  lad  in  Athens,  was  sub- 
jugated in  the  court  of  wit  and  learning  she  set  up.  Brilliant  conversazi- 
ones, contests  of  riddling  and  levity,  recitation  of  the  verses  of  Sappho  and  Corinna,  the  stimulating 
rivalship  of  intellect,  the  pleasant  half-dressed  carelessness  of  hot  climates  and  primitive  manners,  all 
combined  to  make  Aspasia's  receptions  the  delight  of  the  elite.  An  exquisite  of  the  third  century  B. 
C.,  could  go  to  the  most  distinguished  salon  of  Athens  without  other  toilet  than  a  tunic  and  a  glossy 
skin  fresh  from  the  baths.  Alcibiades,  in  his  boyhood,  found  out  the  wise  and  easy-mannered  islander, 
and  frequented  her  lodging  before  that  dazzling  day  when  she  became  known  to  the  older  and  wiser 
Pericles,  and  was  promoted  to  the  most  exalted  equality  of  consortship  that  had  then  occurred  in  the 
history  of  the  world.  The  idle  hours  of  an  aristocratic  boy,  however,  are  full  of  snares  and  unpro- 
ductive dreams.  When  the  hours  of  happy  lesson  teaching  began  to  grow  too  long,  and  it  seemed  as 
if  the  young  patrician  were  ready  to  offer  marriage  and  an  equal  alliance  to  the  clever,  mature  stranger, 
Socrates,  who  anticipated  for  his  young  friend  the  greatest  honors  in  state  and  war,  was  accustomed 
to  go  and  gradually  attract  the  capricious  boy  to  himself  by  the  charms  of  a  still  more  brilliant  and 
winning   faculty   of  dialogue. 

Although  the  handsome  and  gifted  Alcibiades  is  made  the  central  figure  of  the  scene,  he,  in 
point  of  fact,  receives  less  attention  from  the  spectator  than  Socrates,  whose  familiar  features  and  burly 
form  are  at  once  recognized.  This  is  rather  gay  company  for  an  old  philosopher  to  be  found  in.  If 
the  aged  and  sober  woman  in  the  doorway  be  Xantippe,  she  can  hardly  be  blamed  for  being  impatient 
to  withdraw  her  husband  from  such  surroundings.  Xantippe  has  the  reputation  of  being  a  scold ;  and 
no  doubt  she  earned  it:  but  who  knows  the  amount  of  provocation  she  had?  She  was  doubtless  a 
much  neglected  woman,  and  if  the  whole  story  of  her  life  were  told,  perhaps  we  might  pity  as  much 
as  blame  her.  The  architectural  accessories,  at  once  realistic  and  tasteful,  are  an  important  and 
delightful    element   in    the    charms   of  the    picture. 


j   GKROME.   F!NX 


JRAVURE      GOUPIL    ET    C" 


THE 


b,J'    ^  JLJ  > 


THK  MASTERPIKCBS-OF  FRKNCH   ART 


The  Wall  of  Solomon. 


J.  L.  Gerome,  Pinx. 


GoupiL  &  Co.,   Gravure. 


^HE  Jews  of  Jerusalem  and  the  neighboring  cities  are  in  the  habit  of 
going  on  a  certain  day,  once  a  year,  to  weep  and  wail  before  a  wall 
which  they  believe  to  be  a  part  of  the  original  Temple  of  King  Solomon, 
unaltered  by  Herod  and  unspoiled  by  Titus.  Here  we  see  the  types 
of  venerable  Rabbis,  with  their  Semitic  profiles,  their  wealth  of  crisped 
locks,  their  rich  and  trailing  gaberdines,  fondly  caressing  the  venerable 
stones,  kissing  the  joints  of  the  wall,  carrying  off  the  tufts  of  weeds  for 
souvenirs,  bruising  themselves  against  the  rough  ruins  in  fond  embraces. 
Through  their  thoughts  passes  that  exquisite  series  of  psalms  which  used 
to  be  sung  by  pilgrim  Hebrews  as  they  walked  in  happy  bands  to  the  Temple  at  Pentecost,  in  the  day 
of  its  splendor  and  greatness.  "  I  had  rather  be  the  doorkeeper  in  the  house  of  the  Lord  than  dwell 
in  the  tents  of  wickedness."  The  glories  of  the  day  when  the  Temple  was  a  sacred  trysting-place,  a 
mystery  of  holiness  with  its  incense  and  impenetrable  Veil,  has  changed  in  these  days  to  devastation 
and  ruin.  But  the  stones  remain,  one  upon  the  other,  and  the  ancient  Hebrew  can  magnify  them  through 
his  tears  into  the  rich  masterpiece  of  Tyrian  architecture  which  arose  in  grandeur  for  Solomon,  without 
noise   of   hammer   or   of    saw. 


