FROM NICOLAS POUSSIN TO COROT
French seventeenth-century Art does not offer any such difficult
problems as those presented to us by the portrait-painters who lived and
laboured during the period of the Clouets, for the artists of this
latter period in most cases were accustomed to sign their names to at
least a certain number of their works, whereby they can be easily
identified.
On the very threshold of this new Art-development we find the Brothers
le Nain, who, choosing a totally different type of work, kept aloof from
kings, princes and courtiers and devoted their attention chiefly to
scenes of peasant life. _Le Repos des Paysans_ at the Louvre is one of
their best and most characteristic works. So also are _La Forge_ and a
portrait of _Henry II de Montmorency_, the last of his race, which ought
to be at Chantilly. There is in the Cabinet Clouet at the Musée Condé a
powerful portrait of _Dr. Fagon_, physician to Louis XIV, by Mathias le
Nain. Chardin, who continued in their tradition a century later, is
unfortunately not represented in the Musée Condé.
Nicolas Poussin also adopted a style of his own, although it was of a
different kind. He was greatly attracted by the antique and his heart
was set on visiting Rome, whither, after long struggles in Paris, he at
length found his way. There he received from the painter Domenichino the
necessary training for the work which he desired to take up. The French
sculptor Quesnoy befriended him, and the poet Marino introduced him to
Cardinal Barberini, who commissioned from him two pictures: _The Death
of Germanicus_ and _The Capture of Jerusalem_. When fame came to him
France reclaimed him. He was greatly favoured by Richelieu and entrusted
with the decoration of the Louvre. He found, however, a rival in this
enterprise in the person of Simon Vouet; and difficulties arose, because
Poussin claimed his right to carry out the whole work independently and
on his own responsibility. Finding that he could not attain this object,
he returned to Rome under the pretext of fetching his wife and never
returned. He lived thenceforth in Italy; for, like the Brothers le Nain,
he had no desire to become a Court Painter. His pictures were,
nevertheless, greatly admired in France during his lifetime; and there
are no less than nine large canvases by him in the Galerie des Peintures
at the Musée Condé, besides numerous drawings. Amongst these may be
noted: _The Infancy of Bacchus_; _Theseus finding his Father's Sword_
(with a striking architectural background); and _Numa Pompilius and the
Nymph Egeria_, a composition wherein the artist displays to the full
his skill in dealing with romantic landscape. A drawing of _Daphne[131]
flying to her father's protection_ who transforms her into a
laurel-bush, has special charm and shows those characteristics which he
handed on to his brother-in-law and pupil Dughet, called after him
"Gaspar Poussin." There are two landscapes by the latter at Chantilly
(Galerie des Peintures): _An Alley in a Wood_, and _A View of the Roman
Campagna_, a subject of which he never tired. His sunsets foreshadow
those of Claude Lorraine, who in his power of rendering atmospheric
effect and the rays of the sun was only equalled by Turner some
centuries later. The National Gallery and the Louvre possess some of
Claude's finest landscapes, while Chantilly has chiefly drawings,
amongst which the most noteworthy are the _Castello di S. Angelo_ and
the _Aqueducts of the Roman Campagna_.[132]
[Illustration: PLATE LXXII.
DAPHNE METAMORPHOSED INTO A LAUREL TREE.
_Photo. Giraudon._
_Musée Condé._
Nicolas Poussin.]
Philippe de Champaigne, who came in his youth to France from Brussels,
was a college friend of Poussin at Laon in 1623; and shares with him
that same sense of freedom in his work. Poussin reached his goal in Rome
through classical work, whilst Philippe de Champaigne devoted himself to
portraiture, in which class of work he was most assiduous. His portraits
of _Cardinals Richelieu_ and _Mazarin_ in the Musée Condé came from
the Gallery in the Palais-Royal and are magnificent examples of his
methods.
Another portrait-painter who deserves mention here is Jacques Stella,
who painted the _Grand Condé_ as the Hero of Rocroy, at the age of
twenty-two--a portrait which is singularly attractive and has a special
historical interest. This painting, which was always highly prized by
the Bourbon-Condé family, now hangs in the Galerie des Batailles.
Another portrait of the same personage, painted after he had reaped
further laurels at Fribourg and at Nördlingen, is by Beaubrun, the same
artist who painted his only sister _Geneviève de Bourbon_. Both these
pictures are in the Cabinet Clouet.
A figure which stands out with some insistence amongst French artists of
the seventeenth century is Charles Le Brun. He was first of all a pupil
of Simon Vouet, but becoming acquainted with Nicolas Poussin and urged
on by enthusiasm for his work, followed this master to Rome. Returning
to Paris with an established reputation, he fell in with Colbert, who
perceived in him the very person needed for the Gobelins Factory. Le
Brun fully realised these expectations since he not only organised this
great concern but subsequently, with the assistance of Van Meulen,
furnished designs for a _History of the Kings of France_, which was
presently reproduced in tapestry in those celebrated workshops. He was
also the founder of the French Academy in Rome; and Louis XIV, who
conferred on him the office of Court Painter, took him to Flanders
during the campaign of 1676. The portrait at Chantilly of _Pomponne de
Bellièvre_, first President of the Parlement of Paris (engraved by Van
Schuppen), represents his skill as a painter of portraits. His work can,
however, be more profitably studied in the Galerie d'Apollon at the
Louvre.
Eustache Le Sueur, another pupil of Simon Vouet, earned fame by his
decorative work in the Hotel Lambert at Paris and by his _Scenes from
the Life of St. Bruno_, now in the Louvre. He is represented at the
Musée Condé by some fine drawings.
When Colbert was supplanted by Louvois another painter came to the front
in the person of Mignard, also a pupil of Vouet. He studied in Rome,
where he copied a number of paintings in the Farnese Gallery for the
Cardinal of Lyons, Richelieu's brother. He married the beautiful Anna
Avolara, daughter of a Roman architect and model for his _Madonnas_, for
which there was a great demand. No sooner had he acquired a certain
amount of fame than the King of France commanded him to return home. On
the way, however, he fell ill, and had to stop at Avignon. Here he first
became acquainted with Molière; and the portrait which he painted of
this great poet is beyond doubt his _chef d'oeuvre_.[133] It occupies
a prominent position in the Tribune at Chantilly, where it commands
much attention and admiration. The great esteem in which the author of
_Tartuffe_ was held by the Grand Condé is well known and it is by a
singular piece of good fortune that the best of all the existing
portraits of Molière should have found its way into the Musée Condé. If
Mignard--and not without reason--is sometimes accused of superficiality,
this complaint must surely be modified by the evidence of this portrait,
which displays an artist of very considerable power.
There is at Chantilly another portrait by Mignard of special interest.
It is that of _Madame Henriette d'Angleterre_, the beautiful and
ill-fated daughter of Charles I, first wife of Philippe, Duc d'Orléans,
the King's brother. He also repeatedly painted likenesses of the young
King himself, including one sent to Spain to be shown to his intended
bride the Infanta Marie Thérèse.
At a maturer age Louis XIV was painted by Rigaud, a pupil of Le Brun.
The portrait of him at Chantilly (Cabinet Clouet) is a smaller replica,
signed by the painter himself, of the larger work executed in 1701 for
his son, Philip V of Spain--a painting which was, however, kept back at
Versailles and is now in the Louvre.
Hyacinthe Rigaud was considered a great portrait-painter and many
personages of note gave him commissions. There is also a fine portrait
at Chantilly by his younger contemporary and follower, Largillière, of
_Mademoiselle Duclos_, a celebrated _tragédienne_ who made her _début_
at the Comédie Française in 1683. She is here portrayed in the rôle of
_Ariane_ (Salle Caroline), and her sumptuous robes are painted with all
the care and minuteness so characteristic of this artist. These
qualities are again displayed in a portrait of the _Princess Palatine,
Charlotte Elizabeth_, second wife of Philippe d'Orléans and mother of
the Regent. In this portrait Largillière shows his highest talents, and
had it not been for the fact that "Liselotte" (although already
middle-aged) followed the taste of her time by permitting herself to be
painted as a Naiad this would perhaps have been one of the most faithful
likenesses of this interesting princess.
[Illustration: PLATE LXXIII.
LOUISE-HENRIETTE DE BOURBON CONTI.
_Photo Braun & Co._
J. M. Nattier.
A FRIEND OF THE CONDÉS.
_Photo Braun & Co._
Largillière.]
Largillière resided for many years in England and studied for some time
under Sir Peter Lely. On his return to Paris he was taken up by Charles
Le Brun. His style belongs as much to the seventeenth as to the
eighteenth century. Elegance and luxury, and a touch of serenity prevail
in all his portraits. Mariette was greatly struck by his personal vigour
and tells us that he went on working even up to his eighty-sixth year.
Although too often over-exuberant he generally succeeded in imparting to
his patrons great liveliness of aspect, and they _live_ still, clad in
their most sumptuous apparel. Such is the portrait of the elegant
"_Unknown_"[134] at Chantilly, once in the Collection at the Palais
Bourbon; from which circumstance we may suppose that the sitter was some
intimate friend of the Condé family.
By Jean Marc Nattier there is at Chantilly a life-size portrait of
_Mademoiselle Nantes_, daughter of Louis XIV by Madame de Montespan, and
wife of the Duc de Bourbon, grandson of the Grand Condé. Her daughter
Louise Henriette, who married the Prince de Bourbon Conti, was also
painted by Nattier[135]; and by the same artist--one of his best
works--is the above-mentioned portrait of _Charlotte Elizabeth
Soubise_,[136] the young wife of Louis Joseph, Prince de Condé,
represented plucking carnations in the gardens at Chantilly.
