Chapter XVII: Introduction (1)

France surpasses all modern nations in awarding monumental honours to her illustrious sons. The feeling which prompts the grateful act is more akin to noble patriotism than to the littleness of personal display. The magnificent illustration of the national disposition at Versailles commands our respect by the important historical interest which it creates, and by the instruction and benefit which it confers upon the world.

The buildings of all the great institutions of France are adorned with portrait statues and busts of the men who have earned distinction in connexion with them. “The Institute,” which corresponds to our Royal Society, has its statues of philosophers and scientific men. The Mazarin Library possesses a collection of those most distinguished in literature, generally. The Théâtre Français has an exceedingly interesting gallery of dramatists and theatrical celebrities, which is only feebly reflected in the collection--valuable in some respects--of theatrical portraits at the Garrick Club in London, which we owe chiefly to the late Mr. Charles Mathews, the comedian.

The collection of the Théâtre Français is composed of statues and busts representing the greatest dramatic writers and the most celebrated comedians of the French stage, of pictures of actors or of paintings having reference to the dramatic art. The library is rich in autograph manuscripts, and in the letters of nearly all the authors who have illustrated the French stage. It contains also the registers and account books of the several theatrical administrations, without a single interruption, from the 24th of October, 1658--the date of Molière’s first representation in Paris--down to the present time.

The collection of statues and busts dates from only the last century, when the sculptor Caffieri laid its foundation. He proposed to the actors, in 1773, to present to their green-room the bust of his friend Alexis Piron, the poet (see No. 231 in our collection)--who had died a few months before--on the condition that he should be allowed free entrance to the theatre for the rest of his life. It appears, from the letter of Caffieri, preserved in the library of the theatre, that the usual price of his marble busts was £120, and that the right of entrance to the theatre for life was fixed by the comedians at the same sum. The proposition was accepted, and Caffieri continued for some time to present busts to the theatre upon the same terms--that is to say, for every bust the right of an entreé for one of his relatives or friends. Other sculptors followed the example of Caffieri. The practice still continues, and the collection is yearly augmented, not only by this means, but also by the frequent gifts of the Minister of the Interior, and by the still larger donations of private individuals.

The collection of paintings dates as far back as the death of the tragedian Lekain. His comrades, to honour his memory, decided that his likeness should be hung in their green-room. Later came the portrait of Baron, and afterwards that of Mademoiselle Duclos by Largillière, a celebrated portrait painter of the time of Louis XIV. This portrait of Mdlle. Duclos is a masterpiece. At the present moment, in consequence of the frequent additions to this triple collection, there is not space enough in the interior of the theatre properly to display it; and it is proposed to transport it to a more commodious receptacle, and to give to the _réunion_ of all these treasures of the drama the name of the Molière Museum. The busts, which we are enabled to exhibit in the Crystal Palace, form only a small selection from the gallery of the Théâtre Français.

The Louvre, which in Paris corresponds to our British Museum, National Gallery, and Hampton Court combined, has long been one of the world’s great treasuries of history and art. Resting upon ancient walls, founded certainly as far back as the 9th century--when it was a strong fortress in the midst of a forest--the Louvre has been gradually changing its form and appearance since the time of Philippe Auguste. In 1527, Francis I., with the aid of the architect Pierre Lescot, entirely remodelled it, and gave to it the character of splendour and vastness which has ever since attached to this great national structure. All succeeding kings--Charles, Henri, Louis, whatever the name--have done something to uphold its magnificence. In addition to the other numberless works of art contained in the Louvre there are some 300 antique portrait busts and statues, and an immense collection of rare cameos and medals, amongst which are many valuable portraits of antiquity, and about 200 statues and busts of great men of modern time, half of these being representations of military men, with some admirals, and about 50 portraits of sculptors and painters.

The Palace of Versailles is entirely devoted to the illustration of the glory of France. Here, in addition to many pictures, representing the great military achievements of the French, there are saloons filled with statues and busts of the kings, princes, marshals, and admirals, and portraits of nearly every great man of the country from the time of Clovis the First and Clotilde, a king and queen of the 5th century, down to Louis Philippe of our own time. There are more than 600 statues, busts and medallions, many of them fine works of art, and all possessing the very highest interest. A considerable portion being duplicates of works at the Louvre or Tuileries. In such an extensive series there are, as may be supposed, many arbitrary portraits executed to complete a series, but though not taken from the life, they have for the most part been derived from trustworthy authority. There are also upwards of 600 memorial tablets in bronze, placed in the Gallery of Battles, inscribed with the names of all officers killed or wounded in the service of the country, beginning with Prince Robert le Fort, Comte d’Outre-Maine, killed at the combat of Brissarthe, in 866, and ending with the heroes of Waterloo.

The Historical Gallery at Versailles contains portrait busts and statues by 146 different sculptors of France, commencing with Germain Pilon and Jean Goujon, who flourished in the middle of the 16th century.

From all these great collections our Portrait Gallery has been enriched, as the Catalogue will show.

As works of art the French portraits cannot be placed in the highest rank. The style, as in French works of ideal sculpture, is rather picturesque, than antique and severe; and few of the portraits are free from a certain affectation of attitude or assumed expression of countenance, for which it may readily be conceived, the artist, rather than the subject, is to blame. It is rare to find a French bust treated with the seriousness and intensity of the antique, or with the unaffected naturalness of the best busts of the English school: too many indeed verge upon the common and fatal error of portraiture--caricature.

We must, however, take these portraits as the characteristic works of the country to which they belong; all of them bear the stamp of truthfulness, if some should be found tainted with exaggeration. Many are models in the art of marble portraiture. Those of Madame Dubarry (No. 235), and Marie Antoinette (No. 310), are especially beautiful; that of Gaston de Foix (No. 258) is also a very noble portrait; and the bust of Thomas Corneille (No. 222), is one of the finest productions of the school. The heads are generally rather larger than life: and the visitor cannot fail to remark the exceeding care bestowed upon the wigs and elaborate embroidery of the time.