V'!..V:f^. 


M 


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o   t 


Phryne  Before  the  Tribunal. 


(FBOM   the   OEIGINAL   PAINTING   IN   THE  GALLERY   OF   M.  SCHRODER,   LONDON.) 


J.  L.  Gerome,  Pinx. 


GoupiL  &  Co.,  Gravure. 


HRYNE,  one  of  those  brilliant  women  -whom  an  era  of  comparative  female 
bondage  drove  to  a  desperate  publicity  of  manners  and  freedom  of 
career — in  no  other  way  could  a  Greek  woman  secure  an  education 
or  study  the  conversation  of  eminent  men — was  so  celebrated  for  her 
beauty  that  she  was  received  by  the  dazzled  populace  when  she  appeared 
like  a  revelation  of  the  divinity.  Artists  scrupled  not  to  make  her 
portrait  and  call  it- a  goddess.  Her  beauty  procured  for  her  so  much 
wealth,  that  she  is  said  to  have  offered  to  rebuild  the  walls  of  Thebes, 
after  they  had  been  destroyed  by  Alexander,  if  she  might  be  allowed  to  put  up  this  inscription  on 
the  walls: — "Alexander   destroyed   them   but   Phryne,  the    hetiara,  rebuilt   them." 

She  had  among  her  admirers,  Alexander  and  Philip,  and  the  beauty  of  her  form  served  as 
models  for  some  of  the  greatest  works  of  art.  When  brought  before  the  courts  on  an  accusation  of 
disease,  by  Eutheus,  the  fortunate  Phryne  was  saved  by  the  lucky  presence  of  mind  of  her  lawyer 
Hyperides.  When  the  tribunal  was  on  the  point  of  deciding  against  his  client,  the  orator  suddenly 
snatched  aside  her  mantle,  and  bared  that  perfect  form  which  every  artist  had  declared  worthy  of  a 
goddess.  Unable  to  keep  up  their  judicial  gravity,  the  whole  areopagus  yielded  to  a  gallant  impulse, 
and  acquitted  the  white  soft  captive,  whose  defenceless  nudity  cowered  before  them.  Tlie  artist  repre- 
sents with  vivid  force  this  master-stroke  of  forensic  skill.  A  more  beautiful,  a  more  pitiful  and 
appealing  attitude  than  Phryne's,  has  hardly  ever  been  invented  by  a  modern  artist.  The  tender 
shuddering  approach  with  which  the  dimpled  knees  and  feet  cower  against  and  liug  each  other, — 
a  new  pose  in  art — the  beautiful  shelter  which  the  rounded  elbows  form  for  the  face,  out  of  which 
looks  an  eye  not  quite  unconscious  of  conquest,  altogether  impress  one  with  a  form  of  novelty 
and  unexpected  grace.  The  flying  drapery,  switched  aside  for  a  moment  by  tlie  advocate,  is  a  thing 
immensely  difficult  to  design,  and  perfectly  successful  in  its  sense  of  movement  and  accidental  lines. 
The  benches  of  gray-beard  archons  and  areopagites,  convinced  of  her  blooming  health  and  dazzled  out 
of  all  decorum,  and  helpless  before  the  vision  of  beauty  as  the  old  men  of  Troy,  when  Helen  came 
upon    the  wall,  are    painted  with    variety  and    bravura,  even    rare    for    Gerome. 


w 
© 
m 


© 


The  Plain  of  Thebes. 


J.  L.  Gerome,  Piiix.  GoupiL  &  Co.,   Gh-avure. 


^VEN  the  most  prosaic  mind  must  swell  with  emotion  on  beholding  the  ruins  of  Thebes, 
in  the  Bible  called  No,  or  No  Ammen.  It  is  situated  in  the  central  part  of  upper 
Egypt,  on  both  banks  of  the  Nile.  This  gigantic  city,  whose  ruins  still  excite  as- 
tonishment, was  believed  to  be  the  most  ancient  town  of  Egypt,  and  its  original 
metropolis.  Its  original  circumference  is  stated  to  have  been  140  stadia.  Its  most 
flourishing  period  appears  to  have  been  about  1600  B.C.,  when,  according  to  Aristotle, 
'^W.fi      the   whole    country  of   Egypt   bore    the    name    of   Thebes. 

