_Ninth Day_ of the _Decameron_) as the basis, they put together a code
of laws for the regulation of a similar Society which they chose, very
aptly, to call LES BIBLIOPHILES. Behold then, under a new name, a
_Parisian Roxburghe Society_. When I visited Paris, in the summer, of
1819, I got speedily introduced to the leading Members of the club,
and obtained, from M. DURAND DE LANÇON, (one of the most devoted and
most efficient of the members) that information--which is here
submitted to the public: from a persuasion that it cannot be deemed
wholly uninteresting, or out of order, even by the most violent
enemies of the _cause_." The _object_ of this Society of the
BIBLIOPHILES must be expressed in the proper language of the country.
It is "_pour nourrir, reléver, et faire naître méme la passion de la_
_Bibliomanie_." I put it to the conscience of the most sober-minded
observer of men and things--if any earthly object can be more orthodox
and legitimate? The Society meet, as a corporate body, twice in the
year: once in April, the second time in December; and date the
foundation of their Club from the 1st of January 1820. Whatever they
print, bears the general title of "_Mélanges_;"[G] but whether this
word will be executed in the black-letter, lower-case, or in roman
capitals, is not yet determined upon. One or two things, however, at
starting, cannot fail to be premised; and indeed has been already
observed upon--as a species of _heresy_. The Society assemble to a
"déjeuné à la fourchette," about twelve o'clock: instead of to a
"seven o'clock dinner," as do the London Roxburghers: whereby their
constitutions and pockets are less affected. The other thing, to
observe upon, is, that they do not print (and publish among
themselves) such very strange, and out-of-the way productions, as do
the London Roxburghers. For truly, of _some_ of the latter, it may be
said with the anonymous poet in the _Adversaria_ of Barthius,
Verum hæc nee puer edidici, nee tradita patre
Accepi, nee Aristotelis de moribus umquam
Librum, aut divini Platonis dogmata legi.
_Edit. Fabri_. 1624, col. 345, vol. i.
And why is it thus? Because these reprints are occasionally taken
(quoting Caspar Barthius himself, in the xxth chapter of his iid book
of Adversaria, _Edit. Ead_.) "ex libro egregiè obscuro et a blattis
tineisque fere confecto." But, on the other hand, they are perfectly
harmless:
Sweet without soure, and honny without gall:
as Spenser observes in his _Colin Clout's come home again: edit._
1595: sign. E.F. Or, as is observed in _Les Illustrations de France,
edit_. 1513, 4to. litt. goth.:
Le dedens nest, ne trop cler, ne trop brun,
Mais delectable a veoir...comme il me semble. _Sign. Cii. rev_.
A genuine disciple of the Roxburghe Club will always exclaim
"delectable a veoir" let the contents of the book be "cler," or
"brun." Nor will such enthusiastic Member allow of the epithets of
"hodg-podge, gallimaufry, rhapsody," &c. which are to be found in the
"Transdentals General," of Bishop Wilkins's famous "_Essay towards a
real character and a philosophical language:"_ edit. 1668, fol. p.
28--as applicable to his beloved reprints! I annex the names of the
Members of the Societé des Bibliophiles, as that club was first
established.
1. Le Marquis de Chateaugiron, _Président_. 2. Guilbert de
Pixérécours, _Secrétaire_. 3. Le Chevalier Walckenaer, _Membre de
l'Institut, Trésorier._ 4. Alph. de Malartic, _Maître des Requêtes._
5. Durand de Lançon. 6. Edouard de Chabrol. 7. Berard, _Maître des
Requêtes_. 8. Le Vcte. de Morel-Vindé, _Pair de France._ 9. Madame la
Duchesse de Raguse, (_par courtoisie_.) 10. Pensier. 11. Comte Juste
de Noailles. 12. Le Baron Hely d'Oisel, _Conseiller d'etat._ 13. Le
Marquis Scipion du Nocere, _Officier Superieur du Garde du Corps_. 14.