(_The French Portraits commence immediately behind the Statue of Admiral Duquesne, in the Great Transept._)

ARTISTS AND MUSICIANS.

196. JEAN GOUJON. _Sculptor._

[Born in Paris. Died there, 1572.]

Many of his works were destroyed in the French Revolution, but the Tribune of the “Salle des Cent Suisses,” in the Louvre, the “Diana of Poictiers,” and the “Fountain of the Innocents,” in Paris, are left to attest the artist’s superiority. At Malmaison, in France, is another statue by him of Diana, remarkable for the beauty of the pose, the suppleness of the limbs, and the extraordinary lightness of the drapery. The two caryatides in the Renaissance Court are examples of his style. Killed by a shot from an arquebuse during the massacre of Saint Bartholomew, and whilst he was at work on the decoration of the Louvre.

[This is considered to be a bust of the time, and perhaps by his own
hand.]

197. SIMON VOUET. _Painter._

[Born in Paris, 1582. Died there, 1641. Aged 59.]

Is generally regarded as the founder of the French school of painting. He received his first instruction from his father, who was also an artist. When a mere youth, he acquired great fame as a portrait painter. He visited Constantinople, where he painted Achmet I. At Rome he worked for Pope Urban VIII. at St. Peter’s. Recalled to France by Louis XIII. in 1637, he was appointed chief painter to the king. His colouring is fine, and he possesses great boldness of touch; but his drawing is marked by mannerism, and he is not happy in perspective, or in his effects of light and shade. He accomplished, however, for French painting, what Corneille effected for the drama. He created and raised the national taste.

[From a marble in the Louvre.]

198. NICOLAS POUSSIN. PAINTER.

[Born at Andelys, in France, 1594. Died in Rome, 1665. Aged 71.]

The greatest master of the French school of painting. His taste for art was revealed at a very early period. As a child, he drew upon his lesson books and the walls of the school-room. At eighteen, he went to Paris, where he frequented schools from which he learned but little. Genius and self-tuition did more for him. At thirty he painted the “Death of the Virgin” for a chapel at Nôtre-Dame, and so well, that the poet Marino took the painter to Rome, and recommended him to Cardinal Barberini with the energetic words, “You will see a youth who has the spirit of one possessed.”[31] The Italian syllables are yet stronger. In Rome he fell into poverty, and sold his pictures for a mere trifle. He worked against the spirit and taste of the age in both France and Italy: throwing himself, with his faithful comrade in art, the sculptor Fiamingo, entirely into the study of the ancient Greek sculpture. He was recalled to his own country by Richelieu, in 1640, and was created Court Painter. In 1643, he returned to Rome, whence no solicitations could again draw him. He lived twenty-five years in great calm and happiness, married to the sister of Caspar Poussin, without children, without a pupil, without a man-servant--esteeming quiet in the house above everything. He was devoted to his art, a great student in it, and of all science bearing upon it. His genius was altogether antique. He transported himself into an elder world, and lived there. Thus in religious subjects he seems to lean towards the Old Testament; and he revels in the wealth of Greek mythology. His classical spirit ennobled landscape both in its own forms and by the poetical significance and treatment of the figures. His art, like poetry, seemed to open to him an escape from the world about him. A style of severe simplicity, truth, high beauty, harmony.

[31] Vederete un giovane che ha la furia del diavolo.

[From the marble in the Louvre, by Blaise.]

199. PIERRE MIGNARD. _Painter._

[Born at Troyes, in France, 1610. Died in Paris, 1695. Aged 85.]

Called “The Roman Mignard,” in contradistinction to his brother Nicolas, also a painter, and styled “Mignard of Avignon.” The works of Pierre are not remarkable for originality of invention or peculiar facility of execution; but they exhibit correct design, beauty of form, and excellence of colouring. The French regard him as the best colourist of the age of Louis XIV. The “Grand Monarque” sat ten times to this painter, who also painted the portraits of the Popes Urban VIII. and Alexander VII. Mignard was first intended for the profession of medicine, but his taste for drawing led him to the arts. He passed twenty-two years in Italy, where he acquired fame. He was recalled to France by his own sovereign, and by him also appointed chief painter to the court.

[From a marble in the Louvre, by Antoine Coysevox.]

200. ANDRÉ LE NÔTRE. _Architect and Gardener._

[Born in Paris, 1613. Died there, 1700. Aged 87.]

The designer of the magnificent gardens at Versailles; the projector of its grand fountains, grottos, porticos, and bowers. He also laid out the gardens of St. Cloud, the Tuileries, Meudon, and several others. Louis XIV. heaped favours upon this great gardener, but Le Nôtre could not be spoiled by royal indulgence. He travelled into Italy and was received by Pope Innocent XI. “I care not how soon I die now,” said Le Nôtre to the Pope, “since I have seen the two greatest potentates in the world--your Holiness and the King, my master.” Le Nôtre was simple, honest, and disinterested: possessed a fertile genius and lively imagination; in many respects the prototype of our own Paxton.

[From the marble in the Louvre, by Gourdel, which was taken from the
one in the Church of St. Roch.]

201. EUSTACHE LE SUEUR. _Painter._

[Born in Paris, 1617. Died 1655. Aged 38.]

