lustre upon the Fine Arts. As a medallist, he has no equal, nor perhaps
ever had any, among the French. Our own SIMON enables us to oppose to him a
rival of great and unquestionable talents; but we have slept soundly, both
in the _medallic_ and _numismatic_ art, since the time of Cromwell: except
that we were shook a little out of our slumbers during the reigns of Anne
and George I. Andrieu has more of the pure Greek feeling about him, than
Simon ever evinced: and prefers executing his _hair_ more in masses than in
detail. He is therefore on this head, a copyist; but he transfuses into the
countenance that soul and intelligence which we delight to contemplate, and
which we are prompt to own, in the countenances upon Greek coins. The
series of _Bonaparte-Medals_ are, almost entirely, I believe, the work of
his hand. But _every_ head is _safe_ with Andrieu. He had just brought a
medal of the present King (Louis XVIII.) to shew Denon. It was about the
size of our half crown, in bronze. The countenance was in profile:--an
admirable, and a very strong resemblance. The reverse was the equestrian
statue of Henri IV., upon the Pont-Neuf.[178] Upon the whole, quite as
good, as an effort of _art_, as what has been done for Bonaparte. The
artist had well nigh succeeded in drawing me into a sort of half temptation
to bespeak an impression of the medal _in gold_. "It was but a trifling
sum--some twenty louis, or thereabouts. It would look so sharp and splendid
in gold! and...." "I thank you much Sir, (replied I) but twenty louis will
carry me almost to _Strasbourg_, whither I am to proceed in about a week or
ten days." One thing I must add, much to his good sense and pure patriotic
feeling:--he had been indirectly solicited to strike some medals,
commemorative of the illustrious achievements of our WELLINGTON: but this
he pointedly declined. "It was not, Sir, for _me_ to perpetuate the name of
a man who had humbled the power, and the military glory, of my _own
country_." Such was his remark to me. What is commendable in MUDIE,[179]
would have been ill-timed, if not disgraceful, in Andrieu.
Come with me, now, to a very different exhibition: to a unique collection,
of its kind: to a collection, not frequently visited: as little known; but
undoubtedly well deserving both of being often visited and described. It is
of the _Collection of Paintings_ belonging to MR. QUINTIN CRAUFURD, living
in the _Rue d'Anjou_, no. 21, that I am about to speak:--the fruits of a
long residence (upwards of thirty years) in France; during the alternate
commotions of republicanism and despotism. A letter of introduction
procured me every facility of access to make repeated examinations of these
treasures; and during my sojournings I fancied myself holding converse
alternately with some of the grandees of the time of Francis I. and Louis
XIV.
Such a collection of _French portraits_--almost entirely of characters who
have cut a figure in _history_--is no where else to be seen in Paris. In my
estimation, it is beyond all price.
Facing you, as you enter, stands--firmly upon his legs, and looking you
manfully in the face--- the gallant and faithful _Comte De Brienne, Grand
Master of the Ceremonies to Francis I. and Henry II._ A fine picture; and
quite perfect.[180] To the left, is a charming whole length portrait, by
_Velasquez_: a tender and exquisitely careful specimen of art. Of other
whole lengths, but subordinately executed, you should notice one of
_Christine, Duchesse de Savoie_, daughter of Henry II. and Catherine de
Medicis; very curious, and in perfect preservation. There is a duplicate of
this picture in the Louvre. A much more curious picture is a whole length,
supposed to be of _Agnes Sorel_, mistress of Charles VII. One minute's
reflection will correct this designation of the portrait. In the time of
Agnes Sorel, portrait painting, in oil, was unknown--at least in France.
The costume betrays the misnomer: for it is palpably not of the time of
Agnes Sorel. Here is also a whole length of _Isabella, daughter of Philip
II._ and Governess of the Low Countries. There are several small fancy
pictures; among which I was chiefly, and indeed greatly struck, with a
woman and two children by _Stella_. 'Tis a gem of its kind.
[Illustration: COMTE DE BRIENNE,
From an original Painting in the Collection of the late Quintin Crauford
Esq.
London, Published June 1829, by R. Jennings, Poultry.]
Leaving this room, you turn, to the left--into a small room, but obscurely
lighted. Here is a Virgin and Child, by _Sasso Ferrato_, that cannot be
surpassed. There is a freedom of design, a crispness of touch, and a
mellowness of colouring, in this picture, that render it a performance very
much above the usual representations of this subject. In the same room is a
spirited, but somewhat singular, picture of the _birth of Venus_. It
exhibits the conception and touch of a master. The colouring is very sober.