Hippolyte de la Porte. 15. De Monmerqué, _Conseiller à la Cour
Royale_. 16. Coulon, _à Lyon._ 17. Le Duc de Crussol. 18. Le Comte
d'Ourches, _à Nancy._ 19. Le Chevalier Langlès, _Membre de
l'Institut._ 20. Duriez, _à Lille._ 21. Le Marquis Germain Garnier,
_Pair de France_. 22. Monsieur le Chevalier Artaud, _Secrétaire d'
Ambass. à Rome_.
It remains to conclude this, I fear unconscionably long, note, as the
above letter is concluded, with the mention of ANOTHER BANQUET. This
banquet was given by the Bibliophiles to the NOBLE PRESIDENT of the
Roxburghe Club, when the latter was at Paris in the Spring of the year
1820. The Vice-President of the Roxburghe Club, who happened at the
same time to be at Paris, also received the honour of an invitation.
The festival took place at _Beauvilliers'_, the modern Apicius of
Parisian restorateurs. About twelve guests sat down to table. The
Marquis de Chateaugiron was in the chair. They assembled at six, and
separated at half-past nine. All that refinement and luxury could
produce, was produced on the occasion. Champagnes of different tints,
and of different qualities--_lively_ like M. Langlès, or _still_ like
Monsieur ****; fish, dressed as they dress it à la Rocher de Cancale--
poultry, and pastry--varied in form, and piquant in taste--but better,
and more palatable than either, conversation--well regulated and
instructive--mingled with the most respectful attention to the
ILLUSTRIOUS GUEST for whom the banquet had been prepared--gave a charm
and a "joyaunce" to the character of that festival--which will not be
easily effaced from the tablets of the narrator's memory. Where all
shine pretty equally, it seems invidious to particularise. Yet I may
be allowed to notice the hearty urbanity of the Marquis, the thorough
good humour and bibliomaniacal experience of the Comte d'Ourches,
(who, ever and anon, would talk about an edition of _Virgil's
Pastorals printed by Eggesteyn_) the vivacious sallies of the
Chevalier Langlès, the keen yet circumspect remarks of the Comte
Noailles, the vigilant attention and toast-stirring propensities of
M.D. de Lançon, the _Elzevirian_ enthusiasm of M. Berard, the ... But
enough ... "Claudite jam rivos pueri--sat prata biberunt."
[E] These Corks are yet (1829) in my possession: preserved in an
old wooden box, with ribs of iron, of the time of Louis XI.
[F] The word here in the original is not clear.
[G] [They have now published FOUR VOLUMES, in royal 8vo. of
singular beauty and splendour: but the fourth vol. falls far short
of its precursors in the intrinsic value of its contents. The
first volume is so scarce, as to have brought £20. at a sale in
Paris. I possess the three latter vols. only, by the kindness of
the Society, in making me, with Earl Spencer, an Honorary
Associate.]
[163] [The Reader must not break up with the party, until he has cast his
eye upon the autograph of an Individual, of as high merit and
distinction in the department which he occupies, as any to which he
has yet been introduced. It only remains to say--it is the autograph
of Mons.
[Autograph]
_LETTER X._
THE COLLECTIONS OF DENON, QUINTIN CRAUFURD, AND THE MARQUIS DE SOMMARIVA.
All the world has heard of the famous DENON, the Egyptian traveller; and
editor of the great work of the _Antiquities of Egypt_, published in 1802,
in two sumptuous folio volumes. As you possess a copy of the French
work,[164] with choice impressions of the plates, I need say nothing
further upon the subject--except that I believe it to be one of the very
finest works of the kind, which has ever appeared ... on the score of art.
But the author has other claims to attention and popularity. He was an
intimate friend--and certainly the confidential adviser--of Buonaparte, in
all public schemes connected with the acquisition of pictures and statues:
and undoubtedly he executed the task confided to him with _ability_. He was
verging oh his sixtieth year, when he started with his master upon the
Egyptian expedition--a proof at least of energy, as well as of good
disposition, in the cause. But Denon has been a great European traveller:
he has had access to private, as well as to public, cabinets; and has
brought home some rich fruits of his enterprise and taste.