One of the greatest French painters. First taught by his father, a sculptor; then a pupil in the studio of Vouet. His fame established by the pictures, twenty-two in number, which he painted for the Chartreuse in Paris, and which represent the chief events in the life of St. Bruno, the founder of the Order. He took delight in sacred subjects, and in simple religious affection he left Lebrun and Poussin far behind him. He scarcely ever quitted Paris, never France; and his sole studies were the few exemplars from the antique which he could find in his native city. Raffaelle he could worship only through the engravings of Marcantonio. But the love of his art was boundless, his study intense, his industry inexhaustible. He excelled in purity of form, and his pictures reveal a tenderness of feeling and a spiritual grace, wholly wanting in the productions of the majority of his contemporaries. He was himself a man of mild and blameless nature. He died very early, worn out by his labours and by the active jealousy of his brother artists.

[The costume is that of the time of Louis XIII. From a marble by P. L.
Laurent, done in 1806. Laurent was a pupil of Pajou, and died in
1816.]

202. CHARLES LEBRUN. _Painter._

[Born in Paris, 1619. Died 1690. Aged 71.]

One of the most celebrated painters of the French school. The Chancellor, Séguier, struck by his talent when a boy, placed him in the studio of Vouet, and subsequently sent him to Rome, where he maintained him during six years. In 1648, Lebrun was recalled to France, and admitted into the Academy. Mazarin, charmed by his works, presented him to the king, by whom he was favourably received and largely patronized. It is said that Louis XIV. would spend two hours at a time in Lebrun’s studio, whilst the artist was painting his “Battles of Alexander,” Alexander being Louis by allusion. For fourteen years, engaged in painting the great gallery of Versailles. Received many distinguished appointments in connexion with the Fine Arts, and at his instigation Louis XIV. instituted the French Academy at Rome. For many years Lebrun was as absolute in the republic of Art, as his master in the kingdom over which he ruled. He was styled “Dictator,” and his influence is perceptible in the works of his time. He was one of the vainest of men, and the most pompous, artificial, and theatrical of painters; his works, though they might swell the pride of a Court, would hardly flatter the pride of a country. His best picture is “The Stoning of Stephen,” in the Louvre.

[From the marble in the Louvre, by A. Coysevox. Extremely interesting,
both on account of its being taken from the life, and having once
surmounted the tomb of the great painter which was erected by order of
his widow in the Church of St. Nicholas, in Paris, the tomb being also
the work of Coysevox. The monument was removed at the time of the
Revolution. The bust at Versailles, by Bosio (1837), takes its
authority from this.]

203. ANDRÉ FÉLIBIEN, SIEUR DES AVAUX ET DE JAVERCY. _Writer on Art._

[Born at Chartres, in France, 1619. Died in Paris, 1695. Aged 76.]

Held various appointments in connexion with art. Amongst others, those of Historiographer to the King, and Secretary to the Academy of Architecture. His best known work is “Lives of Ancient and Modern Painters,” which is translated into English. Grave and serious in character, but, right-minded and good-hearted, he preferred virtue to the favours of fortune.

204. JEAN MABILLON. _Antiquary._

[Born at Pierre-Mont, in France, 1632. Died in Paris, 1707. Aged 75.]

A Benedictine monk, who employed his life in collecting materials and writing on monastic history and antiquities. Entitled to high rank for his extensive learning and great virtues; his style clear, masculine, and methodical; his mind free from bigotry.

205. JEAN BAPTISTE DE LULLY. _Violinist and Musical Composer._

[Born near Florence, 1633. Died 1687. Aged 54.]

A musical genius; who began life as a scullery-boy, and, in soul, continued a scullery-boy to the last. It was whilst playing the fiddle in the kitchen of Mademoiselle de Montpensier that his musical faculty was detected and rescued. Subsequently playing some airs of his own composition to Louis XIV. he was made, at the age of 19, “Inspecteur Général des Violons.” In 1672, letters-patent were granted him to establish a Royal Academy of Music: that academy was the Opera. He performed marvels at his theatre. He was at once composer, director, ballet-master, leader of the band, and even machinist. Nothing came amiss to him; and his activity, his popularity, his success were enormous. In less than fifteen years he had composed nineteen operas, which continued in high favour until put out of fashion by Gluck a century afterwards. To appreciate the merits of Lully as a composer, we must look at him from the point of view of his own time. So regarded, he is an artist of great spirit and dramatic power. He found France without any dramatic music whatever. He left works which formed the style of later masters, and became the foundation of a national opera. He had wit, energy, versatility, and was a great favourite with the Court. His moral character was detestable. To the great he was grovelling; to his earliest benefactress he was ungrateful; towards his dependants he was overbearing, insolent and brutal.

[From the bust in the Church of Petits Pères.]

206. ANTOINE COYSEVOX. _Sculptor._

[Born at Lyons, in France, 1640. Died in Paris, 1720. Aged 80.]

Of Spanish origin. Employed for four years on the decoration of Cardinal de Furstenburg’s palace, at Saverne, in Alsace. Executed also for Paris, a statue of Louis XIV., and the bronze winged horse placed in the Tuileries gardens. The Revolution destroyed most of his works; but amongst those left is one of the finest--the monument of Colbert. A persevering and painstaking artist.

[From a marble in the Louvre, by himself. The original bears the
following inscription:--“Ch: Ant: Coysevox Sculpteur du Roi,
Chancelier de l’Académie; par lui-même. Donné à l’Académie par Ch.
Pierre Couston architecte du Roi, son petit neveu.”]

207. JULES HARDOUIN MANSART. _Architect._

[Born in Paris, 1645. Died at Marly, in France, 1708. Aged 63.]

The builder of the Palace of Versailles, and of the Hôtel des Invalides in Paris: indebted for his celebrity more to the good-will of his sovereign, Louis XIV., than to his own genius. His works noble and striking, but his style not chaste, and apt to fall into extravagance. A vain man, proud of the favours of the king and jealous of retaining them.

[From a marble in the Louvre, by T. L. Lemoyne, a pupil of Coysevox,
who died in 1755; and doubtless from the life. He wears a damask dress
with the cordon of St. Michel.]