Nattier's portraits of the Royal Family of Bourbon, both in the Louvre
and at Versailles, are very numerous. He painted every one of Louis XV's
daughters[137] and many other fair women, who, however, bear a strong
general resemblance to one another, whereby his portraits are often
rendered conventional and monotonous.
It is therefore rather refreshing to turn from Jean Nattier to Desportes
and Oudry, who both stand on the threshold of the eighteenth century and
who revived realistic landscape painting--an art which had practically
lain dormant since the days of Pol de Limbourg; for Claude Lorraine and
the Poussins had directed it into wholly diverse channels. _Briados_ and
_Balthazar_, two Spanish hounds formerly belonging to the House of
Condé, are exquisitely painted by Desportes, who was highly thought of
by all lovers of the chase and was a constant guest at the
hunting-parties held in the various French châteaux. A painting by him
in the Louvre representing a _Huntsman with his dog and bag of game_
standing in a fine landscape shows his skill at its very best.
Oudry's compositions come very near those of Desportes: for example, his
_Chasse du Loup_ and _Chasse du Renard_ at Chantilly, both of which are
noted in the _Inventory_ of the Palais Bourbon. Oudry was encouraged by
Largillière to take up decoration also, which he did with conspicuous
success. He was admitted into the Academy in 1699, and being appointed
to the Directorship of the Tapestry Factory at Beauvais instilled new
life into that interesting branch of art, which had sadly decayed under
the direction of Charles Le Brun's imitators. His graceful talent shows
itself in certain exquisite designs from La Fontaine's _Fables_ executed
in tapestry at this factory. His favourite abode was the forest around
Chantilly; and there he spent much time in painting animals direct from
nature. By insisting that his ideas should be accurately transcribed he
trained the weavers at Beauvais with much care, thus preparing the way
for Boucher, the decorative genius of the next generation. A splendid
Gobelins tapestry, executed after a cartoon by Boucher, adorns one side
of the Grand Staircase at Chantilly. It represents a young woman seated
in a garden to whom a boy and girl are offering fruit and flowers. On
the opposite wall there is another tapestry from the workshop of
Audran, executed after de Troy.
A copy in this collection (intended for the purposes of an engraving) by
Boucher of a portrait of _Watteau_ by himself is not devoid of interest;
but it is in the Louvre, at Versailles, and above all in the Wallace
Collection, rather than at Chantilly, that we derive a clear idea of
Boucher's light and graceful style. His _Sunrise_ and _Sunset_ on the
staircase of Hertford House are considered to be among the finest of his
creations. Madame de Pompadour, who was his enthusiastic patroness,
frequently sat to him in a variety of attitudes; although his great
talent was not portraiture, but decorative work, whereby he marks a
decidedly new phase in French Art.
* * * * *
After an exceptionally long reign Louis XIV had at last passed away. He
had asserted himself as strongly in Art as he had done in politics and
it is worthy of note that, immediately after his death, artists were
once more able to take their own independent courses. At this point,
therefore, in the history of French Art we come upon a somewhat sudden
change, visible also in the art of the cabinet-maker and the decorator.
The later Bourbon Kings and Queens left their gorgeous salons and took
refuge (with evident personal relief) in smaller and homelier chambers.
These less imposing apartments, however, also required suitable
decoration and serviceable furnishings: and it was here that Boucher
found his opportunity. The boudoir with its delicate colouring and
elegant upholstery played a significant rôle under the reigns of Maria
Leczinska and Marie Antoinette, and the _petits appartements_ at
Versailles became examples of a new style. Paintings on a smaller scale
suitable for these graceful _bonbonnières_ were soon in demand; and from
these it was but a step to the taste of Watteau, who is perhaps the most
typical artist of this period. _Plaisir Pastoral_, _l'Amante Inquiète_,
and _l'Amour Désarmé_ at Chantilly are fine examples of this artist's
work. _Le Donneur des Sérénades_ in the Musée Condé, of which there is a
similar composition at Buckingham Palace belongs to his later period,
that is to say, to the last five years of his life. This work is said to
represent Mezetin (one of the leading actors at the Comédie Italienne
established at the Hôtel du Bourgogne) seated on a bench in a classic
garden tuning his guitar. The _Amante Inquiète_, which forms a pendant
to this picture, is of equal merit. Everything in these small paintings
is refined and elegant, even to Nature herself--a style far more typical
of Watteau, than the scenes of camp-life which mark his stay at
Valenciennes in 1709. A study in red chalk of a _Warrior_, preserved in
the Rotunda at Chantilly, recalls this period. In his sketches, of which
a great number are in the Louvre, Watteau exhibits his talent as a
draughtsman of the highest order and as a worthy pupil of Claude Gillot,
the earliest creator of the style for which Watteau became so famous.
His relations with Crozat, the famous financier and collector, who was
the first to recognise his genius, began in 1612, and it was in his
palace that he had an opportunity of studying paintings by the great
Venetian masters and landscapes by Rubens, both of which so decidedly
influenced his subsequent style. There are exquisite pictures by him in
the Louvre and in the Wallace Collection. His _Ball under the Colonnade_
at Dulwich is very famous.
[Illustration: Plate LXXIV.
Photo. Giraudon.
JOSEPH AND POTIPHAR'S WIFE.
By Prud'hon.
Photo. Giraudon.
THE GUITARPLAYER.
By Watteau.
Musée Condé.
_To face page 25_]
Lancret was a younger contemporary of Watteau, and observing his success
adopted his style; without, however, attaining to his eminence. His
_Déjeuner de Jambon_ in the Galerie des Peintures at Chantilly presents
a company of merry-makers on the point of becoming riotous; and opposite
to it hangs a companion picture by de Troy entitled _Le Déjeuner
d'Huîtres_. The host in this latter composition--a figure dressed in
scarlet--is probably a Prince of the House of Orleans presiding at a
feast in the Palais Royal. Many of the guests represented are said to be
personages well known in their day: for King Louis Philippe was still
able to distinguish them by name. They are certainly enjoying their
oysters and iced champagne; and the satisfaction of the well-fed is
clearly exhibited in their features and gestures.
Together with this group of artists mention must be made of Christophe
Huet, designer and decorator of the _Grande Chinoiserie_ at Chantilly.
These decorations in a style so much in vogue in the seventeenth and
eighteenth centuries were once attributed to Watteau, Gillot, Oudry,
and others until an Account, dated 1741, was found in the Archives of
Chantilly disclosing the name of Christophe Huet. They cover the panels
of the so-called "Salon des Singes." Scenes and episodes from the chase
and the tea-party, architectural effects and other subjects, all are
carried out in a pseudo-Chinese style. Apes clad in Condé uniforms and
carrying flags act as outriders or grooms under the direction of
grim-looking mandarins robed in gorgeous Oriental apparel. Besides the
decorations here there is on the ground floor of the Château a "Petite
Singerie" decorated in very much the same style: humorous scenes,
wherein female monkeys are riding or occupied with their toilet. Jean
Baptiste Huet, son of this Christophe, was also repeatedly commissioned
by Prince Louis Joseph de Condé to paint pictures of his favourite
animals.
The celebrated painter of pastels, Latour, is represented at Chantilly
by a portrait of _Madame Adelaide de France_, daughter of Louis XV. His
portraits, now recognised as even superior to those of Boucher and
Lancret, are fine studies of character, but they are very rare. The
pastel of the handsome _Marie Fel_, an opera-singer from Bordeaux by
whom this artist was befriended, is very celebrated; and a group of
portraits at St. Quentin place him in the foremost rank of French
portrait-painters. His pre-eminent talents have been fully recognised by
modern students of the French School.
His contemporary, Peronneau--till recently known chiefly as an engraver
of the works of Boucher, Van Loo, and others--is now known to be the
artist who painted a charming _Portrait of a Girl_ in the Louvre and
other pastels. Rosalba Carriera's great success in that medium is also
well known. The young King Louis XV, the Regent, and many other
important personages were painted by her, and in her time she put into
the shade both Latour and Peronneau.
Duplessis brings us to the time of the Revolution, when ruin fell upon
so many of the artists of that day. His portrait of the _Duchesse de
Chartres_, mother of Louis Philippe and grandmother of the Duc d'Aumale,
is at Chantilly. She is seated in a garden, lost in profound sorrow at
the departure of her husband to a naval engagement, symbolised by a ship
disappearing in the distance: a refined and graceful presentation of a
charming woman capable of winning the hearts of all around her. The
portraits of _Louis XVI_ and of the _Comte de Provence_ by this painter
in the Musée Condé are considered to be among the best likenesses of the
last Bourbon Kings. Duplessis held the post of Administrator of the
Galleries at Versailles.
Greuze, like Watteau, marked out a special line of his own; and with him
French bourgeois Art reappears once more. His domestic scenes were
described by Diderot as follows: "_Cet artist est le premier entre nous
qui se soit avisé de donner des murs dans l'art_." This remark applies
to his _Malédiction Paternelle_, _l'Accordée du Village_, etc.
[Illustration: PLATE LXXV.
_Photo. Giraudon._
Young Girl.
By Greuze.
Musée Condé.]
His charming _Portrait of a Young Girl in a little cap_ at Chantilly
represents Georgette, daughter of his concierge in Paris; and she can be
recognised again in the same artist's _l'Accordée du Village_ in the
Louvre, and perhaps also in the painting of a _Young Girl winding Wool_,
lately added to Mr. Pierpont Morgan's Collection. The pendant to
_Georgette_ in the Musée Condé is a portrait of a _Young Boy_, her
brother. These two paintings, together with _Le Tendre Desir_, belong to
the artist's best period, whilst _La Surprise_ is a work of his old age.