His house, on the _Quai Malaquais_, is the rendezvous of all the English of
any taste--who have respectable letters of introduction; and I must do him
the justice to say, that, never did a man endure the _inconveniences_ which
must frequently result from keeping such open house, with greater
adroitness and good humour than does the Baron Denon. I have sometimes
found his principal rooms entirely filled by my countrymen and
countrywomen; and I once, from the purest accident, headed a party of
_twenty-two_ ... in which were three British officers, and more than that
number of members of either University. I will fairly own that, on
receiving us, he drew me quietly aside, and observed:--"Mon ami, quand vous
viendrez une autre fois, ne commandez pas, je vous prie, une armée si
nombreuse. Je m'imaginois encore en Egypte." What was still more
perplexing, we found there a party of English as numerous as ourselves. It
was thus, however, that he rebuked my indiscretion.
We had twice exchanged visits and cards before we met. The card of Denon
was worth possessing, from the simple, unaffected modesty which it evinced.
You merely read the word DENON upon it!... The owner of the collection
which I am about to describe, is certainly "un peu passé" as to years; but
he has a cheerful countenance, with the tint of health upon it; small,
gray, sparkling eyes, and teeth both regular and white.[165] He is
generally dressed in black, and always as a gentleman. His figure, not
above the middle height, is well formed; and his step is at once light and
firm. There is doubtless a good deal which is very prepossessing in his
manners. As he understands nothing of the English language, he can of
course neither read nor speak it.
It is now time to give you some idea of this curious collection. You ascend
a lofty and commodious stone staircase (not very common in Paris) and stop
at the _first_ floor:--another comfort, also very rare in Paris. This
collection is contained in about half a dozen rooms: lofty, airy, and well
furnished. The greater number of these rooms faces the Seine. The first
contains a miscellaneous assemblage of bronze busts, and pictures of
Teniers, Watteau, and of the more modern School of Paris. Of these, the
Watteau is singular, rather than happy, from its size.[166] The two Teniers
are light, thin, pictures; sketches of pigs and asses; but they are very
covetable morsels of the artist.[167] In a corner, stands the skeleton of a
female mummy in a glass case, of which the integuments are preserved in a
basket. This is thought to be equally precious and uncommon. M. Denon shews
the foot of the figure (which is mere bone and muscle) with amazing triumph
and satisfaction. He thinks it is as fine as that of the Venus de Medicis,
but there is no accounting for tastes. Among the busts is one of West, of
Neckar, and of Denon himself: which latter I choose here to call "_Denon
the First_." The second room contains a very surprising, collection of
Phoenician, Egyptian, and other oriental curiosities: and in a corner, to
the left, is a set of small drawers, filled with very interesting medals of
eminent characters, of all descriptions, chiefly of the sixteenth century.
Above them is a portrait of the owner of the collection--which I choose to
call "_Denon the Second_." This room exhibits a very interesting mélange.
Over the fire place are some busts; of which the most remarkable are those
of _Petrarch_ and _Voltaire_; the former in bronze, the latter in
terra-cotta; each of the size of life. Voltaire's bust strikes me as being
the best representation of the original extant. It is full of character; a
wonderful mixture of malignity, wit, and genius.[168]
The third room is the largest, and the most splendidly hung with pictures.
Of these, the circular little Guercino--a holy family--is, to my poor
judgment, worth the whole.[169] The Rysdael and Both are very second rate.
As you approach the fire-place, your attention is somewhat powerfully
directed to a small bronze whole length figure of Buonaparte--leaning upon
a table, with his right hand holding a compass, and his left resting upon
his left thigh.[170] Some charts, with a pair of compasses, are upon the
table; and I believe this represents him in his cabin, on his voyage to
Egypt. Is there any representation of him, in the same situation, upon his
_return_? However, it is an admirable piece of workmanship. In this room is
also (if I remember rightly) the original colossal head of the ex-emperor,
when a young man, in white marble, by CANOVA. But I must not omit informing
you that here is also another portrait, in oil, of the owner of the
collection--which, if you please, we will call "_Denon the Third_." You
next enter a narrow, boudoir-shaped apartment, which contains, to my taste,
the most curious and precious morsels of art which the Baron Denon
possesses. They are specimens of the earlier schools of painting,
commencing with what are called _Giottos_ and _Cimabues_--down to a very
striking modern picture of a group of children, by a late French artist,
just before the time of our Reynolds. This latter you would really conceive
to have been the production of Sir Joshua himself. Of the specimens of the
earlier schools, I was most struck with the head of PISANI, the inventor of
medals--of the fifteenth century--painted by _Antonello da Messina_, a
pupil of John Van Eyk. It is full of nature and of character. I could not
get away from it. "Is it possible to obtain a copy of this picture?"--said
I to its owner. "I understand you, (replied Denon) you wish to carry that
copy to your own country. And to have it engraved there?" ... "Most
unquestionably"--resumed I. "It is at your service (he rejoined); Laurent
will copy it admirably." I hardly knew how to thank Mons. Denon
sufficiently.[171]
[Illustration: PISANI.]