Homer  speaks  of  the  splendour,  greatness  and  wealth  of  Thebes,  and  calls  it 
"  the  city  of  a  hundred  gates,"  each  of  which  sent  out  "  two  hundred  men  with  horses 
and  chariots."  The  Persians,  under  Cambyses,  captured  and  destroyed  the  city.  After  this  calamity 
the  city  never  recovered  its  former  greatness.  What  remained  of  it  was  in  turn  pillaged  by  the  Greeks 
and  afterwards  by  the  Romans,  and  finally,  the  Christians,  in  their  religious  zeal,  destroyed  as  much  as 
they  could   of   what    remained    of   the    works    of  the    ancient    idolaters. 

At  present,  in  its  desolation,,  the  site  of  the  city  is  occupied  by  four  villages.  Luxor  and  Carnac 
on  the  eastern,  and  Gournon  and  Medi-net-Abou  on  the  western  side  of  the  river.  The  buildings  and 
sculptures  extant  are  the  most  ancient  in  Egypt.  The  ruins,  chiefly  consisting  of  colossal  sphinxes  and 
obelisks,  occupy  nearly  the  whole   extent   of  the  valley  of  the    Nile. 

Now,  the  ruined  statues  of  King  Meranon,  fabled  of  old  to  sing  at  sunrise,  form  the  conspicuous 
heroes  of  this  wide  desert  scene,  where  all  seems  colossal,  strange,  adapted  to  another  scale  than  that 
of  humanity.  The  "beasts  of  mountain  back"  wander  in  caravans  through  the  solitude,  their  large 
gaunt  forms  adding  to  the  unfamiliar  weirdness  of  the  view,  without  making  it  seem  more  hospitable 
or  adapted  to  mankind,  and  without  comforting  its  awful  loneliness.  Another  civilization  has  supervened 
upon  that  represented  by  these  statues ;  but  it  is  that  of  the  nomad,  the  caravan,  of  the  unfixed,  un- 
housed Ishmael,  straying  from  point  to  point,  where  the  old  kings  of  the  country  "  made  desolate  houses 
for  themselves."  For  thousands  of  years  previous  to  the  conquest  of  Alexander,  the  dynasties  of  ancient 
Egypt  developed  themselves  without  race-change,  and  during  centuries  of  this  succession  the  effigies  of 
Meranon  sang  to  the  audience  of  faithful  Egyptian  loyalists.  But  the  silence  of  Egypt,  now  that  the 
idols  are  broken  and  the  longest  of  known  dynasties  is  ended,  is  no  improvement  on  the  primitive 
fantastic  civilization.  The  sepulchre  of  a  race  that  has  bloomed  and  faded.  Egypt  meets  the  eye  with 
a  lesson  of  lasting  death.  Other  lands  tempt  by  their  beauty,  by  their  capacity  of  improvement ;  Egypt 
fascinates  by  its  stability  of  ruin,  and  bv  its  story  of  a  splendid  past,  written  in  granite.  Of  all  the 
artists  whom  genius  has  given  a  mission  to  penetrate  into  this  place  of  awe,  and  bring  back  the  record 
of  its  desolation,  none  equals  G6r6me  in  the  tangible  distinctness  of  the  impression  he  leaves ;  he  seems 
to  carve  his  national  types  in  adamant,  and  fetch  them  up  to  the  eye  as  a  series  of  images  that  can 
be    weighed,  felt,  and   estimated. 


1 

4 
\ 

i 


FF.UX-HKNRl  GlAC0MQ7ri  PI! 


RE.  OeUFiLET  C? 


ABDUCT lOF  OF   AMYMONE. 

fROM  THE   DRIOIMAL  PAINTING  IN  THE  GALLERY  CF  THE  LUXEMBOURG 


The  Abduction  of  Amymone. 

(from   the  OEIOISAL    PAISTISCr   IX   THE   GALLERY    OF   THE    LUXEMBOIIKG), 


Fklix-Henri  Giacomotti,  P'lnx. 


GoupiL  (fe  Co.,  Gravure. 


X  the  classic  myths,  offspring  of  a  fervid  imagination,  half  religious  and  half  romantic, 
poets  and  artists  find  a  peculiar  fascination  and  an  exhaustless  supply 
of  themes  for  poetic  and  pictorial  representation.  The  gods  of  those  early 
days  were  almost  everything  but  moral ;  and  that  being  the  case  we  can 
only  wonder  that  the  people  were  in  any  degree  strict  in  their  virtues  ;  for 
it  is  not  usual  for  votaries  to  equal,  much  less  to  exceed,  the  morality  of 
the   divinities    they   worship. 