This last work exhibits to us the curious fact that a problem which had
steadily pursued him throughout his long life--namely, how to paint the
first awakenings of love in a maiden's mind--still puzzled him at the
age of nearly eighty. It is certainly an irony of fate that after a
romantic attachment to a young Italian Countess--whose portrait he
painted, but whom he was prevented from marrying--he should have
returned to Paris, to become the husband of a woman much older than
himself, who presently made his life almost unendurable. It was perhaps
the memory of this youthful idyll which induced him to paint so often
those young maidens whose faces smile at us from the walls of so many
Galleries throughout Europe. The _Young Woman in a Hat_ in the Wallace
Collection is perhaps the most fascinating of them all, since nothing
can surpass the grace and piquancy of expression in her lovely
countenance.
Greuze was in high favour with the Royal Family, and it is believed that
he painted a portrait of the Dauphin at the Tuileries after the
unfortunate flight to Varennes, and another of his elder sister, Madame
Royale, when in the Temple. The great upheaval of the Revolution struck
Greuze also, and as a painter he became no longer the fashion. His wife
squandered his fortune and he died in poverty, slaving to the very last.
The portraits at Chantilly of _Marie Antoinette_ (in 1795) and of
_Madame de Pompadour_, two of the loveliest women of their day, are by
Drouais, a pupil of Van Loo and Boucher. The happy days of Trianon were
not yet over when these were painted, and the Dauphine of France,
presented here as _Hebe_, seems to be at the height of her glory and
charms. How different to the careworn and haggard woman whose portrait
hangs in the Musée Carnevalet over the very bed occupied by her in the
Temple before her execution!
Madame Vigée Le Brun carried the style of Greuze, at one time her
master, into the middle of the nineteenth century. She is represented in
the Musée Condé (Cabinet Clouet) by several small portraits: _Marie
Caroline, Queen of Naples_, painted in 1768, and her two daughters,
_Marie Thérèse Caroline_, wife of Francis II Emperor of Austria, and
_Marie Louise Josephine_, wife of the Grand Duke of Tuscany. Whilst the
first two of these appear to be copies of already existing pictures the
portrait of _Marie Louise Josephine, Queen of Etruria_, shows special
merits and seems to be taken directly from life, probably during one of
Madame Le Brun's tours in Italy. A strong vitality is expressed in her
beautiful face, forming a marked contrast to the portrait of her mother,
the Queen of Naples. Madame Le Brun, who, in spite of her sex became a
member of the French Academy, was one of Marie Antoinette's favourite
painters. After the Revolution she established herself in St. Petersburg
and did not return to Paris until 1801, when she was enthusiastically
welcomed. She painted many of the most celebrated beauties of her day,
but all these portraits seem to bear the mark of a period then fast
disappearing.
Louis Joseph de Bourbon, about 1787, commissioned Fragonard to paint
small portraits of the Princes and Princesses of the Royal House[138] of
Bourbon and the House of Bourbon Condé. Among these are portraits of the
_Dauphin Louis_, son of Louis XVI, and of the _Duc d'Enghien_ by whose
tragic death the Condé family became extinct. Fragonard was a pupil of
both Boucher and Chardin. He went to Italy with the Prix de Rome and in
1765 was elected a member of the Academy. He excelled in every style of
painting--_genre_, landscape, portraits, interiors, and historical
subjects. When in 1765 he exhibited his _Callirhoé and Corésus_ (a
subject taken from the poet Roy) Diderot and Grimm thought for a moment
that he might resuscitate the art of historical painting in France. This
picture was bought by King Louis XV but was never paid for, and
Fragonard returned to his portrait-painting, which he accomplished with
very great brilliance and rapidity. There is a series of these portraits
in the La Caze section of the Louvre, chiefly representing the actors
and actresses of his day. His remarkable talent for decorative painting
reveals itself in certain designs destined for Madame Du Barry's
pavilion, but stupidly condemned by her advisers. When the Revolution
broke out, the artist fled to Grasse to escape imprisonment and the
scaffold taking these paintings with him, and there completed the series
by a fifth composition. The whole set are now in the collection of the
late Mr. J. F. Pierpont Morgan.
Fragonard in some of his work rose to the level of Watteau and he
certainly surpassed Boucher: but, like Greuze, he suffered the
humiliation of seeing himself pass out of fashion, supplanted by the
rising sun of Louis David.
It certainly is to be regretted that Fragonard was not also commissioned
to paint the above-mentioned life-size portrait of _Louis Joseph de
Bourbon_ at the Musée Condé. This privilege was given to a Madame de
Tott, an artist quite unknown in the history of Art. She was a
contemporary of Bartolozzi, who engraved her picture, and thus handed
down her name to posterity; for we read upon it, "_Madame de Tott
pinxit--Bartolozzi sculpsit_."
Louis Petit, another indifferent painter of the same period, executed a
portrait of the last _Prince de Conti_ in hunting costume. This Prince
left France with his Orleans cousins during the Revolution and died in
Spain. To the same artist is attributed the portrait of _Louis Henri de
Bourbon, Duc d'Enghien_. He has an interesting face, recalling that of
his ancestor the Great Condé, but there is a touch of melancholy in his
expression, telling of adversity endured and apparently foreshadowing
his tragic death. His father, the last Prince de Condé, who during the
French Revolution lived chiefly in England, was painted by Danloux, a
Frenchman who had also sought shelter on the hospitable shores of Great
Britain. This Prince is here represented as leader of the Condé forces,
that is, of the French _émigrés_; and we can detect the influence of
Reynolds and Gainsborough in the light, harmonious colouring of the
composition, which was bought by the Duc d'Aumale from a descendant of
Robert Claridge, in whose house the last Condé lived during his exile.
By Charles Vernet, son of the celebrated marine painter Joseph Vernet,
there is at Chantilly a large landscape with a hunting scene. It was
painted during the Directoire, and _Philippe Egalité_ and his son the
_Duc de Chartres_ (afterwards _Louis Philippe_) may be distinguished in
the foreground. Charles Vernet delighted in depicting horses and scenes
of sport, a style rendered even more famous by his son Horace Vernet.
There are no less than four pictures by the latter in the Musée Condé:
_The Duc d'Orleans (Louis Philippe) asking for hospitality from the
Monks of St. Bernard_; a portrait of _Louis Philippe_, while still Duc
d'Orléans; _Le Parlementaire et le Medjeles_, in which the various
Algerian types are represented in glowing colours; and _Louis Philippe
entering the gates of Versailles attended by his sons_. This latter is a
reduced copy by Perrault of the large original at Versailles, painted to
commemorate the occasion when Louis Philippe handed over the Palace of
Versailles, with all its treasures of art and historical reminiscences,
to the French Nation as a Public Museum.
We now come to an artist whose place is upon the threshold of the
nineteenth century--namely, Pierre Prudhon. A sketch of a _Venus_ at
Chantilly is a study for the picture _Venus and Adonis_, which made his
name at the Salon of 1812. Most fascinating are _Le Sommeil de Psyché,
Homage à Beauté_, and a sketch[139] of _Joseph and Potiphar's Wife_:
elegant and graceful creations recalling the style of Greuze; who in
point of fact admired his work greatly, and said of him, "This man will
go farther than I have done." David and his set contemptuously
designated him as the "_Boucher of to-day_"; but Napoleon commissioned
him to paint portraits of both his Empresses, _Josephine_ and _Marie
Louise_, and conferred upon him the Cross of the Legion of Honour.
For his own portrait the Emperor chose his official painter, Gérard,
who was at that time considered so great an exponent of this branch of
art that he was styled "_the painter of kings_" and "_the king of
painters_." Napoleon is represented by him as _First Consul_; and the
expressive eyes, the mouth displaying power to command and the broad
forehead partially concealed by a mass of hair, recall the great Roman
whom he emulated and with whom he loved to be compared. The painter, no
doubt, purposely accentuated in this portrait such facial resemblances
as he was able. This commission was executed at the Tuileries in 1803.
At the Fall of the Empire Gérard was presented by Talleyrand to Louis
XVIII; and later still in 1820 Louis Philippe commissioned him to paint
a portrait of the _Duchesse d'Orléans_ (afterwards Queen Marie Amélie)
in a white robe adorned with pearls. This painting was highly treasured
by the Duc d'Aumale, who out of filial affection hung it above his bed,
where it still remains.
Another portrait by Ary Scheffer of the same royal lady as a widow is
also here. This was painted at Claremont during the exile of the Orleans
family; and by the same artist is a portrait of the _Duc d'Orléans_,
Louis Philippe's eldest son, who met with an untimely end in a carriage
accident. But Ary Scheffer's _chef d'oeuvre_ at Chantilly is a
portrait of _Talleyrand_, the most renowned and brilliant man of the
Revolution,--a painting bequeathed to the Duc d'Aumale by his friend
Lord Holland.
Ary Scheffer's greatest pupil was Puvis de Chavannes, who far surpassed
his master in the art of exquisite line--a characteristic especially
noticeable in his painting of _Ste. Geneviève_ in the Pantheon, where he
shows us the Patron Saint of Paris watching over her beloved city; and
again in another painting of _St. Mary Magdalen_ at Frankfort. This
artist is unfortunately not represented at Chantilly; nor is Jacques
Louis David, whose vast canvases, the _Sacre et l'Intronisation de
l'Empereur_ and _La Distribution des Aigles_, are so conspicuous in the
Louvre. In spite of the comments of Diderot--who very wisely pointed out
that the chief aim of the ancients was to reproduce Nature and that
those who merely copied archaic painters were doing just the reverse of
those whom they were trying to imitate,--public taste followed David and
discarded their former favourites, Greuze and Watteau.