The name of the artist is not upon the frame, and as I was generally alone
when I made my memoranda, I had no one to instruct me. You leave this room,
and pass on--catching a glimpse of a lawn richly bedecked with flowers and
shrubs--into a long and lofty room, which unites the two enviable
distinctions of LIBRARY and GALLERY. Here you are bewildered for an
instant: that is to say, you are divided in your attention between the
admiration of the proportion and structure of the room, and the alternate
captivation of books, busts, and pictures. But as you have had enough of
_paper_ and _print_ in former despatches, I shall confine myself here
exclusively to the _pencil_ and the _chisel_.
Let us first walk leisurely about the ground floor, ere we mount the
gallery. To begin with the busts. That of the late _Abbé Barthelemi_, in
white marble, immediately strikes you.[181] It is full of nature and of
character; and the hair has just enough of the antique gusto about it to
render the toute ensemble equally classical and individualised--if you will
allow this latter expression. Here is a terra-cotta head of _Corneille_, of
very indifferent workmanship; and much inferior to a similar representation
of him at Rouen. The terra-cotta head of _Rousseau_ is considerably better.
But the marble bust of _Voltaire_, by Houdon, throws every thing about it
into tameness. It is as fine as is the terra-cotta bust of the same person
which Denon possesses. Here, however, the poet is in a peruque, or
dress-wig. His eyes sparkle with animation. Every feature and every muscle
seems to be in action: and yet it is perfectly free from caricature or
affectation. A surprising performance. This head and that of Barthelemi are
quite perfect of their kind. And yet I am not sure whether I should not
have preferred the fine bronze bust of _Henri II._, somewhat larger than
life, to either of the preceding. But I must not forget the colossal head
of _Bonaparte_, when a young man, by Canova. It is of white marble:
considered to be the original. Denon has a similar head, by the same
artist. I am not sure if I do not prefer Mr. Craufurd's. Of paintings, on
this floor, the head of _Francis I_. by Titian--(which may be called rather
a finished sketch, and which is retouched in parts) is a very desirable
performance; but it is inferior to the same head, by the same artist, in
the Louvre. Here is a charming portrait of a Lady in the time of Louis XV.,
who chose to lead the life of a _Réligieuse_: sweetly and naturally
touched. A fine portrait of _Grotius_ is also here; well deserving a
conspicuous place in any cabinet of learning.[182]
We will now walk up stairs to the gallery. Of course, in the confined space
between the balustrade and the wainscot (not much more than three feet), it
is barely possible to appreciate the full effect of the paintings; but I
here send you a list of the greater part of them, with brief remarks, upon
the general accuracy of which you may rely.
_Madame Scarron_, with the _Duc du Maine_; apparently by Mignard: in a very
fresh and perfect state.
A fine head of _Racine_, and similar one of _De La Motte_.
_Mademoiselle de Guiche, Princesse de Monaco_; in all probability by
Mignard. Good.
_Mademoiselle Hamilton, Comtesse de Grammont_; by Mignard. If the Comte de
Grammont chose to fall in love only with beautiful women, he could
scarcely, upon his own principles, (which indeed were any thing but moral)
have found any one so lovely as was his WIFE. Yet I have seen handsomer
portraits of her than this.
_Anne de Gonzague_. She was Princess Palatine, and daughter of Charles Duke
of Nevers. This is a half length portrait. A garland is in her right hand.
A gay and pleasing picture.
_Le Chancelier d'Aguesseau_. By Rigaud. A fine mellow portrait.
_Louis XI_. A whole length; supposed to be by Leonardo da Vinci. Not very
credible. It is a fine, bold, horribly-looking portrait: not in the very
best state of preservation.
_Blaise Pascal_. Very fine. The artist's name is not inscribed; but there
is a Murillo-like effect about this portrait, which is very striking.
Pascal holds a letter in his hand.
Next to Pascal is a prodigiously fine oval portrait (is it of _Fontaine_?)
by Rigaud. No name is subjoined.
_Comtesse de la Fayette_. A fine countenance: hands apparently recoloured.
In yellow drapery.
_Julie-Lucie d'Augennes, Duchesse de Montausier._ She died in 1671. The
portrait is by Mignard. It represents this celebrated female, when young,
_encadred_ by flowers. The carnation tints of the flesh, and the blue
lustre of the eye, have nothing finer in the whole circle of Mignard's
performances. This is a picture from which the eye is withdrawn with no
common reluctance. It is clear, bright, fresh, and speaking.[183]
The _Wife of P. de Champagne_. She holds a small oval portrait of the
mother of her husband, the famous painter, in her lap. The picture is by P.
de Champagne himself. The head of the mother is very clever: but the flesh
has perhaps too predominant a tint of pinkish-purple throughout.
_Madame de la Sabliere_. Oval: very clever.
_Madame Deshoulieres_. Similar, in both repects.