[Illustration: DENON.]
There was another head ...but "non omnia possumus omnes." I mean, one of a
female in profile, by MASACCIO. It was full of expression.[172] "What,
(said its owner,) must you have an engraving of _that_ head also? It is
bespoke; by myself. In short, every thing which you behold in these rooms
(including even your favourite Pisani) will be _lithographised_ for the
publication of my own collection." Of course, after this declaration, I was
careful of what I did or said. "But there was yet _one_ thing in this
collection--of which, as I saw such a variety, he could not refuse me a
copy." "What might that be?" "A portrait of HIMSELF: from marble, from oil,
or from enamel." "Take your choice: he replied: "faites ce que vous
voulez,"--and it was agreed that M. Laguiche should make a drawing of the
bust, in white marble, (I think the sculptor's name is Bosio) which is
indeed very like him.[173] There is also a large and beautiful enamel of
Denon, full dressed with all his orders, by Augustin; perhaps the most
perfect specimen of that artist which France possesses. It is the work of
several years past, when Denon had more flesh upon his cheek, and more fire
in his eye. We may therefore say that this room contains "_Denon the
Fourth, and Denon the Fifth_!"
In the same room you observe a very complete specimen of a papyrus
inscription; brought from Egypt. Indeed the curiosities brought from that
country (as might naturally be supposed) are numerous and valuable. But my
attention was directed to more _understandable_ objects of art. Opposite to
the bust of Denon, is one of his late master, the ex-Emperor, in bronze:
and above this latter, is a small picture, by _Lucas Cranach_, of a man
with a bag of money tempting a young woman: full of character, and
singularly striking. This room--or the one adjoining, I have forgotten
which--contains M. Denon's collection of the prints of MARC ANTONIO or of
REMBRANDT--or of both; a collection, which is said to be _unequalled_.[174]
Whether the former be more precious than the latter, or whether both be
superior to what our British Museum contains of the same masters, is a
point which has not yet been fairly determined. But I asked, one morning,
for a glimpse of the Rembrandts. We were alone; just after we had
breakfasted together. M. Denon commenced by shewing me two different states
of the _Coach Landscape_, and the two _great Coppinols_ with _white
grounds_--each varying somewhat!!! "Enough," cried I--holding up both
hands,--"you beat all in England and all in France!"
From hence you pass into a fourth room, which is M. Denon's bed-chamber.
About the fire-place are numerous little choice bits of the graphic art.
Two small _Watteaus_, in particular, are perfectly delicious;[175] as well
as a very small _Sebastian Bourdon_; of a holy family. In a corner, too
much darkened, is a fine small portrait of _Parmegiano_ in profile: full of
expression--and, to the best of my recollection, never engraved. These are,
I think, the chief bijoux in the bed-room; except that I might notice some
ancient little bronzes, and an enamel or two by Petitot. You now retrace
your steps, and go into a fifth room, which has many fair good pictures, of
a comparatively modern date; and where, if I mistake not, you observe at
least _one_ portrait in oil of the master of the premises. This therefore
gives us "_Denon the Seventh_!" It is here that the master chiefly sits:
and he calls it his workshop. His drawers and port-folios are, I think,
filled with prints and old-drawings: innumerable, and in the estimation of
the owner, invaluable. You yet continue your route into a further room,--
somewhat bereft of furniture, or en dishabille. Here, among other prints, I
was struck with seeing that of _the late Mr. Pitt_; from Edridge's small
whole length. The story attached to it is rather singular. It was found on
board the first naval prize (a frigate) which the French made during the
late war; and the Captain begged Monsieur Denon's acceptance of it. Here
were also, if I remember rightly, prints of Mr. Fox and Lord Nelson; but,
as objects of _art_, I could not help looking with admiration--approaching
to incredulity--upon three or four large prints, after Rembrandt and Paul
Potter, which M. Denon assured me were the production of _his_ burin! I
could scarcely believe it. Whatever be the merits of Denon, as a critical
judge of art, ancient or modern, there is no person, not wholly blinded by
prejudice, or soured by national antipathies, that can deny him great zeal,
great talent, and great feeling ... in the several pursuits of art, of
which his apartments furnish such splendid evidence.