Ingres, David's pupil, is represented at Chantilly by some of his finest
work. There is in the first place _His Own Portrait_ painted at the age
of twenty-four--a fine work, grand in its very simplicity--which Prince
Napoleon always desired to possess and which the artist could hardly
refuse to present to him. It passed thence into the possession of Reiset
in 1868 and eventually in 1879 became the property of the Duc d'Aumale.
A most impressive picture is _Stratonice_ (Tribune), painted for the Duc
d'Orléans, who desired it as a pendant for Delaroche's _Assassination of
the Duc de Guise_. It was painted at the Villa Medici in Rome, where it
aroused great enthusiasm. His princely patron generously gave him 63,000
francs for it, which was double the price agreed upon.
Another greatly admired composition by him at Chantilly is a _Venus
Anadyomène_, which bears close affinity to the famous _La Source_ in the
Louvre.
The genius of Paul Delaroche brings us into the nineteenth century. His
style has been characterised as the _juste milieu_; for he neither
affected the manner of the Neo-Classics nor did he lean too much toward
the Romantics. Never was a cowardly and dastardly murder better depicted
than in his treatment of the _Assassination of Henri, Duc de Guise_. The
King, Henri III, pale and trembling, emerges from behind a curtain to
gaze upon his slaughtered victim, whilst the hired assassins gloat over
their ghastly deed. This picture, which hangs in the Tribune, was
painted by Delaroche specially for the Duc d'Orléans.
We now come to Eugène Delacroix, who, in company with Gericault, is
considered as the pioneer of Romanticism. His _Capture of Constantinople
by the Crusaders_ at Chantilly is a vividly composed representation of
this important event. _The Two Foscari_ (Tribune) depicts one of the
greatest tragedies in Venetian history. The Doge Francesco Foscari is
shown to us sitting in judgment upon his own son, whom he is condemning
to torture and banishment as a traitor to his country. The anguish of
the son and the stern despair of the old father are suggested with
wonderful skill. Delacroix's greatest efforts were, however, directed
against the paralysing influences of Academism; and his paintings in the
Palais Bourbon and in the Galerie d'Apollon in the Louvre prove him to
have been the finest colourist of the later French School.
Another artist of the Romantic School is Descamps, who is represented at
Chantilly by no less than ten paintings and several water-colours.
Amongst these a _Turkish Landscape_, painted during the artist's early
period, is perhaps the most attractive. On one side of the picture all
is mystery and darkness, whilst upon the other fall the rays of a golden
sunset. The problems of light and shade, to which he devoted himself so
earnestly up to the very end of his career, are here treated with great
effect. The same idea pervades his painting of _Turkish Guards on their
way from Smyrna to Magnesia_. A town with minarets is to be seen in the
background; a dark blue sky flecked with luminous white clouds; camels
and their riders; all breathing that dreamy oriental sensation which
appealed to him so strongly, and which he was never weary of
reproducing.
Eugène Fromentin, who was as celebrated as a writer as he was as a
painter, is represented in the Musée Condé by one of his finest
landscapes. Transported to the Marshes of Medeah, a country so well
described by him in his book _Un Éte dans le Sahara_, we see in the
foreground three Bedouin chiefs, mounted on splendid Arab steeds,
engaged in hawking. The atmosphere is transparent and clear, refreshed
as it were by a recent shower, and the sky is flecked by white clouds.
This artist, who died in 1876, was one of the most accomplished men of
his time.
By his contemporary Meissonier there are several paintings at Chantilly;
the most important being _Les Cuirassiers de 1805 avant le Combat_. The
moment is just before a projected attack; and the look of strained
expectation upon the faces of the combatants is admirably expressed.
Napoleon, surrounded by his staff, is easily recognised; and in the
varying expressions of the long line of horsemen we perceive looks of
determination to win or die. The reproach made by Mauclair to Meissonier
that his style suffered from lack of originality and was copied from
Dutch artists, if sometimes well founded, may at any rate be questioned
by this picture. His _La Vedette des Dragons sous Louis XV_, though
small in dimensions, is another important historical picture, whilst
_Les Amateurs des Tableaux_ recalls a similar composition in the Wallace
Collection.
[Illustration: PLATE LXXVI.
ARAB CHIEFS HAWKING IN THE DESERT.
_Photo Giraudon._
_Musée Condé._
Eugène Fromentin.]
Meissonier's best pupil was Jean Baptiste Detaille, the famous painter
of battle-pieces. There is a picture of his at Chantilly entitled _Les
Grenadiers à cheval à Eylau_,[140] where a gallant French officer with
the cry "_Haut les Têtes_" leads his regiment on to victory. This is
one of the _chef d'oeuvres_ of this artist, whose recent death is so
much to be deplored.
Of quite a different nature are the allegorical paintings of P. J. Aimé
Baudry. The excellence of this master lies principally in decoration, as
may be seen by his _Vision of St. Hubert_ in the Galerie des Cerfs; and
he may be considered one of the most talented of the French artists who
flourished during the second half of the nineteenth century.
Winterhalter, who, although a native of Baden, acquired his artistic
education in Paris and Rome, was one of the Court Painters to both Louis
Philippe and Napoleon III. His portrait of the _Duc d'Aumale_ at the age
of eighteen, as Commander of his regiment before his victorious campaign
in Algiers, is at Chantilly; and there is here also a companion portrait
of the _Duchesse_ as a young bride. She is clad in white, with a single
rose in her fair hair, and her face is full of refinement and delicacy.
Landscape-painting in France at the beginning of the nineteenth century
had undeniably become conventional and tame; but quite suddenly this
stagnant condition came to an end, and a revolution set in, caused by
the exhibition of Constable's paintings _The Hay Wain_ and _A View near
London_ in the Paris Salon of 1827. These pictures, purchased and
exhibited in Paris by a French connoisseur, created intense interest in
the French World of Art; and it is alleged that they were the immediate
cause whereat French artists suddenly emerged from the studios wherein
they had lingered so long and proceeding to the woods of Fontainebleau,
began working from Nature herself. They awoke to recognise their own
defects, already denounced by Chateaubriand, who had declared that
French landscape-painters ignored Nature.
Throughout the studios French artists warmly discussed the work of
Constable, upon whom Charles X, at their special desire, conferred the
Médaille d'Or; and it was suggested that the _Charette_ (_The Hay Wain_,
now in the National Gallery) should be acquired by the French Nation.
S. W. Reynolds, Constable's friend and pupil, whose exquisite little
picture of the _Pont de Sèvres_ hangs in the Tribune at Chantilly, at
this time also removed to Paris in order to satisfy the general demand
for engravings of his master's works.
But if the Barbizon School owed much to Constable, it is also certain
that Constable and Wilson owed an equal debt to Claude Lorraine; and
Turner perhaps even more so.
By Corot there is but one painting at Chantilly, but it is one of his
finest works. Everything in this picture breathes a spirit of peace and
joy; the sky, the earth and the graceful young women--one of whom is
playing a viola and another singing, whilst their companions listen or
are plucking fruit--give a cheerful note to this vision of content.
[Illustration: PLATE LXXVII.
THE GRENADIERS AT EYLAU.
_Photo Giraudon._
Détaille.]
It is styled _Le Concert Champêtre_[141] and recalls his series of
paintings entitled _Souvenir d'Italie_. Corot appears to have commenced
his studies in the woods at Fontainebleau even before Millet, Rousseau
and Diaz, so that he may fairly be styled the _doyen_ of the now famous
Barbizon School.
By his pupil A. P. C. Anastasi there are several landscapes at the Musée
Condé, one of which represents _Amsterdam at Eventide_.
That Millet is absent from this collection is much to be regretted; but
by Theodore Rousseau there are several landscapes, small in point of
size, but nevertheless exhibiting this artist at his best; as for
example, _Le Crépuscule en Sologne_ and _Fermes en Normandie_. Ary
Scheffer was the first artist to understand and befriend Rousseau when
he started away on lines of his own, and it was through the kind offices
of this painter that one of his first pictures was bought by the Duc
d'Orléans. His landscapes in Auvergne are early works; and those painted
at Barbizon--such as the pictures above named--are later and more
finished achievements.
Dupré, by whom there are three early works, _Port St. Nicholas_, _Paris_
and _Le Soleil Couchant_, accompanied Rousseau in 1841 to the
neighbourhood of Monsoult, where they were frequently visited by Barye,
Corot, and Daubigny. There is at Chantilly by this last artist a sketch
of the _Château de St. Cloud_, a charming record of a spot full of
memories, now no more. By Diaz de la Pena, the last of this group of
painters, there is a wreath of flowers and birds painted in vivid
colours upon the ceiling in the boudoir of the Petit Château once used
by the Duchesse d'Aumale; and by Ziem (known as the "Painter of Venice")
there is a landscape, _Les Eaux Douces d'Asie_, a subject magnificently
treated by Diaz in a composition now in the Wallace Collection.
Monticelli, Diaz's greatest pupil, the leading painter of the Second
Empire and a great admirer of the Empress Eugenie, is unfortunately not
represented here; nor are there any examples of the early French
Impressionists. For here the Hand of Death intervened.
[Illustration: PLATE LXXVIII.
_Photo. Giraudon._
"Concert Champêtre."
By Corot.
Musée Condé.]