_Madame Cornuel_. Oval: a stiff performance.
_Madame la Duchesse d'Orleans_. She is represented as Hebe. A pretty
picture; but a little too much "frenchified."
_Madame de Staal_. Oval. Beautiful and perfect.
_Madame la Marquise de Rambouillet_. A° 1646. A most beautiful picture. The
head and shoulders are worthy of Vandyke. The curtain, in the background,
is flowered; and perhaps too hard.
_Madame la Duchesse de la Valliere, mère du dernier duc de ce nom_. She was
the mother of the Duke de la Valliere who had the celebrated library; and
died in 1782, within three months of reaching her hundredth year! She was
an old woman, but yet very handsome, when this portrait was painted. Her
colour is yet tender, and her features are small and regular. The eyes have
unusual intelligence, for so protracted a period of life. It is a half
length, and I should think by Rigaud. She is sitting in a chair, holding a
tea spoon in her right hand, and a tea cup in her left. This may have some
allusion, of which I am ignorant. The whole picture is full of nature, and
in a fine tone of colour.
The _Duke of Monmouth_. He is sitting: holding a truncheon in his right
hand. A helmet and plume are before him. He wears a white sash. This is a
dark, but may be called a finely painted, picture. Yet the Duke is not
represented as a handsome man.
_Turenne_. By P. de Champagne. Fine.
_Bossuet_. By Rigaud. This is not only considered as the chef-d'oeuvre of
Rigaud, but it has been pronounced to be the finest portrait ever executed
within the last century of the French School.[184] It is a whole length;
and is well known to you from the wonderful print of it by Drevet. The
representation is worthy of the original; for Bossuet was one of the last
of the really great men of France. He had a fine capacity and fine
scholarship: and was as adroit in polemics as Richelieu was in politics. He
resembled somewhat our Horsley in his pulpit eloquence,--and was almost as
pugnacious and overbearing in controversy. He excelled in quickness of
perception, strength of argument, and vehemence of invective; yet his
sermons are gradually becoming neglected--while those of Fenelon,
Massillon, and Saurin are constantly resorted to ... for the fine taste,
pure feeling, and Christianlike consolation which breathe throughout them.
One thing, in this fine whole length portrait of Bossuet, cannot fail to be
noticed by the curious. The head seems to have been separately painted, on
a small square piece of canvass, and _let into_ the picture.
There is certainly a _rifacimento_ of some kind or other; which should
denote the head to have been twice painted.
_C. Paulin_. By Champagne. Paulin was first confessor to Louis XIV.; and
had therefore, I should apprehend, enough upon his hands. This is a fine
portrait.
_William III_. Harsh and stiff. It is a performance (as most of those of
William seem to be) for the model of a head of a ship.
_Colbert, Evéque de Montpellier_. A fine head.
_Fléchier, Evéque de Nismes_. A very fine portrait. The name of the painter
does not appear.
A fine half length portrait of a _Marshal of France_, with a truncheon in
his hand. Both the hands are beautifully drawn and coloured.
_Maréchal duc d'Harcourt_. By Rigaud.
_Eliz. Angelique de Montmorenci, Duchesse de Chatillon_. She died in 1695
in her 69th year. This is a fine picture, but injured and retouched. The
left hand rests upon a lion's head.
_F. Marie de Bourbon, fille de Madame de Montespan, et femme du Régent_. A
stiffish picture; but the countenance is pleasing.
_Madame la Duchesse de Névers, fille de Madame de Thianges, et nièce de
Madame de Montespan_. A bow is in her right hand, and a dog in her left.
The countenance is beautiful and well painted. The eyes and mouth in
particular have great sweetness of expression.
_Duc de Montausier_; in a hat and red feather. By Rigaud.
_Madame la Duchesse de Sforce: fille cadette de Madame de Thianges_. A
small whole length, sitting: with two greyhounds in her lap, and a third at
her side.
_Le Ministre Colbert_. By Mignard. A fine picture.[185]
_Marie Leezinska, femme de Louis XV_. A cleverly painted head.
_Le Cardinal Mazarin_. By P. de Champagne. Whole length. A fine portrait--
which I never contemplate without thinking of the poor unfortunate "man in
an iron mask!"
_Madame de Motteville_. She died in her 74th year, in 1689. This is merely
the head and shoulders; but in the Vandyke style of execution.
_Charles Paris d'Orleans, dernier Duc de Longueville._ He was killed in the
famous passage of the Rhine, at Tolhuys, in 1672.
_Charles I_. By Vandyke. A beautiful half length portrait. Perhaps too
highly varnished.
_Le Marquis de Cinq-Mars_. He was beheaded at the age of twenty-two, in
September 1642. There is also a whole length of him, in a rich, white,
flowered dress. A genuine and interesting picture.
