Here we admire the statues of MONTESQUIEU, FONTENELLE, VOLTAIRE,
ROUSSEAU, HELVÉTIUS, CRÉBILLON, PIRON, &c. &c. The tombs of the
learned MAUPERTUIS and CAYLUS, and also that of Marshal D'HARCOURT,
give a perfect idea of the state of degradation into which the art of
design had fallen at the beginning of this century; but the new
productions which decorate the extremity of this spacious hall are
sufficient to prove to what degree the absolute will of a great
genius can influence the progress of the arts, as well as of the
sciences. VIEN and DAVID appeared, and the art was regenerated.
Here, too, we find a statue, as large as life, representing Christ
leaning on a pillar, executed by MICHAEL ANGELO STODTZ. I notice
this statue merely to observe, that the original, from which it is
taken, is to be seen at Rome, in the _Chiesa della Minerva_ where it
is held in such extraordinary veneration, that the great toe-nail of
the right foot having been entirely worn away by the repeated kisses
of the faithful, one of silver had been substituted. At length this
second nail having been likewise worn away, a third was placed, of
copper, which is already somewhat worn. It was sculptured by MICHAEL
ANGELO BUONAROTI.
We experience an emotion of regret at the aspect of the handsome
monument by MICHALLON, on learning that it was erected to the memory
of young DROUAIS, a skilful and amiable artist, stopped by death, in
1788, during his brilliant career, at the early age of 24. He has
left behind him three historical pictures, which are so many
master-pieces.
The beautiful statue of the youthful Cyparissus, by CHAUDET, the most
eminent French sculptor, reminds us of the full and elegant form of
the fine Greek Bacchus, which decorates the peristyle of the
antichamber or Hall of Introduction.
Thus the amateur and the student will find, in this Museum, an
uninterrupted chronology of monuments, both antique and modern,
beginning by those of ancient Greece, whose date goes back to two
thousand five hundred years before our era, to examine those of the
Romans, of the Lower Empire, of the Gauls, and thence pass to the
first epoch of the French monarchy, and at length follow all the
gradations through which the art has passed from its cradle to its
decrepitude. The whole of this grand establishment is terminated by a
spacious garden, which is converted into an