207*. CLAUDE JOSEPH VERNET. _Painter._

[Born at Avignon in France, 1714. Died 1789. Aged 75.]

He received his first instruction from his father, who was an historical painter. He set out for Italy in his eighteenth year, and continued there for many years, studying and painting for small remuneration. He returned to France in 1753, on the invitation of Louis XV., was elected a member of the French Academy, and commissioned by the government to paint the principal ports of France. He excelled in marine subjects. It is related of him that during a terrible storm at sea, when all on board his ship were trembling for their lives, he caused himself to be lashed to the mast of the vessel, that he might watch the boiling ocean. The Louvre contains several of his pictures, which display a consummate management of light and shade. He had no rival in France whilst he lived, and he died pencil in hand. He was a modest man, and never so happy as when at work.

[Bust to come.]

208. JACQUES GERMAIN SOUFFLOT. _Architect._

[Born at Irancy, in France, 1714. Died in Paris, 1781. Aged 67.]

When the Carthusians rebuilt their church at Lyons, Soufflot’s design for the dome was accepted, and he achieved celebrity in consequence. Then settling in Lyons, built several edifices there, including the theatre (one of the finest in France), and the _Hôtel-Dieu_ (the hospital). Invited to Paris, he became architect to the king. His designs for the Church of Sainte Généviève were adopted; but the cupola exciting much adverse criticism, the architect fell into despondency, languished and died. Blunt in his manners, but of a generous and noble mind. He was called the “benevolent cross-patch.”

[From the marble in the Louvre, by Prévot.]

208*. MARIE-ANNE-BOTOL DANGEVILLE. _French Comic Actress._

[Born 1714. Died 1796. Aged 82.]

Actress at the Théâtre Français, and perhaps one of the most perfect mistresses of her division of the art that have trodden the French stage. The original of this bust, in the Théâtre Français, has not the name of the sculptor, but is a work of singular delicacy of expression, and evidently from the hand of a master.

[Bust to come.]

208**. MADEMOISELLE CLAIRON. _French Tragic Actress._

[Born 1723. Died 1803. Aged 80.]

The most accomplished French tragic actress of her time. Born of poor and illiterate parents. Made her first appearance on the stage in her thirteenth year. At first unsuccessful, she proved eventually a sublime tragedian, and during twenty-two years held possession of the public. Disraeli the elder has a curious story from her life. He relates that as a child she was cruelly treated by a violent mother, and driven all day to manual labour. One day when locked in a room for punishment, she climbed upon a chair to look about her. In the house opposite she saw a celebrated actress amidst her family; one daughter performing her dancing lesson. Clairon noticed with excitement every motion: not one was lost upon her. The lesson over, the rest of the children applauded, and the mother embraced her clever dancer. The scene melted the heart of Clairon, reflecting on her own bitter lot, and she burst into tears. She ascended the chair again, but the vision had vanished. Henceforth she was a new child, and never so happy as when locked in that room: from her chair she watched again and again the happy dancer--imitated her gestures--reflected her grace. She worshipped a divinity. She had never been to a theatre; yet, without knowing what an actress meant, she had herself become an actress. Her ardent studies were soon manifest. Her first victory was over her barbarous mother, whom she softened. Her later conquest was the subjection of all Paris, and in Paris, of all polite France and Europe. The anecdote lives, how Voltaire, when his tragedy of “Oreste” was to be brought out, insisted that his Electra, compelled in the palace of her fathers to the discharge of menial offices, should appear habited as a slave. Mademoiselle Clairon, to whom the character fell, resisted. She shrank from flying in the face of the artificial French taste, and of the traditional stage decorum--both expecting a princess arrayed in proper theatrical splendour. The poet persisted. The piece over, she came to him and said, “Ah! M. de Voltaire, you have ruined me. All my gorgeous wardrobe is no longer worth a sou.” She had been released for once to act up to the truth, nature, and simple reality of her part; and had astonished audience, actors, herself--all save the poet--by her self-excelling success.

[This bust, which is to come, is from a marble by Lemoyne, dated
1761.]

209. JACQUES LOUIS DAVID. _Painter._

[Born in Paris, 1748. Died at Brussels, 1825. Aged 77.]

The founder of the modern or classical school of French painters. Pupil of Vien, with whom he passed several years in Italy. Returning to France in 1780, opened a school, which attracted many pupils. In 1784, paid a second visit to Italy, and on his return was hailed with the title of Regenerator of Art. Was now admitted into the Academy and lodged in the Louvre, with the appointment of “Painter to the King.” His pictures proved eminently successful. His drawing was perfect, and the correctness of his design revealed the pure antique fount from which he had quaffed his inspiration. For a time David forsook the easel, to take part in the fury of Revolutionary politics. He forgot his apartments in the Louvre, joined hands with Robespierre, to whom he was personally attached, and became one of the loudest clamourers for the blood of Louis XVI. The painter was present at the mock trial of the monarch, whom he grossly insulted as the wretched king passed in front of him. After the fall of Robespierre, David owed the preservation of his own neck solely to his great reputation as an artist. He ceased to be a politician to become a dictator in art. During the Consulate his influence was supreme. He not only immortalized some of its heroic passages, but he designed its official costumes. Buonaparte heaped favours upon his artistic panegyrist, and the painter added grace and dignity to the deeds of the First Consul. The last work of David in Paris was “Leonidas,” painted in 1814. In that year, it is written that Wellington, accompanied by some English officers, visited the artist’s studio, and expressed a wish to be painted. The story adds, that David replied coldly that “he did not paint Englishmen,” and turned his back upon his visitor. Upon the return of Napoleon from Elba, David was made Commander of the Legion of Honour. The next year he was banished as a regicide, and took up his residence in Brussels. “Napoleon crossing St. Bernard” and “The Coronation of Napoleon” are amongst his offerings to the triumphs of the Emperor. Classical and correct in design, David fails in colour, and in picturesque expression. His figures, too, have a hard and marble-like appearance. A large swelling at the side of his face was caused by a blow he received, when young. It has been justly said that opinions of David will vary, accordingly as they are expressed by Frenchmen or by foreigners.