Our  artist  depicts  an  incident  in  the  life  of  Amymone,  the  beautiful 
daughter  of  Danaus  and  Elephantis.  Her  parents  had  just  moved  into 
Argos,  which  country,  in  consequence  of  some  offence  given  to  Poseidon 
(the  chief  sea  god, — the  Neptune  of  the  Romans),  was  suffering  from  a 
drought.  Amymone  was  therefore  sent  out  in  search  of  water.  While  on  this  quest,  she  espied  a 
stag,  and  being  something  of  a  huntress  she  could  not  resist  the  temptation  to  have  a  shot  at  it. 
Alas !  she  little  dreamed  of  the  trouble  that  this  attempt  to  combine  busiruess  and  pleasure  was  to 
make  for  her.  Missing  the  stag,  her  arrow  struck  a  sleeping  satyr,  who  at  once  furiously  pursued 
her.  The  terrified  maid  cried  aloud  to  the  god  Poseidon  for  succor.  Her  cries  were  heard ;  the 
god  appeared ;  and  he  delivered  her,  did  he  not  ?  Oh,  yes  !  but  only  that  ho  might  appropriate 
her  to  his  own  use.  A  great  deliverance,  truly !  As  disinterested  as  that  of  the  friendly  shark  who 
took   the   poor   sailor    in    out   of  the    wet. 

The  artist  has  conceived  the  heroine  as  borne  over  the  waves  by  Poseidon's  ministers,  the 
tritons,  towards  his  abode  beneath  the  sea.  The  grouping  of  the  figures,  the  skillful  treatment  of 
the  drapery,  the  liquid  and  transparent  water,  the  effect  of  distance  and,  above  all,  the  superb  draw- 
ing,   form    an    admirable    ensemble. 


PIRMIN    OIBARIj.  PINX.. 


ORAVURE,  GOUPIL  ET  Cff 


THE    GOD "MOTHERS     GARDENo 


Tin-:  MA3TBRPLBCES   OP  FRENCH  ART. 


The  God-mother's  Garden. 


Firman  Girard,  Pinx. 


GoUPiL  &  Co.,  Gravure. 


/ET  us  describe  one  of  the  prettiest  and  freshest  pictures  of  modern  times.  Firman  Girard 
has,  undoubtedly,  the  eye  of  a  {)oet,  as  well  as  the  hand  of  the  expert  painter,  to 
stamp  an  occurrence  and  subject  of  the  most  commonplace  character  with  all  the 
genius   of    everlasting    beauty. 

The    simple    story  is,  a   mother,  with    her   little  daughter,  pays   the  child's  god- 
mother a   visit,  and  are  invited  into  the    godmother's    garden    to   gather  a  nosegay. 
Every-day  enough    the    subject   is    to    be    sure,   and    in    the    hands    of    many  artists, 
common-place    enough  would   the    representation    have    been,   but   here  we    have   the 
trees    and    shrubs    crisp    with    elegance,    the    white    and    pink    chrysanthemum,   con- 
trasted   with    the    dark    trailing    velvet    costume   of    the    godmother,    and    that    again 
contrasted  with   the    flulFy   fur-trimmed  white  jacket  of   the    god-child,  led   by  the    hand  by  her  elegantly 
dressed,  splendidly   developed,  mamma. 

Perfection  everywhere,  and  the  crowning  perfection,  the  picture  of  youthful  loveliness  in  the  young 
womanhood   in   the   god-mother. 

Firman  Girard  was  born  at  Poucin  and  was  a  pupil  of  Gleyre.  He  won  a  medal  of  the  third 
class  in  1863,  and  one  of  the  second  class  in  1874.  He  was  decorated  Chevalier  of  the  Legion  of 
Honour   in   1880. 


.*OT>t#% 


m 


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© 


W 


0 


Episode   in   the   Siege   of   Saragossa. 


Jules  Giraedet,  Pinx. 


GoupiL  &  Co.,  Gravure. 