With Léon Bonnat's fine portrait of the _Duc d'Aumale_ our description
of the paintings at Chantilly comes to an end; but attention should yet
be drawn to various pieces of sculpture exhibited in the apartments of
the Château, on the terraces, in the gardens and in the Park. A fine
figure of _Jeanne d'Arc_ by Chapu is in the Rotunda, whilst a group of
_Pluto and Proserpine plucking daffodils_ by the same sculptor is on the
Great Terrace. Here also is the equestrian statue of the _Grand
Montmorency_ by Dubois; and not far from it a life-size figure of the
_Grand Condé_ by Coysevox, surrounded by busts of _Bossuet_, _La
Bruyère_, _Molière_ and _Le Nôtre_. Copies in marble from the antique
and the renaissance adorn the niches and plinths of the mansion and the
avenues of the Park. A figure of _St. Louis_ by Marqueste surmounts
the roof of the Chapel and Jean Goujon's reliefs ornament the Altar
within. The famous portrait in wax of _Henri IV_ is in the Galerie de
Psyché; and busts in marble of the _Grand Condé_ and of _Turenne_ by
Derbais, of _Richelieu_ and of the last Princes of the House of
Bourbon-Condé, are placed in the Cabinet des Livres and in various other
rooms. Fine bronzes by Barye, Mène, Fremiet and Cain, adorn the
mantel-pieces and consoles; whilst some exquisite enamel portraits by
Limousin are exhibited in the Salle des Gardes.
Most interesting, and worthy of more than a passing notice, is the
collection of Chantilly Porcelain, an industry founded in 1730 by the
Duc de Bourbon. A set of porcelain made at that time was placed in the
King's Bedroom.[142]
In the centre of the Galerie des Peintures stands a fine bust of the
_Duc d'Aumale_ by Dubois, and in the Marble Hall lies his recumbent
figure in full uniform by the same artist, a cast[143] of the marble
figure upon his tomb in the Cathedral at Dreux.
And so with the death of the man his work came to a close. But his
genius as a collector has furnished France with one of the finest Homes
of Art in the World; and she does well to remember with gratitude this
scion of the Bourbon race, who stretched out his hand to expiate much.
Every lover of Art throughout the world, and every wayfarer who in his
wanderings finds his way to Chantilly, may well stand amazed at this
collection and praise its creator. Nor in passing out should he fail to
give a last glance at the silent effigy: a glance in which gratitude
should be mingled with that emotion which ever holds the thoughtful
spectator of departed greatness.
[Illustration: PLATE LXXIX.
TOMB OF THE DUC D'AUMALE.
_In the Cathedral at Dreux. Cast at Chantilly._
Paul Dubois.]
INDEX
Abdul Kader, Duc d'Aumale's victory over, 117
_Accordée du Village, Le_, by Greuze, 262
_Adoration of the Magi_, by Jean Fouquet, 190, 191
Ahasuerus. See King
_Ailly, Heures de._ See Books of Hours
Aix-la-Chapelle, Peace of, 79
Albano, a work by, 132
Albret, Duc de. See Condé, fifth Prince de
Albret, Henri de, King of Navarre, portraits of, 136, 141, 223
Albret, Jeanne de, Queen of Navarre, marriage, 16;
a Protestant, 17;
helps the Huguenots, 21;
sudden death, 22, 243;
portraits of, 22, 141, 224, 225, 226, 230, 235
Aldine editions in the Standish Library, 129
Alençon, Duc de, portraits of, 141, 182, 245
Alençon, Mme. Vendôme de, portraits of, 222, 223, 239
Alençon, Mlle. de, and Duc d'Enghien, 69
Alexandra, Queen, visits Chantilly, 122
_Alley in the Wood, An_, by Dughet, 250
Allori, Alexander. See Bronzino
_All Saints' Day_, by Fouquet, 194
_Amante Inquiète_, by Watteau, 258
_Amateurs des Tableaux, Les_, by Meissonier, in the Wallace Collection, 272
_Amazon_ of the Vatican, a statuette, 137
Amboise, Cardinal George de, owner of _Valere Maxime_, 158
Ambrogio di Spinola, Marchese. See Spinola
Amélie, Queen, and the Duc d'Aumale's marriage, 117
"Amico di Sandro," 149
_Amour Désarmé, Le_, by Watteau, 258
_Amphitryon_, poem by Molière, 75
_Amsterdam at Eventide_, by Anastasi, 275
Anastasi, A. P. C., 275
_Angelic Choir_, miniature by Simon Marmion, 197
Angers, disaster of, 25
Angleterre, Mme. Henriette de, portrait of, 253
Angoulême, Duc de. See Francis I
Angoulême, Duchesse de (formerly Diane de France), marriage, 9;
portrait of, 151
Angoulême, Marguerite (sister of Francis I), portraits of, 141, 216, 228;
manuscript of, 158
Anjou, Duc de. See Henri III
Anjou, Louis II of, King of Sicily, portrait of, 201
Anne of Austria, character, 40;
and the Grand Condé, 44, 45, 47, 55, 56, 64;
and Princesse de Condé, 52, 54
Anne of Bavaria, marriage of, 69
Anne de Bretagne (wife of Louis XII), miniature of, 138;
Prayer Book of, 198;
portrait of, 208;
_Tournois_ tapestry, 208, 209;
medal of, 210;
her daughter's marriage, 216
_Annunciation_, by Francia, 145;
by the Limbourgs, 173;
by Jean Fouquet, 184, 189, 193
Antioch, Jean de, translates Cicero's _Rhetorics_, 157
_Antiochus and Stratonice, The Story of_, by Ingres, 135
_Antiquitates Judæorum_ of Josephus, miniatures by Jean Fouquet,
155, 181, 182, 185, 189, 200
_Arab Chiefs Hawking in the Desert_, by Fromentin, 272
_Architecture, Treatise on_, by Filarete, 180
_Ariane._ See Duclos Mille.
Aristotle's _Ethics_, 157
Armagnac, Comte de, war with Duc de Bourbon, 162
_Arsenal_ MS., 159 _n._
_Artemisia, History of_, 244
Artois, Duc de (afterwards Charles X), marriage, 101, 102;
leaves France, 104;
at Coblenz, 109, 110
_Ascension, The_, by Jean Fouquet, 192
Ashmolean Collection at Oxford, 241
_Assassination of the Duc de Guise, The_, by Delaroche, 134, 269, 270
_Athena of Lemnos_, famous bronze, 136
Aumale, Duc de (Henri d'Orléans), Lord of Chantilly: _Histoire des
Princes de Condé_, 38, 40, 74, 132;
military success in Algiers, and marriage, 117;
birth of a son, 118;
an exile in England and return to Chantilly, 119-123;
his scheme to bestow Chantilly on the French nation, 122-124;
his second banishment, 124;
return and welcome back to Chantilly, 124, 125;
equestrian statue of, 125;
portraits of, 126, 137, 177 _n._, 220, 273, 276, 277;
collects the art treasures of the Musée Condé, 129-153;
Victor Hugo's letter, 147;
on Raphael's _Three Graces_, 149;
French illuminated manuscripts at Chantilly, 154-164;
the Cabinet des Livres, 156;
_Les Très Riches Heures du Duc de Berry_, 165-178;
works of Jean Fouquet, 179-195;
Jean Perréal, Bourdichon, and others, 196-210;
Jean Clouet, 211-226;
François Clouet, 225-247;
from Nicholas Poussin to Corot, 248 _et seq._;
tomb of, 278
Aumont, Duc de, portrait by Quesnel, 142
Auneau, Victory of, 26
Austria, Elizabeth of, portrait of, 234, 235;
miniature of, 243
Austria, Margaret of, and the _Très Riches Heures_, 162, 163;
and Jean Fouquet, 181;
and Jean Perréal, 209
_Autumn_, by Botticelli, 145
_Avant et après le Combat_, by Protais, 135
Averoldi family, _Ecce Homo_ purchased from, 135
Ayr Collection, portrait of Prince Orlant, 198
_Bacchus and Ariadne_, antique sarcophagus, 137
Baccio del Bene, Italian author, 220
_Ball under the Colonnade_, by Watteau, 259
_Balthazar_, a Spanish hound, by Desportes, 255
Bandol, Johannes, painter, 200
Barbançon, Princesse de, by Van Dyck, 132
Barberini, Cardinal, and Quesnoy the sculptor, 249
Barbizon school, 274, 275
Bardon, M., painter, 8
Baroccio, Federigo, painter, 132
Bartolozzi, _Louis Joseph de Bourbon_, 265
Barye, bronzes by, 277
Bassompère, Maréchal de, his marriage, 11
Battave, Godfrey le, his work, 204
Baudrey, P. J. Aimé, allegorical painter, 273
Bavaria, Marie Anne of, portrait of, 138
Béarn, Henri de, and the Protestants, 21
Beaubrun, his portraits of _Comte de Cossé Brissac_, _Mme.