[From the marble in the Louvre, by Rude, 1831.]

210. CHARLES PERCIER. _Architect._

[Born in Paris, 1764. Died, 1838. Aged 74.]

Known by his works in conjunction with Fontaine. The influence of the labours of both is matter of history in art. To them is due the completion of the Louvre and the erection of the arch in the _Place du Carrousel_ at Paris. Percier wrote several works on art. In his youth sent to Rome to study, where he gained the friendship of Flaxman and Canova. Modest and retiring; and in the pursuit of his art most persevering.

[From a marble in the Louvre, by Pradier.]

211. GIRODET-TRIOSON. _Painter._

[Born at Montargis, in France, 1767. Died in Paris, 1824. Aged 57.]

The real name of this artist was Anne-Louis Girodet de Coussy; but he took the name of Trioson from his adopted father and benefactor, a physician, to whom he was indebted for his education. He was the son of the Duke of Orleans’ steward, and intended for the army, but evincing a great taste for painting, was placed in the studio of David. Afterwards proceeding to Rome, he received the first prize for a work of art in that city. At the end of five years returned to Paris, where an apartment was assigned him in the Louvre. In 1806, he gained a prize by his picture of “The Deluge,” competing with his old master, David. Girodet did not produce many works, habitual ill-health disabling his pencil; but he left enough behind him to maintain his reputation. His chief pictures are “Endymion,” “Hippocrates,” “The Revolt in Cairo,” and “Napoleon Receiving the Keys of Vienna.” The colouring of Girodet is cold and earthy; and his figures, whilst revealing the classic form and correct drawing that characterize the labours of all David’s pupils, lose the expression of inward life. In spite of obvious deficiencies in truthful representation, his paintings produce a deep, and occasionally a powerful impression.

[From a marble in the Louvre--the author unknown. One by M. Roman was
in the French Exhibition of 1827.]

212. FRANÇOIS GÉRARD. _Painter._

[Born at Rome, 1770. Died in Paris, 1837. Aged 67.]

Studied under Pajou the sculptor, then with Brenet, and finally with David, whom he assisted in several works, until 1794, when he exhibited his own picture of “The Tenth of August” (the day of the storming of the Tuileries in 1792). Under the influence of David, Gérard became one of the jury of the Revolutionary Tribunal--an office from which he subsequently shrunk. He received great honour and distinction at the hands of Napoleon; and the Emperor Alexander, and the Duke of Wellington, became his friends. A man of extensive knowledge, and, as a painter, to be recommended for taste and refinement, rather than for invention or sublimity. His colouring, though harmonious, is not always true. His subjects were chiefly historical, and in these the arrangement of the figures and the selection of costume are always pleasing. He was also successful as a portrait painter.

[From a marble in the Louvre, by Pradier, 1838.]

213. ANTOINE JEAN GROS. _Painter._

[Born in Paris, 1771. Died there, 1835. Aged 64.]

One of the most distinguished of David’s pupils. Appalled by the horrors of the first Revolution, he quitted France, and withdrew to Geneva; thence to Milan, where he became known to Buonaparte, by whom he was countenanced and employed. He followed the army for six years, and returned to France in 1801. Then painted several pictures commemorative of Napoleon’s military achievements. He enjoyed ample patronage under both the Emperor, and the Restoration; but in his later years he fell into melancholy; and one morning his body was found in the Seine. His compositions are remarkable for boldness and facility of invention; but his colouring is frequently exaggerated. His subjects, too, though invariably treated with power, degenerate occasionally into vulgarity and theatrical display. His best picture is “The Plague at Jaffa.” He was a man of cultivated mind, and passionately fond of music.

[From the marble in the Louvre, by Debay Sen., 1827.]

214. PIERRE NARCISSE GUÉRIN. _Painter._

[Born in Paris, 1774. Died at Rome, 1833. Aged 59.]

The son of an humble shopkeeper, and in early years self-instructed. As a painter he was the pupil of Regnault, under whom he soon became distinguished for facility of execution and refined composition. He subsequently studied several years in Rome. In 1822, appointed Director of the French Academy. He was not distinguished either for design or colour; but his figures are full of expression. His subjects chiefly mythological and classical.

[From the marble in the Louvre, by Auguste Dumont, 1831, author of the
statue of Louis Philippe, at Versailles, and lately deceased.]

215. COMTE D’ORSAY.

[Born in Paris, 1798. Died there, 1852. Aged 54.]

A man of fashion, endowed with exquisite taste and with great talent for the cultivation of art. He resided many years in England, where he influenced the taste of a portion of society, and practised sculpture and painting as an amateur. Towards the close of his life he withdrew to Paris, and there received an appointment in connexion with the fine arts, from his former friend the Emperor of France. He had engaging manners, a kind heart, and an open hand. Possessed of great personal beauty, he was not wanting in manly attributes, being athletic, and skilled in arms and horsemanship.

[This excellent work and admirable likeness is by W. Behnes.]

216. MADEMOISELLE FELIX RACHEL. _Tragic Actress._

[Born at Munf, in Switzerland, 1821. Still living.]