_  ^,  ARLY  in  the  nineteenth  century,  during  the  Peninsular  War,  Saragossa  was 
'^  twice  besieged  by  the  French,  and  its  defence  was  one  of  the  bravest  and 
most  stubborn  on  record.  The  city  was  first  invested  June  loth,  1808,  but 
after  forty-nine  days  of  fierce  attack  and  resistance,  the  siege  was  raised,  only 
to  be  recommenced  December  20th  of  the  same  year.  After  thirty-nine  days 
more  of  bombardment,  the  city  was  entered  by  the  enemy,  January  27th,  1809. 
The  defence,  however,  did  not  cease.  The  citizens  fought  from  street  to  street 
and  from  house  to  house,  until  February  22d,  when,  after  a  loss,  by  disease  and 
war,  of  some  60,000  lives,  the  city  capitulated.  M.  Jules  Girardet  has  illus- 
trated,   with    signal    ability,    one    of    the    terrible    incidents    in    this    memorable 

struggle.      The  soldiery  have  forced  their  way  into  a  church  that  had  furnished  a  strong  cover  of  defence ; 

and,  maddened    by  the    unyielding    resistance,  they  have    spared    not    even    the  priests  at  the  altar.      The 

record    which    furnished    the    painter's    text    is    as    follows : 


"  Fire !    said   an   officer. 


The   monk,    supporting   himself    with   one  hand   on    the   edge 
Of    the   altar,   still   essayed   to   bless   us. 

'  Tit   Spiritus   sanctus  I ' 
Amen !    cried   a  drummer,   with   a  burst  of   laughter." 


The  painting  is  an  eloquent  witness  to  the  dehumanizing  influence  of  war.  As  a  picture,  the 
work  takes  high  rank.  The  composition  is  excellent ;  the  figures  are  vitalized  with  appropriate  action ; 
the  piers  and  vaulting  of  the  grand  edifice  are  rendered  with  rare  fidelity ;  the  lighting  is  superb.  It 
was    the    artist's    contribution    to    the   Salon    of    1881. 


>   ^ 

el 


The   Devtsa. 

(from    the   original    PAIKTISQ    in    the   gallery   of    the    LUXEMBOURG.) 


Pierre-Francois-Eugene  Giraud,  PItix. 


GouPiL  &  Co.,  Gravure. 


s  IKE  brothers  in  taste,  if  not  in  greatness  of  character,  we  may  apply  the  accusing 
irase  "  butchered  to  make  a  Roman  holiday,"  in  spirit  to  the  Spaniards 
as  well  as  to  the  Romans.  As  the  populace  of  ancient  Rome — women  as  well  as 
men — crowded  the  arena  and  witnessed  with  delight  bloody  and  mortal  com- 
bats between  man  and  beast  and  man  and  man,  and  surveyed  with  heartless 
unconcern  the  mangled  corses  that  strewed  the  ground,  even  so  the  people 
of  Spain  flock  with  enthusiasm  to  their  national  sport  of  bull-fighting  and  find 
a  savage  delight  m  the  torture  and  slaughter  of  the  animals,  and  a  still 
more  exquisite  thrill  in  the  wanton  destruction  of  human  lives. 
Our  artist  introduces  us  to  one  of  these  tragic  amusements,  and  a  painful  scene  it  is.  A  torreador 
mortally  wounded  is  conducted  into  the  chapel  (strange  combination  of  chapel  and  arena !)  to  die. 
Pausing  at  the  door  of  the  sanctuary,  his  eyes,  in  which  the  death  film  is  already  seen,  turn  with 
lingering  fondness  to  his  fainting  loved  one,  while  he  reaches  towards  her,  as  a  last  token  of  honor  and 
devotion,   the  devisa  (a  knot  of  ribbons)   which   he  has    torn  from  the  bull. 

Such  a  scene  might  well  sober  the  excited  crowd  and  send  them  in  sadness  home.  But  not  so. 
Their  sport  is  not  even  interrupted.  Look  but  a  few  paces  beyond  this  dying  man  and  this  agonized 
woman,  and  see  the  waving  caps  and  hear  the  frenzied  shouts  of  the  multitude  as  the  sport  goes  madly 
on.       Surely  this  picture  tells  its  story  and  points  its  moral   with  signal  power. 

M.  Eugene  Giraud  was  represented  in  the  Luxembourg  Gallery  by  three  important  works  until 
1879,  when  one  of  them — Dance  in  a  Grenada  Poseda — received  the  higher  honor  of  admission  to  the 
Louvre.     He  died  in  1871  during  the  siege  of  Paris. 


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The  Conjuration 


(fBOM      the      original      PAIHTINO      in      the      LUXEMBOURG      OALLEBT.) 


