Anecdotes of Painters, Engravers, Sculptors and Architects and Curiosities of Art (Vol. 3 of 3) - S. Spooner (ap literature book list .TXT) 📗
- Author: S. Spooner
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letter N. loftily elevated above its towers and minarets, dated 14th
September, 1812; 4. A figure in the air, directing a furious storm
against an armed warrior resembling Napoleon, who, unable to resist the
attack, is sternly looking back, whilst compelled to fly before it--a
dead horse, cannon dismounted, and a wagon full of troops standing
still, perishing in fields of snow; the inscription is, _Retraite de
l'Armée, Novembre, 1812_.
The workmanship of the preceding medals are admirable, but most of them
are surpassed in that respect by some to which we can do little more
than allude.
A finely executed medal, two inches and five-eights in diameter,
represents Napoleon enthroned in his full imperial costume, holding a
laurel wreath; on the reverse is a head of _Minerva_, surrounded by
laurel and various trophies of the fine arts, with this
inscription--_Ecole Francaise des Beaux Arts à Rome, rétablie et
augmentée par Napoleon en 1803_. The reverses--of the Cathedral at
Paris--a warrior sheathing his sword (on the battle of Jena)--and
Bonaparte holding up the King of Rome, and presenting him to the
people--are amongst the most highly finished and most inestimable
specimens of art.
Unquestionably the _worst_ in the collection is the consular medal,
which, on that account, deserves description; it is, in size, about a
half crown piece, on the exergue, over a small head of Bonaparte, is
inscribed _Bonaparte premier consul_; beneath it, _Cambacères second
consul, le Brun troisième consul de la république Francaise_; on the
reverse, _Le peuple Francais à défenseurs, cette première pierre de la
colonne nationale, posée par Lucien Bonaparte, ministre de l'interieur,
25 Messidore, An 8, 14 Juillet, 1800_.--One other medal only appears
with the name of Lucien Bonaparte; it is that struck in honor of Marshal
Turenne, upon the _Translation du corps de Turenne au Temple de Mars par
les ordres du premier Consul Bonaparte_; and is of a large size, bearing
the head of Turenne, with, beneath it, _Sa gloire appartient au peuple
Francais_. Several are in honor of General Desaix, whose memory Napoleon
held in great esteem. Those on his marriage with Marie Louise bear her
head beside his own; and a small one on that occasion has for its
reverse, a Cupid carrying with difficulty a thunderbolt. Those on the
birth of their child bear the same heads on the exergue, with the head
of an infant, on the reverse, inscribed, _Napoleon François Joseph
Charles, Rio de Rome, XX. Mars M.DCCCXI.--Ireland_.
THE ELEPHANT FOUNTAIN.
When Napoleon had decided that a stupendous fountain should occupy the
centre of the area where the celebrated state prison of the Bastille
stood, the several artists, employed by the government, were ordered to
prepare designs for the undertaking, and numerous drawings were in
consequence sent in for the emperor's inspection. On the day appointed,
he proceeded to examine these specimens, not one of which, however,
proved at all commensurate with the vast idea he had in contemplation;
wherefore, after pacing the chamber a few minutes, Napoleon suddenly
halted, exclaiming: "Plant me a colossal elephant there, and let the
water spout from his extended trunk!" All the artists stood astonished
at this bold idea, the propriety and grandeur of which immediately
flashed conviction upon their minds, and the only wonder of each was,
that no such thought should have presented itself to his own
imagination: the simple fact is, _there was but one Napoleon
present_!--_Communicated to Ireland by David._
This fountain was modeled in Plaster of Paris on the spot. It is
seventy-two feet in height; the _jet d'eau_ is through the nostrils of
his trunk; the reservoir in the tower on his back; and one of his legs
contains the staircase for ascending to the large room in the inside of
his belly. The elephant was to have been executed in bronze, with tusks
of silver, surrounded by lions of bronze, which were to spout water from
one cistern to another.
INTERESTING DRAWINGS.