But, you may be disposed to add, "has this celebrated man no collection of
Books?--no LIBRARY? At least he must have a _missal_ or two?" 'Tis even so,
my friend. Library, he has none: for as "one swallow does not make a
summer," so three or four pretty little illuminated volumes do not
constitute a library. However, what he has of this kind, has been freely
exhibited to me; and I here send you a transscript of some notes taken upon
the spot.
I was first shewn a small missal, prettily executed in a gothic type, of
the Italian form, after the models of those of Jenson and Hailbrun. The
calendar has the paintings injured. On the reverse of the last leaf of the
Calendar, we read, in roman capitals, the following impressive annotation:
DEUM TIME, PAUPERES SUSTINE, MEMENTO FINIS. On the reverse of the ensuing
leaf, is a large head of Christ, highly coloured: but with the lower part
of the face disproportionately short: not unlike a figure of a similar
kind, in the Duke of Devonshire's Missal, described on a former
occasion.[176] The crucifixon, on the next leaf but one, is full of spirit
and effect. Then commence the _Drolleries_: or a series of subjects most
whimsically conceived, but most sweetly touched and finished. You cannot
imagine any thing more perfect of their kind and for their size, than are
the beasts, birds, insects, fruits, and flowers. The vellum harmonises
admirably, from its colour and quality. There are several comparatively
large illuminations: some with very small figures; and two (one of St. John
the Baptist, and the other of Christ mocked) are of great beauty in respect
to force of colour. The initial capitals are executed with equal attention
to taste in composition, and delicacy in colouring. This diminutive volume
is only four inches high, by about two inches and three quarters wide. It
is bound in red velvet, and mounted with silver knobs, with heads of
cherubim upon them. It is fastened by a silver clasp; upon which is
painted, and glazed, a head of Christ--of the time, as I conceive. M. Denon
told me he bought this little gem of a bookseller in Italy, for 400 francs.
He has another Missal, about half an inch wider and taller, in the binding
of the time, with stamped ornaments. This exhibits flowers, fruits, and
birds, in the margins; touched with great delicacy and truth. Some of the
borders have a gold ground, shaded with brown, upon which the fruit is
richly brought out in relief: others have human figures; and the border,
encircling the temptation of our first Parents, has nothing superior to
it--and is really worth an engraved fac-simile: but not in _lithography!_
It is on the forty-fifth leaf. One of the heads, in the border, is like
that of our Edward VI. The third illuminated ms. volume, in M. Denon's
possession, is probably the most valuable. It is a quarto, written in the
Spanish language, and bearing the date of 1553. The scription is in red and
black letters, alternately. This book contains several large illuminations,
and coloured borders; and I was told, by its owner, that it was the _very
book_ upon which the OATHS OF INITIATION INTO THE SPANISH INQUISITION were
administered. Its condition is most perfect. The first large illumination
represents a Saint, with his scull divided by a sword, and blood streaming
copiously from him: a palm, with three crowns, is in his right hand; a book
is in his left: at top we read "_Exsurge Domine, et judica Causam tuam_."
The Saint is surrounded by a border of fruits and flowers. It is the
principal embellishment in the volume. This book is in its original, black
leather, stamped binding, with knobs and clasps. A marginal note thus
remarks: "_ynoscan obligados asseruier cargome off^o. de ella salbo si
de su voluntad loquisier en servi_."