The daughter of poor Hebrew parents. In 1831, this famous actress made her debût at the Theâtre Molière, in Paris, as Hermione in “Andromaque;” but without giving indication of the genius she has subsequently displayed. In 1841, she first appeared in England, and from that time has won unbounded admiration, and maintained an undivided supremacy both here and in France. French dramatic poetry, which ordinarily finds no welcome in English ears, is reconciled to our taste as it falls from her lips. Her excellence consists in the emphatic expression of deep feeling and passion, in the thrilling effects which she is able to produce, even by a whisper, and in her independent superiority over the traditions and conventionalities of the stage. She is the least unnatural of French tragedians; yet is not so natural as to be able altogether to conceal her art. The spectator never forgets that an actress is before him; is never carried away by an irresistible impulse. Rachel, great as she is, is always the same, even to the motion of a garment, and the raising of her hand. Hence, the impression made by a first representation is far more potent than any that may follow. She lacks ideality and refinement. Her temperament stands between her and her ability to inspire the spectator with a perfect belief in her earnestness, and in her love of the beautiful and good.

[Bust by Ludwig Wichmann. Plaster. 1844. The original in possession of
the artist.]

217. DIANE DE POITIERS.

[Born 1499. Died at Arret, in France, 1566. Aged 67.]

At 13, married Louis de Brézé, Grand Sénéchal of Normandy, who died in 1531. At the age of 48 she became the favourite mistress of Henry II. of France. Her influence was used, except where she was herself biassed by religious prejudices, invariably for good and commendable objects. Her talents were commanding, and her beauty continued unimpaired by age. She was created Duchess of Valentinois, and her power was well appreciated abroad. One of her daughters by De Brézé married the son of the Duc de Guise, afterwards Duc d’Aumâle.

[A portrait of the time.]

POETS AND DRAMATISTS.

218. PIERRE CORNEILLE. _Dramatist._

[Born at Rouen, in France, 1606. Died in Paris, 1684. Aged 79.]

The father of French tragedy. Educated by the Jesuits. During the early part of his career, monastic exhibitions were the only dramatic performances in vogue in France. When the French began to draw their dramatic inspirations from Spain, Corneille was the first to take real advantage of the movement. He dramatized the first youthful achievement of the Cid with extraordinary success. It soon became the custom to say of anything deserving applause, that “it was as good as the Cid.” Then followed his drama of “Les Horaces,” considered a masterpiece of French tragedy, a species of composition which is not to be criticized by the rules that we apply to the great productions of our own stage. “Cinna” and “Polyeucte” followed, both efforts of undoubted genius. In 1642, elected member of the French Academy. The claims of Corneille upon our regard not to be over estimated. The French drama was yet in the block when he took up his artist tools. Grandeur of thought, elevation of sentiment, and heroism of character are wrought out in all his productions, which have exercised a momentous influence upon succeeding times in France. Corneille was simple and almost rustic in his manners and appearance. Very proud, but very shy. Ambitious of glory, yet disdaining the society of the great, even up to the greatest. He had a commanding person, and expressive features. When he died he was poor, almost to want. Napoleon had a lofty idea of Corneille’s knowledge of government. “Had he lived in my time,” said the Emperor, “I should have taken him into my council.”

[This is from the original marble, by Caffieri, in the Comédie
Française. There is a statue of him at Versailles done in 1836, by M.
Laitie. Both are taken from painted portraits.]

219. JEAN DE ROTROU. _Dramatist._

[Born at Dreux, in France, 1609. Died there, 1650, Aged 41.]

One of the creators of French tragedy. To him Corneille is indebted for the idea of founding a tragedy upon the subject of the Cid--for it was at his instigation that the great master first looked to the Spanish stage for inspiration and guidance. Rotrou gloried in the success of Corneille, and generously maintained his superiority over all dramatic writers in France--including himself. He left thirty-seven dramatic pieces, and many of them exhibit power and great felicity of language. He enjoyed a civil office in his native town, where he was much respected. He was cut off by an epidemic.

[The original is in marble, by Caffieri. The costume is of the time of
Louis XIII.; but the bust must have been done from some painted
portrait, as it bears the date of 1783, and Caffieri was not born
until 1723.]

220. JEAN DE LA FONTAINE. _Poet._

[Born at Château Thierry, in France, 1621. Died in Paris, 1695. Aged
74.]

A great French poet! His fables in verse, published when he was forty years of age, placed him at once amongst the first writers in verse that France had produced, and created an epoch in French literature. As a writer of fables he is probably not surpassed by any writer of any country. His life was full of vicissitudes. He succeeded his father, as Keeper of the Royal Domains at Château Thierry, but deserting both his wife and his occupation, he went to Paris, where he formed a lasting friendship with Molière, Racine, and Boileau. A pension saved him from starvation; and losing this with the fall of the Minister, Fouquet, who gave it, he was again rescued by the charity of Henrietta of England, daughter of Charles I., and wife to the Duke of Orleans. Upon the death of this princess, he was again fortunately provided for by Madame de Sablière, in whose house the poet lived for twenty years. In society, La Fontaine was dull, silent, and subject to absence of mind. In his youth he was remarkable for his aversion to poetry. He lies buried by the side of Molière, who ever regarded him with affection, and who discovered his genius years before it was acknowledged by the world. His style is easy, sprightly, graceful, witty, pointed, and inimitably naïve.

[This is from the bust in terra cotta in the Théâtre Français, by
Caffieri. It has served as the authority for that by Dessine, at
Versailles, and the statue in the Vestibule of the Admirals, by M.
Seurre, done in 1837. Unfortunately, none of these could have been
modelled from the life.]

220A. JEAN DE LA FONTAINE. _Poet._

[By Auguste Dumont.]

221. MOLIÈRE. _Dramatist._

[Born in Paris, 1622. Died there, 1673. Aged 51.]