On the sailing of the French expedition for Egypt, from Malta, under the
orders of Bonaparte, the fleet was intentionally dispersed in order to
arrive without being noticed; they had no sooner, however, left Malta,
than they learned that Nelson had penetrated their design, and was in
pursuit of them. Expecting every hour to be come up with, and being too
weak to risk a combat, it was the resolution of Bonaparte and the rest
of the illustrious persons on board the _Orient_ to blow her up, rather
than be taken prisoners; but, that the memory of those who perished
might be preserved, and their features known by posterity, Bonaparte
caused the portraits of eighteen to be taken on two sheets of paper,
which were to be rolled up, put in bottles, and committed to the waves:
the names of the persons are,--
_First Drawing._
Desaix,
Berthier,
Kleber,
Dalomieu,
Berthollet,
Bonaparte,
Caffarelli,
Brueys,
Monge.
_Second Drawing._
Rampon,
Junot,
Regnier,
Desgenettes,
Larrey,
Murat,
Lasnes,
Belliard,
Snulkanski.
The portraits were executed in medallions, with India ink; they were
carefully preserved by the famous surgeon, Baron Larrey; and they
adorned his study at Paris till his death.
SEVRES CHINA.
On the river at Sévres, near Paris, a manufactory is carried on, which
produces the beautiful porcelain, commonly called Sévres, china. It is
equal to all that has been said of it, and after declining, as every
other great national establishment did, during the revolution,
flourished greatly under the peculiar patronage of the emperor Napoleon.
He made presents hence to those sovereigns of Europe with whom he was in
alliance. Napoleon had two vases made of this china, which, even at this
day, form the principal ornament of the gallery at St. Cloud. These
were made at Sévres, and are valued at 100,000 francs each. The clay
made use of was brought at a great expense from a distant part of
France, and affords an instance of how much the value of raw material
may be increased by the ingenuity of a skillful artist.
DISMANTLING OF THE LOUVRE.
In Scott's Paris Revisited (A. D. 1815), we have the following
interesting particulars of the removal of the celebrated pictures and
statues from this famous emporium of the fine arts.
"Every day new arrivals of strangers poured into Paris, all anxious to
gain a view of the Louvre, before its collection was broken up; it was
the first point to which all the British directed their steps every
morning, in eager curiosity to know whether the business of removal had
commenced. The towns and principalities, that had been plundered, were
making sedulous exertions to influence the councils of the allies to
determine on a general restoration; and several of the great powers
leaned decidedly towards such a decision.
"Before actual force was employed, representations were repeated to the
French government, but the ministers of the king of France would neither
promise due satisfaction, nor uphold a strenuous opposition. They showed
a sulky disregard of every application. A deputation from the
Netherlands formally claimed the Dutch and Flemish pictures taken during
the revolutionary wars from those countries; and this demand was
conveyed through the Duke of Wellington, as commander-in-chief of the
Dutch and Belgian armies. About the same time, also, Austria determined
that her Italian and German towns, which had been despoiled, should have
their property replaced, and Canova, the anxious representative of Rome,
after many fruitless appeals to Talleyrand, received assurances that he,
too, should be furnished with an armed force sufficient to protect him
in taking back to that venerable city, what lost its highest value in
its removal from thence.
"Contradicting reports continued to prevail among the crowds of
strangers and natives as to the intentions of the allies, but on
Saturday, the 23d of September, all doubt was removed. On going up to
the door of the Louvre, I found a guard of one hundred and fifty British
riflemen drawn up outside. I asked one of the soldiers what they were
there for? 'Why, they tell me, sir, that they mean to take away the
pictures,' was his reply. I walked in amongst the statues below, and on
going to the great staircase, I saw the English guard hastily trampling
up its magnificent ascent: a crowd of astonished French followed in the
rear, and, from above, many of the visitors in the gallery of pictures
were attempting to force their way past the ascending soldiers,
catching an alarm from their sudden entrance. The alarm, however, was
unfounded; but the spectacle that presented itself was very impressive.