and Mlle. de Longueville_, 12, 133;
_the Grand Condé_, 251
Beaujeu, Anne de, and Jean Perréal, 207 _n._
Beaujeu, Pierre de, 183
Beauneveu, André, a _Book of Hours_, 177 _n._;
_Antiquitates Judæorum_, 182
Bellay, Du, poet, and Marguerite de France, 220, 221
_Belles Heures de Jean de Berry_. See Book of Hours
_Bellièvre_, _Pomponne de_, portrait of, 252
Benedict XIV, Pope, portrait by Subleyras, 142
Berenson, Bernard, _A Sienese Painter of the Franciscan Legend_, 145 _n._
Berghe, Comte de, portrait by Van Dyck, 132
Bernal Sale, 133, 134
Berry, Duc de, _Les Très Riches Heures_, 130, 160, 161, 165 _et seq._;
his illuminated manuscripts, 157;
portrait of, 201
Berry, Duchesse de, at Chantilly, 91
Bersuire, Pierre, translator of Livy's _Second Decade_, 157
Bethune album, 241
Bethune, Philippe de, portrait by François Quesnel, 246
_Betrayal_, by Jean Fouquet, 191
_Bible Historiée_, 200
_Bible Moralisée_, 179
_Birth of St. John the Baptist_, by Jean Fouquet, 188, 190
Bissolo, _Madonna holding the Infant Christ_, 145
_Boccaccio_ at Munich, 181, 182, 185
Bodleian Library (Oxford), 151
Boileau, N., celebrated French poet, a guest at Chantilly, 75
Boissy, Gouffier de, Battle of Marignan, 6
Boisy, Le Grand Ecuyer de, portrait of, 244
Bonheur, Rosa, _A Shepherd in the Pyrenees_, 135
Bonnat, Léon, portrait of _Duc d'Aumale_, 126, 276
Bonnivet, Gouffier de, Battle of Marignan, 6
Book of Hours:
(1) of fourteenth century, owned by François de Guise, 150
(2) of Anne de Beaujeu, 198 _n._
(3) of Anne de Montmorency, 158
(4) of Catherine de Medicis, 215
(5) of Étienne Chevalier, miniatures by Jean Fouquet, 152, 181
(6) belonging to Maurice de Rothschild, 160
(7) _Belles Heures de Jean de Berry_, also called _Heures d'Ailly_,
by Limbourg brothers, 179, 184, 185
(8) _Heures d'Anjou_, 200
(9) _Heures d'Aragon_, by Bourdichon, 198
(10) Livres d'Heures, 202
(11) _Très Belles Heures_, or _Hours of Turin_, by Hesdin, 165, 177 _n_.
Book of Hours--_Cont._
(12) _Très Riches Heures du Duc de Berry_, by the Limbourg brothers,
130, 152, 154, 156, 158, 160, 162, 164 _et seq._
Bora, Catherine de, portrait by Pourbus, 142
Bordeaux, Claire-Clemence at, 52, 53;
as a Republic, 59, 60;
surrenders to the King, 62
Bossuet, Jacq., the famous Prelate, at Chantilly, 83;
and the Grand Condé, 86-88;
statue of, 89;
on Fouquet's _Enthronement of the Virgin_, 194;
bust of, 276
Botticelli, Sandro, _Autumn_, 145;
_Simonetta Vespucci_, 146;
other drawings, 147
Boucault, Jeanne, wife of Jean Clouet, 211, 224;
portrait of, 222
Boucher, François, French painter, _Watteau_, 143, 257;
cartoon by, 256
Bouchot, Henri, 199, 204, 208, 235
Bouillon, Duchesse, joins the Fronde, 45;
portrait of, 242
Bourbon, Anne Marie de, death of, 92
Bourbon, Antoine de (afterwards King of Navarre);
portraits of, 16, 136;
and the Guises, 18, 20
Bourbon, Caroline Auguste de, marriage to the Duc d'Aumale, 117
Bourbon, Charles de, the famous Constable, death, 16
Bourbon, Duc de. See Bourbon, Louis Henry Joseph;
Condé, sixth, seventh, and eighth Princes de
Bourbon, Geneviève. See Longueville, Mme. de
Bourbon, Henri I de. See Condé, second Prince de
Bourbon, Henri II de. See Condé, third Prince de
Bourbon, Henri de, King of Navarre. See Henri IV
Bourbon, Henri Jules de. See Condé, fifth Prince de
Bourbon, Jacob de, 16
Bourbon, Louis I de. See Condé, first Prince de
Bourbon, Louis II de. See Condé, fourth Prince de
Bourbon, Louis Henry Joseph de (Duc d'Enghien, son
of eighth Prince de Condé, known as Duc de Bourbon,
last of the Condés), birth, 96;
early marriage, 97;
at Chantilly, 98, 99;
separated from his wife, 100;
leaves France, 104, 105;
return to Chantilly, 111;
death of his father, 113;
reconciliation with and death of his wife, 113;
and his godson, 114;
death, 114, 115;
portraits of, 114, 266
Bourbon, Louis Joseph de. See Condé, eighth Prince de
Bourdelot, Jean, and the Grand Condé, 84
Bourdichon, a follower of Jean Fouquet, 197, 207;
his works, 198, 199
Bourdillon, Lescueur, portrait of, 203
Bourgogne, Antoine de, the _Grand Bâtard_, portraits of, 62, 142
Bouts, Dierick, _Procession_, 146
Braganza, Duc de (afterwards King of Portugal), betrothal, 124;
assassination, 124 _n._
Brandenburg, William, Margrave of, guards the Rhine, 82
Brantôme, P. de: Diane de France, 9;
Louis de Bourbon, 19;
Duc d'Anjou, 24 _n._;
the Dauphin, 217;
Diane de Poitiers, 231;
Henri de Mesmes, 242
"Brasseu," daughter of Diane de Poitiers, a member of _la petite band_, 228;
portrait of, 239
Brentano, Herr, purchase and sale
of forty miniatures by Jean Fouquet, 152, 186
Bretagne, Anne de. See Anne de Bretagne
Bretagne, François, the Duke of, tomb of, 42, 209
_Breviary_, fourteenth century, 150, 151;
of Belleville, 160;
_Grimani_, sixteenth century, 162, 163, 168
Brézé, Maréchal de, 35
_Briados_, a Spanish hound, by Desportes, 255
Bridgewater _Madonna_, 140
Brignole, Marie Catherine de, the widowed
Princess of Monaco, marries eighth Prince de Condé, 109
Brissac, Maréchal, portrait of, 238, 239
British Museum, the _Gallic War_, 157;
_Book of Hours_, 186;
Salting Collection, 230, 231, 242
Bronzes, 136, 277
Bronzino, Le (Alexander Allori), painter, 132
Broussel, Councillor, and Cardinal Mazarin, 44, 45
Bruges, Jean de, 200 _n._
Bruisbal, Scipion, 240
Brun, Charles Le, Court-painter to Louis XIV, 84;
and the Gobelin Factory, 251, 252
Brun, Mme. Vigée Le, her works, 137, 263, 264
Bruyère, La, educates the Condés, 85;
and Mme. de Langeron, 87;
bust of, 276
Budos, Louis de, death of, 9
Buffant, Jean, once possessor of _Breviary Grimani_, 163
Bugato, Zanetta, 148
Bugenhagen, Jean de, portrait of, 142
Bullant, Jean, architect, 6, 240;
altar of Senlis marble, 123
Bussel, a follower of François Clouet, 245
Buti, Catherine, in _La Toussaint_, 194
_Cabinet des Livres_ at Chantilly, 156
_Cabotière, La_, 32
Cæsar's Commentaries, 157
Cain, bronzes, 277
_Calendar_ of months in _Book of
Hours_, 152, 154, 156, 158, 160, 162,
164, 166 _et seq._, 178
_Callirhoé and Corésus_, by Fragonard, 264
Canaletto, Antonio, 147
_Canaples, Mme. de_, portrait of, 244
_Canaples, Sieur de_, portraits of, 223
Cantillius, a Gallo-Roman, origin of name Chantilly, 3
_Capture of Constantinople by the Crusaders_, by Delacroix, 270
_Capture of Jerusalem_, by Poussin, 249
Carlisle, Lord, his collection of French drawings, 151
Carmontelle, M., collection of, 143, 144;
portrait of, 144
Carracci, Annibale, paintings in Musée Condé, 84, 132, 135
Carriera, Rosalba, 261
Carron, M., his designs from the _History of Artemisia_, 244
_Castello di S. Angelo_, by Claude, 250
Cellini, Benvenuto, _Apollo guiding the Chariot of the Sun_, 141;
_Life of_, by R. H. Cust, 222 _n._
Champaigne, Philippe de, portraits of _Mazarin_ and _Richelieu_, 134;
his work, 250
Champion, Jean, 212
Chandus, portrait of, 223
Chantilly, Château of (see also Musée Condé), owners of, 1 _et seq._;
origin of name, 3;
the Montmorencys, 3-15;
improvements and restorations, 5, 66 _et seq._, 89, 90, 92, 118, 119, 121;
windows, 5, 8;
pictures of, 6, 50;
the Petit-Château, 7;
its beauty, 9, 10;
and the Condés, 16 _et seq._;
confiscation and restoration of, 32, 106, 109, 111, 112, 119,
121, 124, 125;
the Grand Condé, 33-46;
portraits, 42, 50;
return of Prince and Princesse de Condé, 56;
festivities at, 69-77, 90-92, 97, 99;
illustrious visitors, 83, 90, 92, 97-99, 118, 121-123;
famous waterworks at, 84;
pictures, 84;
used as a prison, 106, 108;
during the French Revolution, 106 _et seq._;
races at, 116;
Duc d'Aumale, Lord of Chantilly, 116 _et seq._;
Musée Condé erected, 122, 123;
bequeathed to the nation, 124, 125;
Grand Chinoiserie, 259
_Chapeau-Rouge_ party, 61
Chapu, _Jeanne d'Arc_, 276
_Chariot of the Sun_, 167
_Charlemagne, Coronation of_, 182
Charles IV of Germany, portrait of, 201 _n._
Charles V of France, portraits of, 142, 200;
his _Inventory_, 159;
imprisons the two Dauphins, 217
Charles VII, portraits by Fouquet, 181, 182, 185, 186, 191