The real name of Molière was Jean Baptiste Poquelin. That which is associated with his renown was assumed when he became an actor, and “disgraced” his family, who cut Jean Baptiste away from the genealogical tree,--the father of Molière being _valet de chambre_ to Louis XIII. Like our own Shakspeare, Molière was an actor as well as a writer of plays. He forsook the study of the law for the stage, and at the age of 24 was making his way in the provinces, where he produced comedies, in which he himself acted. In 1658, he returned to Paris, and by the favour of Louis XIV. opened the theatre of the Palais Royal. His new comedies produced there attracted crowds. His latest work was “The Imaginary Invalid,” brought out in 1673. He played the principal part himself, and during the fourth representation, was carried a dying man from the stage. The rites of Christian sepulture, denied, as a matter of course, to the player, were not conceded to the author who had satirized hypocrisy in his well-known comedy of “The Hypocrite.” Molière was beloved by his contemporaries: he was generous and warm-hearted--the friend of Condé, Boileau, and Racine. He is by far the first writer of Comedy in modern times. His place is close to the side of Shakspeare, for, like the English writer, he successfully addresses all countries and all ages, appealing to no limited, local, and accidental condition of the human mind, but striking home to the universal and unchangeable heart of man, as it everywhere throbs. Beyond the humorous faculty, he possessed earnestness of feeling, and a deep tone of passion. He was a man of tender heart; and of all French writers, he is the least French.

[From the marble in the Louvre.]

222. THOMAS CORNEILLE. _Dramatist._

[Born at Rouen, 1625. Died at Andelys, 1709. Aged 84.]

Younger brother of the great Corneille, with whom he lived until his death in brotherly affection. Inspired by his brother’s success, he early devoted himself to dramatic composition, and, like his illustrious brother borrowed from Spain the materials for his earliest attempts. The labours of Thomas Corneille found even more approbation with contemporary audiences than those of Pierre; but the majority of the younger brother’s many comedies are now forgotten. The services rendered by Thomas to philology are perhaps more useful and lasting than his contributions to the drama. He published a supplementary Dictionary to that of the French Academy, and wrote other works. In his old age he lost his sight. He died honoured and beloved.

[By J. J. Caffieri, 1785. There is a copy of it at Versailles, in
marble, by M. Chenillion, dated 1836. The original was taken from an
authentic picture by Jouvenet, which belonged to the Countess of
Bouville, daughter of Corneille, a copy of which picture was given to
the Comédie Française by Caffieri.]

223. PHILIPPE QUINAULT. _Poet._

[Born at Felletin, in France, 1635. Died in Paris, 1688. Aged 53.]

A lyrical poet of great reputation, and the most famous writer of French operas. His earliest works were tragedies and comedies, but in 1670, after his election to the Royal Academy, he allied his verse to music, and did not sever the union until he altogether eschewed dramatic composition. He furnished to Lully, the musician, the words for his first opera, and continued to aid that composer until Lully’s death. Towards the close of his days, Quinault, influenced by religious scruples, ceased to write for the stage. His lyrical productions have great tenderness, and melodious sweetness, and are happily and eminently adapted to their alliance with the sister art.

[From a bust in terra cotta, by Caffieri, which was the model for that
in marble placed in the public room of the Opera, at Paris, and for
another in the Bibliothèque Généviève, at Paris.]

224. NICOLAS BOILEAU. _Poet and Satirist._

[Born at Crosne, in France, 1636. Died at Paris, 1711. Aged 75.]

One of the illustrious writers of his time. His labours went far to fix the character and purity of the French language, and his sharp criticisms have exercised ever since his day a salutary influence upon the literature of his country. He ridiculed with singular acuteness the false taste of his generation, and endeavoured to point out the true principles of composition. His “Art Poétique” is considered by many, as rivalling the “Ars Poëtica” of Horace. His humorous and heroic poem of “Le Lutrin,” written to illustrate his theory that an epic ought to have a slender groundwork, abounds in fanciful and sportive wit. He was the friend of Molière, Racine, and Lafontaine, and the great Condé was his patron. A generous and charitable man, an upholder of religion, but a sworn hater of hypocrisy. Constant in his friendships, and always ready to forgive injuries.

[From a marble, by François Girardon, in the Louvre, a sculptor born
at Troyes, in Champagne, 1630, and died 1715.]

225. JEAN RACINE. _Dramatist._

[Born at La Ferté Milon, in France, 1639. Died there, 1699. Aged 60.]

Racine was the Euripides of France, as Corneille was her Æschylus. The first excelled in impassioned tenderness, the last in power and sublimity. Corneille borrowed from the Spanish stage; Racine took his inspiration from the ancients, whom he studied with ardour and effect. He published “Phèdre,” one of his best tragedies, when he was thirty-eight years old, but, disgusted with the envy which he raised, he resolved to renounce the theatre ever afterwards. He did not keep his word; for some years later, at the request of Madame de Maintenon, he wrote his beautiful drama of “Athalie,” which, it would seem, was not appreciated at the time. His versification is sweet, expressive, and harmonious; and his plays are remarkable for grace and feeling. He was himself beloved for his simplicity, modesty, and genuine character. He was too sensitive to adverse criticism.

226. JEAN FRANÇOIS REGNARD. _Dramatist._

[Born in Paris, 1655. Died at Dourdan, in France, 1709. Aged 54.]

A celebrated comic writer of France, and a man of many adventures. Returning from an Italian journey, he was taken by pirates, and sold to slavery in Algiers. Whilst there he was sentenced to become a Mussulman, or to be burnt alive. Ransomed by the French Consul in 1681, he resumed his travels northwards. In 1683, he took up his abode in Paris, and wrote comedies, which became very popular,--the most successful being “The Gamester,” produced in 1696. Regnard had an inexhaustible fund of humour. Voltaire has said that “he who is not pleased with Regnard, is not entitled to admire Molière.”

[In marble, by J. J. Foucon, signed and dated 1779. There is a copy of
this bust at Versailles.]

227. CHARLES RIVIÈRE DUFRESNY. _Dramatist._

[Born in Paris, 1648. Died 1724. Aged 76.]