A British officer dropped his men in files along this magnificent
gallery, until they extended, two and two, at small distances, from its
entrance to its extremity. All the spectators were breathless, in
eagerness to know what was to be done, but the soldiers stopped as
machines, having no care beyond obedience to their orders.
"The work of removal now commenced in good earnest: porters with
barrows, and ladders, and tackles of ropes made their appearance. The
collection of the Louvre might from that moment be considered as broken
up for ever. The sublimity of its orderly aspect vanished: it took now
the melancholy, confused, desolate air of a large auction room, after a
day's sale. Before this, the visitors had walked down its profound
length with a sense of respect on their minds, influencing them to
preserve silence and decorum, as they contemplated the majestic
pictures; but decency and quiet were dispelled when the signal was given
for the breaking up of the establishment. It seemed as if a nation had
become ruined through improvidence, and was selling off.
"The guarding of the Louvre was committed by turns to the British and
Austrians, while this process lasted. The Prussians said that they had
done their own business for themselves, and would not now incur odium
for others. The workmen being incommoded by the crowds that now rushed
to the Louvre, as the news spread of the destruction of its great
collection, a military order came that no visitors should be admitted
without permission from the foreign commandant of Paris. This direction
was pretty much adhered to by the sentinels as far as the exclusion of
the French, but the words _Je suis Anglais_, were always sufficient to
gain leave to pass from the Austrians: our own countrymen were rather
more strict, but, in general, foreigners could, with but little
difficulty, procure admission. The Parisians stood in crowds around the
door, looking wistfully within it, as it occasionally opened to admit
Germans, English, Russians, &c., into a palace of their capital from
which they were excluded. I was frequently asked by French gentlemen,
standing with ladies on their arms, and kept back from the door by the
guards, to take them into their own Louvre, under my protection as an
unknown foreigner! It was impossible not to feel for them in these
remarkable circumstances of mortification and humiliation; and the
agitation of the French public was now evidently excessive. Every
Frenchman looked a walking volcano, ready to spit forth fire. Groups of
the common people collected in the space before the Louvre, and a
spokesman was generally seen, exercising the most violent
gesticulations, sufficiently indicative of rage, and listened to by the
others, with lively signs of sympathy with his passion. As the packages
came out, they crowded round them, giving vent to torrents of _pestes_,
_diables_, _sacres_, and other worse interjections.
"Wherever an Englishman went, in Paris, at this time, whether into a
shop or a company, he was assailed with the exclamation, _'Ah! vos
compatriotes!'_ and the ladies had always some wonderful story to tell
him, of an embarrassment or mortification that had happened to _his_
duke; of the evil designs of the Prince Regent, or the dreadful revenge
that was preparing against the injuries of France. The great gallery of
the Louvre presented every fresh day a more and more forlorn aspect; but
to the reflecting mind, it combined a number of interesting points of
view. The gallery now seemed to be the abode of all the foreigners in
the French capital:--we collected there, as a matter of course, every
morning--but it was easy to distinguish the last comers from the rest.
They entered the Louvre with steps of eager haste, and looks of anxious
inquiry; they seemed to have scarcely stopped by the way--and to have
made directly for the pictures on the instant of their reaching Paris.
The first view of the stripped walls made their countenances sink under
the disappointment, as to the great object of their journey. Crowds
collected round the _Transfiguration_--that picture which, according to
the French account, _destiny_ had always intended for the French nation:
it was every one's wish to see it taken down, for the fame which this
great work of Raffaelle had acquired, and its notoriety in the general
knowledge, caused its departure to be regarded as the consummation of
the destruction of the picture gallery of the Louvre. It was taken away
among the last.
"Students of all nations fixed themselves round the principal pictures,
anxious to complete their copies before the workmen came to remove the
originals. Many young French girls were seen among these, perched upon
small scaffolds, and calmly pursuing their labors in the midst of the
throng and bustle. When
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