Charles VIII, by Perréal, 203, 208
Charles IX and Prince de Condé, 23;
death, 24;
portraits by François Clouet, 141, 229, 230, 231, 244
Charles X confers the Médaille d'Or on Constable, 274
Charlotte, Elizabeth. See Princess Palatine
Charolais, Count de, at Chantilly, 95, 96
Charonton, Enguerrand, works by, 42, 146, 176, 193
_Charost_, by Quesnel, 142
Chartres, Duc de (afterwards Louis Philippe), portrait by Charles Vernet, 266
Chartres, Duchesse de, portrait by Duplessis, 261
_Chasse au Faucon en Algérie, La_, by Fromentin, 139
_Chasse du Loup_ and _du Renard_, by Oudry, 256
_Château de St. Cloud_, by Daubigny, 275
_Chateaubriand, Monsieur de_, 239
Châteauroux, Castle of, Claire-Clemence exiled to, 73
Châtillon, Mme. de, 50
_Chaudin, capitaine de la porte du Roy_, 239
Chavannes, Puvis de, his works, 269
Chavignard, Lechevallier, cartoon by, 123
_Chess._ See _Game of_
Chevalier, Étienne, _Book of Hours_, executed for, 152, 184;
portraits of, 180, 181, 182, 185, 187, 189, 194
Chevreuse, Duchesse de, 55
_Chiaroscuro_, introduction of, 177, 192
Chigi, Prince, collection of, 150
_Children of Israel led into Captivity by King Shalmaneser_, 184
Chinon, Château de, 191
_Christ, Life of_, scenes from, 173
_Christ on the Cross_, miniature, 139
Christina of Denmark, Queen, at Chantilly, 123
Christina of Sweden, Queen, and Claire-Clemence, 54
_Chronique de France_, 181, 182
Cicero's _Rhetorics_, 157
Cigongue, Armand, collection of, 130
_Cité de Dieu_, 157
Claire-Clemence (wife of the Grand Condé),
early marriage and excellent qualities of, 34;
retires to a convent, 35;
with her son at Chantilly, 41;
sudden departure, 45;
her husband's imprisonment, 49;
her escape, 51;
at Bordeaux, 52, 53, 59, 60;
obtains her husband's freedom, 54, 55;
entry into Paris, 56;
retirement to Saint-Maur, 57;
birth of second son, 61;
retires to Flanders, 62;
return to France, 64, 75;
and her son's marriage, 69;
ill-health, 70;
and the page Duval, 71;
her husband's ill-treatment, 71, 72;
exile and death, 73, 74
Claridge, Robert, and the Condés, 266
Claude, Queen (wife of Francis I), portraits of, 216, 217, 218, 239
_Clementia_, 184
Clermont, Louise de, portrait of, 228, 255
Clève, Marie de, marriage, 22;
and Charles IX, 23;
death, 24
Clève, Philippe de, portrait by Holbein, 142
Clouet, François, his works, 8, 20, 22,
26, 141, 151, 205, 208, 214, 215, 219, 223, 226-243, 246;
succeeds his father as Court-painter to François I, 225, 226;
his style of work, 227, 234, 238, 247;
death, 243
Clouet, Jean, painter to the Duke of Burgundy, 211
Clouet of Tours, Jean (son of above), court-painter to Francis I,
151, 204-208;
medal of, 210;
marriage, 211;
his methods and works, 212-226, 228, 242;
death, 227
Clouet of Navarre (son of above), 211
Clovio, Giulio, _Christ on the Cross_, 139
_Coche de Marguerite, de la_, manuscript, 158
Codex with Fouquet's miniatures, 182-184
Colbert, pastel of, 142;
and Le Brun, 251
Coligny, Admiral de, portrait of, 141
Coligny, Dandelot de, 42
Coligny, Gaspard, on the death of Francis II, 19;
and the Condés, 21;
death, 23
Coligny, Odet de, a Cardinal, portrait of, 133, 236;
history of, 237
Colnaghi, Messrs., sell portraits and pictures to Duc d'Aumale, 133, 138
Colombe, Jean de, works of, 162, 171, 178, 197
Colombe, Michel, 209
_Colonel Lepic à Eylau_, by Détaille, 152
_Comptes de Lyon_, by Perréal, 207
_Concert Champêtre_, by Corot, 152, 275, 276
Conches Collection, 186
Condé family, the, 4, 16 _et seq._
Condé, first Prince de (Louis de Bourbon), 16;
religion and marriage, 17;
imprisonment, 17, 18;
release, 19;
infidelities, 19;
death, 20;
portraits of, 18, 136
Condé, second Prince de (Henri I de Bourbon), portrait of, 18;
and Mlle. de Saint-André, 19;
and his mother, 20;
succeeds his father, 21;
marriage, 22;
and the Protestant faith, 23, 24;
death of his wife, 24;
second marriage, 24, 25;
the War of the Four Henris, 25, 26;
becomes heir-presumptive, 27;
death, 28
Condé, third Prince de (Henri II de Bourbon), portrait of, 12;
marriage and its result, 12-15, 30;
imprisonment, 31;
and Louis XIII, 32;
death, 43;
bronze monument of, 123
Condé, fourth Prince de (Louis II de Bourbon, Duc d'Enghien,
the "Grand Condé"), baptism and education, 33;
early marriage, 34;
life in Burgundy, 35, 36;
elected general, 37;
victor of Rocroy, Thionville, and Nordlingen, 38-41;
illness, 41;
influence of women on, 42;
death of his father, 43;
victor of Lens, 43, 44;
reception by the King, 44;
puts down the Fronde, 45;
Mazarin an implacable enemy, 47 _et seq._;
imprisoned at Vincennes, 48, 49;
removed to Havre, 54;
his wife obtains his freedom, 55, 56;
betrayed by his enemies, 57;
his faults, 57;
retires to Montroux, 58;
alliance with Spain, 59 _et seq._;
entry into and retreat from Paris, 60;
financial difficulties, 61, 62;
a lost battle, 63;
returns to France, 64;
his regrets, 65;
retires to Chantilly, 66;
improvements at Chantilly, 66, 67;
refuses Crown of Poland, 69;
cruel treatment to his wife, 70-73;
her death, 73;
illustrious visitors and festivities at Chantilly, 75-77, 83;
war with Holland, 78 _et seq._;
wounded, 81;
return to Chantilly and death, 83;
interest in scientific discoveries and passion for the chase, 84;
protects the Huguenots, 85;
and his grandson, 85;
a free-thinker, 87;
his death, 88;
statues of, 89, 276;
portraits of, 251;
bust of, 277
Condé, fifth Prince de (Henri Jules de Bourbon, Duc d'Albret, Duc d'Enghien),
son of the Grand Condé, 41;
escapes with his mother, 50, 51;
educated by Jesuits, 62;
Louis XIV's entry into Paris, 65;
at Chantilly, 67;
marriage, 69;
sad interview with his mother, 73;
his mother's death, 73;
his father wounded, 81;
character, 81, 85, 90;
death of his father, 87;
succeeds and carries out his father's improvements at Chantilly, 89;
violent temper and death, 90
Condé, sixth Prince de (Louis III, Duc de Bourbon),
early marriage and education, 85, 86;
death, 91
Condé, seventh Prince de (Louis Henri, Duc de Bourbon), early succession, 91;
improvements and illustrious visitors at Chantilly, 91, 95;
Prime Minister of France, 92;
death of his wife, 92;
and the Marquise de Prie, 92-94;
resignation, 94;
second marriage, 94, 95;
death, 95
Condé, eighth Prince de (Louis Joseph), condemns the Grand
Condé's treatment of his wife, 74;
early succession, 95;
marriage and birth of a son, 96;
gained victories of Grinningen and Johannesberg, 97;
death of his wife, 97;
illustrious visitors at Chantilly, 98-104;
leaves France owing to Revolution, 104;
at Worms, 109;
retires to Wanstead House, Wimbledon, 109;
second marriage, 109;
returns to Chantilly, 111;
restores Chantilly, 111, 112;
death, 113;
and Jean Baptiste Huet, 260;
and Fragonard, 264;
portrait of, 265
Condé, ninth Prince de. See Bourbon, Louis Henri Joseph, Duc de
Condé, Henriette de Bourbon (Mme. de Vermandois), Abbess, 100
_Condé, Histoire des Princes de_, by Duc d'Aumale, 38, 74
Condé, Louise de (daughter of eighth Prince de Condé), birth, 96;
life at Chantilly, 100, 101;
and the Marquis de Gervaisais, 102, 103;
the French Revolution, 104;
retires to a convent, 109;
tragic death of Duc d'Enghien, 109, 110;
reception in England, 110;
death, 115
Condé, Mme. la Princesse Douarière de, 35
Condé, Musée, erection of, 122, 123;
bequeathed to the French nation, 124, 125;
art treasures of, and how they were brought together, 129 _et seq._;
French illuminated manuscripts at, 154-164;
_Les Très Riches Heures du Duc de Berry_, 165-178;
works of Jean Fouquet of Tours, 179-195;
of Jean Perréal and Bourdichon, 196-210;
of Jean Clouet, 211-226;
of François Clouet, 227-248;
_Catalogue Raisonnée_ of, 247;
works of painters from Nicolas Poussin to Corot, 248-278
_Condé, Sur la femme du Grand_, 34
_Confession of St. Peter_, 189
Constable, John, effect of his work on French painters, 273, 274
_Constantine, Emperor_, medal of, 175
Conti, Prince de, brother of the Grand Condé, 48;
illness, 49;
at Bordeaux, 60, 61;