A versatile genius! A musician, a poet, a draughtsman, a gardener, and an architect. And most improvident withal! Was in the service of Louis XIV. first as valet-de-chambre, then as Inspector of the Royal Gardens. In the latter capacity, he was the first to introduce the English style of gardening into France. He enjoyed a pension; but for an inconsiderable sum he sold both place and pension, and soon became penniless. Then took to writing for the theatre as a last resource for bread. Few of his plays met with, or deserved, success; but one or two have recognised merit. He received fresh favours from the King, and the Duke of Orleans conferred upon him a handsome gift of money. But nothing could save Dufresny from himself. He fell in his age into deep poverty, and so died.

[From the marble by Augustin Pajou, signed and dated 1781. A sculptor
and professor in the Academy of Paris, and one of the best of his
time. He died in 1809.]

228. PROSPER JOLYOT DE CRÉBILLON. _Dramatic Author._

[Born at Dijon, in France, 1674. Died in Paris, 1762. Aged 88.]

Styled the _Æschylus_ of France. Educated by the Jesuits, and intended for the law, he produced, in 1705, his first play, “Idomeneus.” A subsequent effort, the tragedy of “Rhadamistus,” placed him at once in advance of all the tragic poets who lingered on the stage after Corneille and Racine had quitted it. Disgusted, at a later period, with Court neglect, and the decline of popularity, he withdrew from the world, and passed a life of abstinence amidst a large number of cats and dogs, whose attachment, he said, consoled him for man’s ingratitude. In 1731, elected a member of the French Academy. Towards the close of his days the sun once more smiled upon his fortunes. He received a pension through Madame Pompadour of 2,400 French livres; and the King of France caused his works to be printed at the Louvre press. As a tragic author he takes high rank. Too fond of dealing in horrors, but all his works have warmth, energy, and varied action. He was proud, independent, and alive to his own defects.

[The marble bust from which this was taken was executed after a model
from the life, by the celebrated sculptor, J. B. Lemoyne, in 1760. The
marble was carved by J. B. Huez, in 1778, as the inscription tells us.
The only notice of Huez, who has often been considered the author of
the bust, is in “Les Salons” of Diderot, where he is mentioned amongst
the contributors to the exhibitions of the day, and not in
complimentary terms. Lemoyne was a Parisian, and died in 1778. He did
many busts.]

229. PHILIPPE NÉRICAULT DESTOUCHES. _Dramatist._

[Born at Tours, in France, 1680. Died 1754. Aged 74.]

In his youth served as a volunteer in the French army. Then adjoined to the embassy in Switzerland, where his leisure enabled him to follow the bent of his fancy, and to write for the stage. His plays were as popular as his diplomatic skill proved useful. He found favour with the Duke of Orleans, who attached him to the mission of Dubois, when that minister, in 1717, went to London. His diplomacy still pleased the Regent, who, unfortunately, died too soon for Destouches. But the dramatist had been prudent; and upon the death of his patron, he retired with a sufficient fortune to his estate, and sought consolation in the pursuits of agriculture and philosophy. His plays won applause rather by the interesting situations of which they were full, than by subtle development of character.

[From the only bust of him, by P. F. Berruer, done in 1781 and signed.
Berruer was a member of the Paris Academy, and died in 1797.]

230. ALAIN RÉNÉ LE SAGE. _Novelist._

[Born at Sarzeau, in France, 1683. Died at Boulogne-sur-Mer, 1741.
Aged 58.]

The author of “Gil Blas” and the “Devil on Two Sticks.” A poor man, notwithstanding the success of his novels. Becoming deaf, he used a speaking-trumpet in the presence of intelligent visitors; when other visitors came to him he gravely put the instrument into his pocket. An inimitable painter of human nature, ranking with the few immortals whose creations appeal to all times. Proud and independent, though amiable of disposition. Devoted to the pursuits and joys of a literary life.

231. ALEXIS PIRON. _Poet._

[Born at Dijon, 1689. Died 1773. Aged 84.]

A wild and dissolute spirit. The author of one admirable comedy, “La Métromanie,” which may take rank with the dramatic productions of the best period in France, and of seven volumes of compositions which have long ceased to float on the broad river of fame. Piron was the son of an apothecary at Dijon, and after almost breaking his father’s heart by his follies, he was obliged to flee his native town in consequence of the publication of an indecorous effusion written amidst the fumes of an orgie. He went to Paris, and there for nine years lived in great indigence, supporting himself as a copyist. Then he took to writing for the minor theatres, with more or less success, until 1738, when he produced his masterpiece, already mentioned. It secured him a place at once amongst the best dramatists of his country. In 1753, he applied for a vacant seat in the Academy, and was refused. He revenged himself by composing a satire and the following epitaph:--

“Ci-git Piron, qui ne fut rien,
Pas même Académicien.”

“Here lies Piron--a nullity--
Not even an Academician.”

[This is an admirable bust, by Caffieri, dated 1775. Copied at
Versailles by M. Pigalle.]

232. PIERRE CLAUDE NIVELLE DE LA CHAUSSÉE. _Dramatist._

[Born in Paris, 1692. Died there, 1754. Aged 62.]

He is regarded as the inventor of sentimental comedy in France (_Comédie larmoyante_.) Hugh Kelly’s “False Delicacy” made the invention known in England, and Foote’s “Piety in Pattens” ridiculed it. Pierre de la Chaussée was a French Academician. His writings gained for him considerable fame during his life, and La Harpe ranks him amongst the authors who have conferred honour upon the French theatre.

[In marble, by Caffieri. 1785.]

233. FRANÇOIS MARIE AROUET DE VOLTAIRE. _Historian, Poet, and Wit._

[Born at Chatenay, in France, 1694. Died in Paris, 1778. Aged 84.]