Pierre  Paul  Leon  Glaize,  Finx. 


GoupiL  &  Co.,   Gravure. 


IVY  in   his    Early  History  of  Rome    has    furnished  the  subject    from  which    M.  Glaize    has 
painted    The    Conjuration. 

After   the    expulsion    of    the    Tarquins    several    young    men,  of     the    first    families    of 
Rome,  conspired   together   for   the   restoration    of  the    exiles.     In  furtherance  of  this    inten- 
tion, they  met   at   the  house  of  Aquillius,  one  of  the  conspirators,  in   a  lonely  part  of    the 
city,  and    according    to    the    custom    of    the    times,    took    an    oath    over    the  dying  body 
of    a  slave,  sacrificed   for   the    purpose,  to    faithfully,  secretly  and  loyally  perform  their  mission  to   destroy 
the  Republicans   and   restore   the    Royal    Tarquins. 

The    artist   has     chosen     the    time  when    in    their    mad    enthusiasm    they   pledge    each    other    by 
drmkinsj   the   blood   of  their   unfortunate    sacrifice. 

M.   Glaize  was  born    in    Paris  in   1842,  was  a  pupil  of  Gerome,  and  was  decorated  Chevalier  of  the 
Legion  of  Honor   in    1877. 


\ 


O-    GLEYREL,   PINX.. 


i^I-cA-VJlvE,  J-OLTII.   ET    C» 


HERCULES    AND     OMPHALE< 


FROM  THE    ORIGINAL     PAINTING  IN   THE    MUSEUM    OF    NE  UFCHATEL. 


THE    MAnTERPIECEa    OF  FRENCH  ART. 


Hercules  and  Omphale. 

[in    the    Ml/SEUM    OF    NEDFCHAtE'  ] 


G.  Gleyee,  Pinx. 


GouPiL  &  Co.,   Gravure. 


"FTER  the  accomplishment  of  his  Twelve  Labours,  Hercules  was  unfortunate  enough 
to  kill,  in  a  fit  of  anger,  his  friend  Iphitus,  and  although  purified  from  the 
murder  by  Dephobus,  yet  on  consulting  the  Oracle  of  Apollo  at  Delphi,  he 
was  refused  an  answer,  and  learned  from  the  priests  that  the  gods  would 
not  be  propitiated  till  he  had  earned  pardon  for  his  crime  by  three  years 
of  absolute   slavery. 

He    accordingly  sold    himself  for   three    years    to  Omphale,  the  widowed 

<  Queen   of    Lydia,    and    became    doubly    enslaved    by    her    beauty,    he    fell    so 

deeply    in    love    with    her,    as    to    lead    an    effeminate    life ;    in    order    to    fulfill    his    expiation    and    at   the 

same    time    be    uear   her   person,  he    spun    wool   while    Omphale    wore  the   lion's  skin,  his  trophy  from  the 

Numidian    lion. 

Gleyre  has  very  skillfully  illustrated  the  story,  showing  forcibly,  by  the  introduction  of  Cupid,  how 
love  leads  the  giant  by  a  silken  thread.  The  club  of  Hercules  lies  idle  on  the  ground,  and  the  basket 
filled    with    spools  occupies    his    attention    beside    the    Queen. 

The    picture    was  sold   by  Messrs.  Goupil  &  Co.,  of   Paris,  in  1874,  to  the  directors  of  the  Museun 
of  Neufch^tel. 


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Presenting  the  Trophy  of  the  Foot. 

(FEOM   the   gallery   of   MR.   JAMES   H.    STEBBINS,    NEW    YORK.) 


J.  R.  GouBiE,  Pinx 


GOUPIL  &  Co.,   Gravure. 


IKE  an  illustration  for  the  pages  of  "  Handley  Cross;"  M.  Goubie,  with  all  the 
cunning   of  John  Leech,  gives   this    charming   sporting  view. 

Dogs  and  horses,  and  high-toned  "lords  and  ladies  gay,"  on  pampered 
steeds,  have   reached    the    finish    of  the    hunt  in    the    death    of   the    stag. 