and Mazarin, 64
Conti, François, Prince, nephew of the Grand Condé, 85
Conti, Louise Henriette de Bourbon, portrait by Nattier, 254
Corneille de Lyon, his works, 26, 141, 147, 218, 231, 242, 244
Corneille, Pierre, the Poet at Chantilly, 75, 83
_Coronation of Charlemagne_, by Fouquet, 82
_Coronation of the Virgin, the._ See _Virgin_
Corot, Jean B. C., _Le Concert Champêtre_, 152, 274, 275, 276
Cosimo, Piero di, _Simonetta Vespucci_, 146
Coste, Jean de, the Château de Vaudreuil, 200
Court, Jean de, Court-painter to Henri III, 244
Courtils de Merlemont, M. des, Knight of St. Louis,
imprisoned at Chantilly, 106
Coutras, Battle of, 26
Cowley, Lord, occupies Chantilly, 119
Coysevox, statue of the _Grand Condé_, 276
_Crépuscule en Sologne, Le_, by Rousseau, 275
Croix, Mlle. de la, 35
Crozat, M., the financier and collector, owned the Orleans _Madonna_, 140;
and Watteau, 259
_Crucifixion, The_, in _Les Très Riches Heures_, 177, 192
_Cuirassiers, Les_, by Meissonier, 152, 272
_Cupid and Psyche_, in windows at Chantilly, 5
Cust, H. Hobart, _The Life of Benvenuto Cellini_, 222 _n._
Cust, Lionel, _History of Art in England_, 201
Czartoysky, Prince Ladislas, marriage, 121
Damartin, Guy de, architect, 166
_Dance of Angels_, 135
Danloux, M.;
portraits by, 114, 266
Danté's _Inferno_ with _Commentary_ by Guido of Pisa, 157
_Daphne flying to her father's protection_, by Poussin, 250
Daumet, M., rebuilds the _Grand Château_, 122
Dauphin, the Grand (only son of Louis XIV.), at Chantilly, 90;
portraits of, 138, 217
Dauphin François, portraits of, 212, 217, 218, 220, 239, 244
Dauphin Louis (son of Louis XVI), portrait of, 264
David, Jacques Louis, and Prud'hon, 267;
his works, 269
Dawes, Sophie, known as Baronne de Feuchères, 115
_Death of Germanicus, The_, by Poussin, 249
_Déjeuner d'Huîtres_, by de Troy, 134, 259
_Déjeuner de Jambon_, by Lancret, 134, 259
Delacroix, Eugène, his works, 141, 270, 271
Delaroche, Paul, his works, 134, 269, 270
Delessert Sale, 139
Deligand Collection, 228 _n._, 239
Delisle, Count Leopold, 161
Delormes, Philibert, 240
Denmark and Louis XIV, 81
Derbais, M., his works, 277
Descamps, Jean Baptiste, painter, works of, 134, 139, 271
Descartes, René, and the Grand Condé, 87
_Descent from the Cross_, by Fouquet, 192, 193
_Descent of the Holy Ghost_, by Fouquet, 193
Desportes, P., poet, his works, 132, 255, 256;
and Jean de Court, 244
Detaille, Jean Baptiste, his works, 272, 273, 274
Détaille, M., his finest work, 152;
album, 241
_Devançay, Mme. de_, by Ingres, 147
Diane de France. See Angoulême, Duchesse de
Diane de Poitiers. See Poitiers
Diaz de la Pena, works of, 275, 276
Diderot, M., on Greuze, 261;
on David, 269
Dimier, L., 204;
_Bulletin de la Société Nationale des Antiquaires de France_, 240 _n._
Dinier, Louis, _Les Portraits peints de François I_, 151 _n._
_Diodorus Siculus_, translation of, 158
Disraeli, Benjamin, in praise of Duc d'Aumale, 131
_Distribution des Aigles, La_, by David, 269
_Divina Commedia_, by Dante, 194
Domenichino, Domenico, and Poussin, 249
Donato, San, Sale, 139
_Donneur des Sérénades, La_, by Watteau, 258
Dourdan, Castle of, in _Les Très Riches Heures_, 168
_Dragons sous Louis XV, Les_, 138
_Dream of a Knight, The_, by Raphael, 148
Drouais, M., portraits by, 142, 263
Duban, M., architect, 118, 122
Dubois, P., a follower of François Clouet, 245;
statue of the _Grand Montmorency_, 276;
bust and tomb of _Duc d'Aumale_, 277, 278
Duccio's famous altar-piece at Siena, 193 _n._
Dûchatel, Comte, at Chantilly, 119
_Duclos, Mlle._, portrait of, 254
Dudley, Earl of, owner at one time of _The Three Graces_, 148, 149
_Duel après le Bal, Le_, by Gérome, 135
Duff-Gordon-Duff Collection, 144
Dugardin, the goldsmith, frames the miniature of _Elizabeth of Austria_, 243
Dughet, Gaspar, works by, 133, 146, 250
Dumoustier, M., works by, 42, 143, 147, 151, 245, 246
_Dunes at Scheveningen_, by Ruysdael, 139
Duplessis, M., administrator of the galleries at Versailles, 261
Dupré, M., works by, 275
Duras, Duchesse de, a prisoner at Chantilly, 107
Dürer, Albert, celebrated artist, _Virgin_, 131
Durrieu, Comte Paul, 148;
and the _Très Riches Heures_, 161, 163;
made reproduction of _Hours of Turin_, 165;
and the medal of _Emperor Constantine_, 175;
and the Fouquet miniatures, 182;
and the _MS. de Saint Michel_, 202
_Eaux Douces d'Asie, Les_, by Diaz, 276
_Ecce Homo_, by Titian, 135
Edward III, portrait of, 201 _n_.
Edward VII, visits Chantilly when Prince of Wales, 122;
presentation of Fouquet's miniatures to President Fallières, 184
_Elboeuf, Mme. de_, by Corneille, 244
_Eleonore, Queen_, portrait of, 133
_Elizabeth of Austria_, portraits of, 133, 234
Enghien, Duc de (see also Bourbon, Louis Henri Joseph),
son of Louis Henri, Duc de Bourbon, 103;
the French Revolution, 104, 105;
execution by Napoleon, 110;
portrait of, 264
_Enthronement of the Virgin_, by Fouquet, 193, 194
Epéron, Duc de, the hated Governor of Bordeaux, 52
Erasmus, portrait of, 204
Estampes, Château de, in the _Calendar_ of Months, 170
Estampes, Duchesse de (mistress of Francis I), intrigues of, 6
Este, Cardinal Ippolito de, 222
_Esther as Queen, walking in her garden_,
in the Lichtenstein Gallery at Vienna, 150, 151
_Estrange, Madame le_, portrait by Clouet of, 223, 224
Estrées, Gabrielle de (mistress of Henri IV), portraits of, 136,
142, 246, 247
Eugenius IV, Pope, portrait of, 180
_Eve and the Apple_, in _Les Très Riches Heures_, 173
Everdingen, the master of Ruysdael, 146
Evreux, Jeanne de (wife of Charles IV), _Breviary_ executed for, 151, 160
Eyck, Hubert Van, works by, 146, 165 _n._
_Fables de Marie de France, Les_, 130
Fabre Collection, 149
Fagon, Dr. (physician to Louis XIV), portraits of, 248
_Fall of the Rebel Angels_, 175, 176
Fallières, President, presentation of the Fouquet MSS. to, 184
Faure Sale, 141
Fel, Marie, opera singer, pastel of, 260
Fénélon, François, at Chantilly, 83
Ferdinand III, Emperor, Peace of Westphalia, 44
_Fermes en Normandie_, by Rousseau, 275
Ferrara, Ercole, Duc de, marriage, 221
Ferrara, Duchesse de. See Rénée de France
Filarete, _Treatise on Architecture_, 180
Flanders, invaded by Louis XIV, 78
Fleuranges, Maréchal de, portrait of, 205
Fleury, Cardinal, and the Marquise de Prie, 94
Fleury, Robert, works by, 138
Foix, Odet de, portraits of, 205, 208
Fontaine, La, at Chantilly, 75;
designs executed in tapestry from his _Fables_, 256
_Foscari, The Two_, by Delacroix, 141, 270, 271
Foulon, Benjamin, and the Lecurieur album, 235
Fouquet of Tours, Jean (Court-painter to Louis XI), his works, 152,
153, 155, 156, 179-195, 202, 207 _n._;
early history of, 180
_Four Evangelists_, 173
Fragonard, J. Honoré, painter, his works, 264, 265
_France, Chronique de._ See Chronique
France, Diane de. See Angoulême, Duchesse de
France, Henriette de, portrait of, 245
_France, Histoire litteraire de la_, 157
_France, History of the Kings of_, 251, 252
France, Jeanne de (Queen of Navarre, daughter of Charles VII), 148;
_Book of Hours_ designed for, 160
_France, Les Fables de Marie de_, 130
France, Margot de (daughter of Catherine de Medicis), engagement, 22;
portraits of, 233, 234, 238;
marriage, 243
France, Marguerite de (sister of Henri II), portraits of, 141, 218, 244;
history of, 218-221;
marriage, 219
France, Mme. Adelaide de, portrait of, 260
France, Rénée de. See Rénée
France, war with Spain, 38 _et seq._;
the Fronde rising, 44, 45;
civil war, 55, 59;
Peace of the Pyrenees, 64;
invasion of Holland, 78-82;
Revolution, 104, 105;
gift of Musée Condé to the nation, 124
Francia, his _Annunciation_, 145
Francis I (formerly Duc d'Angoulême), Battle of Marignan, 6;
jealous of Anne de Montmorency, 6;
portraits of, 138, 141, 151, 158, 204, 206, 207, 213-215, 216, 228, 241;
and Jean Perréal, 205;
his daughter Marguerite de France, 220;
Princesse Jeanne, 224
Francis II, imprisonment of Louis de Bourbon-Condé, 17, 18;
illness, 18;
death, 19;
portraits of, 20, 229, 232