This  health-giving  sport  is  not  practiced  to  any  extent  in  America,  but 
in  the  British  Isles,  and  in  France  it  is  the  weekly  custom  of  ladies  and 
gentlemen  of  leisure,  to  meet,  with  a  pack  of  hounds,  to  chase  the  fox  or  stag 
across  the  country,  and  in  France  the  stag  hunt  is  most  popular.  We  cannot 
better   describe    the   scene,  than    by  quoting  Scott's  celebrated  "Hunting  Song:" 


"Waken,  lords  and  ladies  gay, 

On  the  mountain  dawns  the  day, 

All  the  jolly  chase  is  here 

"With  hawk,  and  horse,  and  hunting  spear; 

Hounds  are  in  their  couples  yelling, 

Hawks  are  whistling,  horns  are  kneUing, 

Merrily,  merrily,  mingle  they, 
'Waken,  lords  and  ladies  gay.' 

Waken,  lords  and  ladies  gay. 
The  mist  has  left  the  mountain  grey, 
Springlets  in  the  dawn  are  steaming, 
Diamonds  on  the  brake  are  gleaming; 
And  foresters  have  busy  been, 
To  track  the  buck  in  thicket  green; 
Now  we  come  to  f'haut  our  lay, 
'  Waken,  lords  and  ladies  gay.' 

In    M.  Goubie's    picture  the    stag    has   been    run 
seated    with    the    right    front   foot    of   the    stag,     "  The 


Waken,  lords  and  ladies  gay,    > 
To  the  green-wood  haste  away ; 
We  can  show  you  where  he  lies, 
Fleet  of  foot,  and  tall  of  siz3 ; 
We  can  show  the  marks  he  made, 
When  'gainst  the  oak  his  antlers  frayed ; 
You  shall  see  him  brought  to  bay, 
'Waken,  lords  and  ladies  gay.' 

Louder,  louder  chant    the   lay. 

Waken,  lords    and    ladies  gay ! 

Tell   them   youth,  and    mirth,  and  glee, 

Run   a   course   as   well  as    vve; 

Time,  stern  huntsman  !    who  can    baulk, 

Staunch   as   hound !    and    fleet   as   hawk ; 

Think   of  this,   and   rise  with   day, 

Gentle   lords   and    hidies   gay." 

down,   and    the  Diana   of   the   Hunt    is  being  pro- 
Trophy  of  the  Hunt." 


PLEASURES  OF  THE  GARDEN. 


FROM    THE   ORIGINAL   PAINTING    BY    PIERRE    MIGNARD    IN    THE    PALON    OF   SAINT-CLOUD. 


THE   LAST  JUDGMENT.    (FRAGMENT.) 


FROM   THE   ORIGINAL    PAINTING    BY   JEAN    COUSIN,    IN    THE   LOUVRE 


THE   PERFECT  MASTER. 


FROM   THE   ORIGINAL  ALLEGORICAL  PAINTING    BY   EUSTACHE  LE  SUEUR,    IN   THE  GALLERY   OF  ROHAN   CHABOT. 


SEE  LE  SUEUR'S  BIOORAPHY 
IN  THE  HISTORY. 


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FROM   THE  ORIGINAL  PAINTING  IN   THE  GALLERY  OF  VERSAILLES,   BY   HYACINTH   RIGAUD. 


iEE    RIOAUO'3   BIOGRAPHY 
IN  THE  HlffrORV. 


LAJOUE  AND   FAMILY. 


FROM   THE  ORIGINAL  PAINTING  IN   THE  GALLERY  AT  VERSAILLES,    BY  JACQUES   LAJOUE. 


WE  LAJOUE'S  BIOORAPHY 
IN   THE    HISTORY. 


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VIEW  OF  THE  HARBOUR  OF  RIPETTA,   ROME. 

FROM    THE    PAINTING    BY    HUBERT     ROBERT    IN    THE    GALLERY    OF    THE    LOUVRE. 


DIOGENES  THROWING  AWAY  HIS  BOWL  ON  SEEING  A  PEASANT  DRINK  FROM  HIS  HAND. 


FROM    THE    PAINTING    BY    NICOLAS    POUSSIN    IN    THE    GALLERY    OF    THE    LOUVRE. 


Trajan  Giving  Audience. 


FROM    THE   PAINTING    BY    N.    COYPEL   IN    THE   GALLERY    OF   THE   LOUVRE. 


i,^esBs^gs3s^^^S:;^^.;2a.iH[tkIlll_^^^^ 


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THE  SABINE   WOMEN. 


FROM    THE    PAINTING    BY    L.    DAVID    IN    THE    GALLERY    OF   THE    LOUVRE. 


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Venus  Binding  the  Wings  of  Love. 

FROM  THE  ORIGINAL  PAINTING  BY 
MME.  ELIZABETH-LOUISE  VIGETE-LEBRUN. 


The  Blacksmith  at  his  Forge. 

FROM  THE  ORIGINAL  PAINTING  BY  THE  BROTHERS 
LE  NAIN,  IN  THE  LOUVRE. 


Bonaparte,  as  First  Consul. 

FROM  THE  ORIGINAL  PAINTING  BY  JEAN-BAPTISTE  ISABE/. 


PYGMALION  AND  GALATEA. 

i'ROM  THE  ORIGINAL  PAINTING  BY  GIRODET-TRIOSON. 


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THE  RAFT  OF  THE  MEDUSA. 

FROM    THE   ORIGINAL   PAINTING    BY   J.-L.-A.-T.   GERICAULT   IN    THE   GALLERY   OF   THE   LOUVRE. 


JUSTICE  AND   DIVINE  VENGEANCE  PURSUING  CRIME. 

FROM    THE    ORIGINAL    PAINTING    BY    PIERRE    PRUD'HON    IN    THE    GALLERY    OF    THE    LOUVRE. 


EXTERIOR  AND  INTERIOR  OF  A  MONASTERY  BY  THE  MEDITERRANEAN  SEA 

IN  THE  i3TH  CENTURY. 

FROM.  THK  PAINTING  IN  THE  LOUVRE,   BY  FORBIN. 


Me   FORBIN'3    BIOORAPHY 
IN   THE   HISTORY. 


THE  RETURN   OF   MARCUS   SEXTUS. 

FROM    THE    ORIGINAL    PAINTING    BY    PIERRE-NARCISSE    GU^RIN,   IN    THE    GALLERY    OF    THE    LOUVRE. 


LOCUSTA  TRYING   ON   A   SLAVE  THE   POISON    PREPARED    FOR    BRITANNICUS. 


FROM    THE   ORIGINAL   PAINTING    BY    XAVIER   SIGALON,    IN    THE    MUSEUM    OF    NIMES. 


Assassination  of  the  Duke  of  Guise. 

FROM    THE   PAINTING    BY    PAUL    DELAROCHE    IN    THE    GALLERY    OF    THE    DUG    DE   AUMALE. 


Entrance  of  Alexander  into  Babylon. 


FROM  THE  PAINTING  BY  C.  LE  BRUN   IN  THE  GALLERY  OF  THE  LOUVRE. 


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DON   QUIXOTE  AND  SANCHO  PANZA. 

FPOM  THE  PAINTING  DY  ALEXANDRE-GABRIEL  DECAMPS,  IN  THE  GALLERY  OF  THE  BARON  GUSTAVE  DE  ROTHSCHILD,  PARIS. 


The  Sleep  of  Endymion. 


FROM    THE    PAINTING    BY    GIRODET-TROISON    IN    THE    GALLERY    OF    THE    LOUVRE. 


EVENING. 


FROM    THE    ORIGINAL    PAINTING     BY    JEAN    BAPTISTE    COROT,   IN    THE    MUSilE    BRUYAS    MONTPELLIER. 


CHARLES  V.  AT  THE  MONASTERY  OF  SAINT-JUSTE. 

FROM  THE  ORIGINAL  PAINTING  BY  JOSEPH-NICOLAS  RnBERT-FLEURY.   IN  THE  COLLECTION   OF  M.  P^RIERE,  PARIS. 


LION  DEVOURING  A  GOAT. 


FROM  THE  ORIGINAL  PAINTING  BY  EUGfeNE  DELACROIX,  IN  THE  GALLERY  OF  THE  LUXEMBOURG. 


CLAUDE  LORRAINE,  NICOLAS  POUSSJN  AND  GASPAR  POUSSIN  IN  THE 

ROMAN  CAMPAGNA 

FROM  THE  ORIGINAL  PAINTING  BY  JEAN-BAPTISTE-AUGUSTE  LELOIR. 


STELLA  AT   ROME,   IN   1698. 


FROM    THE   ORIGINAL    PAINTING    BY    CLAUDIUS   JACQUAND. 


A  SEA  PORT  AT  SUNSET. 

FROM    THE   ORIGINAL    PAINTING    BY    CLAUDE   LORRAIN    IN    THE   GALLERY   OF   THE    LOUVRE. 


The  Spring  at  Neslette,  in  Mormandy. 

?ROM    THE   ORIGINAL   PAINTING    BY    ^MILE   VAN    MARCKE,    IN    THE   GALLERY    OF    MR.    ALEXANDER   BROWN,    OF   PHILADELPHIA. 


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