_Mary Queen of Scots_. Whole length: in a white dress. A copy; or, if an
old picture, repainted all over.
_Don Carlos_, the unfortunate son of Philip II. of Spain. A beautiful
youth; but this picture, alleged to have been painted by Alfonso Sanchez
Coello, must be a copy.
The foregoing are the principal decorations along the gallery of this
handsome and interesting room. In an adjoining closet, where were once two
or three portraits of Bonaparte, is a beautiful and highly finished small
whole length of _Philip Duke of Orleans_, Regent of France. Also a whole
length of _Marmontel_, sitting; executed in crayon. The curiously carved
frame, in a brown-coloured wood, in which this latter drawing is contained,
is justly an object of admiration with visitors. I have scarcely seen a
more appropriate ornament, for a choice cabinet, than this estimable
portrait of Marmontel. Here are portraits of _Neckar_, and _Clement Marot_,
in crayons: the latter a copy. Here is, too, a cleverly painted portrait of
_L. de Boulogne_.
We descend--to a fourth room, or rather to a richly furnished cabinet--
below stairs. Every thing here is "en petit." Whether whole lengths, or
half lengths, they are representations in miniature. What is this singular
portrait, which strikes one to the left, on entering? Can it be so? Yes ...
DIANE DE POICTIERS again! She yet lives every where in France. 'Tis a
strange performance; but I have no hesitation in calling it AN ORIGINAL ...
although in parts it has been palpably retouched. But the features--and
especially the eyes--(those "glasses of the soul," as old Boiastuau calls
them[186]) seem to retain their former lustre and expression. This highly
curious portrait is a half length, measuring only ten inches by about
eight. It represents the original without any drapery, except a crimson
mantle thrown over her back. She is leaning upon her left arm, which is
supported by a bank. A sort of tiara is upon her head. Her hair is braided.
Above her, within a frame, is the following inscription, in capital roman
letters: "_Comme le Cerf brait après le décours des Eaues; ainsi brait mon
Ame, après Toy, ô Dieu_." Ps. XLII. Upon the whole, this is perhaps the
most legitimate representation of the original which France possesses.[187]
In the same boudoir is a small and beautifully coloured head of _Francis
I._ Here is a portrait of the famous _Duchess of Portsmouth_, on horseback,
in red; and another of the _Duchess of Nevers_, in a blue riding jacket.
But much more estimable, and highly to be prized--as works of art--- are
the TWO MURILLOS: one, apparently of St. Francis, which was always
religiously preserved in the bed-chamber of Madame de Maintenon, having
been given to her by Louis XIV. The other, although fine, has less general
interest. I could hardly sufficiently admire the whole length of _Jacques
Callot_, painted by himself. It is delicious, of its kind. There is a very
curious and probably coeval picture representing whole length portraits of
the _Cardinals of Guise and Lorraine_, and the _Dukes of Guise and
Mayenne_,[188] The figures are very small, but appear to be faithful
representations. An old portrait of _Louis Roi de Sicile, Père de Réné_,--a
small head, supposed to be of the fifteenth century--is sufficiently
singular, but I take this to be a copy. Yet the likeness may be correct. A
whole length of _Washington_, with a black servant holding his horse, did
not escape my attention. Nor, as an antiquary, could I refuse bestowing
several minutes attention upon the curious old portrait (supposed to be by
_Jean de Bruges_) of _Charlotte, Wife of Louis XI._ It is much in the style
of the old illuminations. In one of the lower rooms, I forget which, is a
portrait of Bonaparte; the upper part of the same representation of him
which appeared in London from the pencil of David. He is placed by the side
of a portrait (of the same dimensions) of his conqueror, Wellington: but I
am not much disposed to admire the style of execution of our hero. It is a
stiff, formal, and severely executed picture. Assuredly the present school
of French portrait painters is most egregiously defective in expression;
while ours, since the days of Reynolds, has maintained a most decided
superiority. I believe I have now noticed every thing that is more
particularly deserving of attention in the Collection of Mr. Quintin
Craufurd ... But I cannot retrace my steps without again expressing my
admiration of the _local_ of this little domain. The garden, offices, and
neighbourhood render it one of the most desirable residences in Paris.[189]
As I happen to be just now in the humour for gossiping about the fine arts,
suppose I take you with me to the collection of paintings of the MARQUIS DE
SOMMARIVA, in the _Rue du Bas Rempart_? It is among the most distinguished,
and the most celebrated, in Paris; but I should say it is rather eminent
for sculpture than for painting. It is here that Canova reigns without a
rival. The early acquaintance and long tried friend of the Marquis, that
unrivalled sculptor has deposited here what he considers to be the
_chef-d'oeuvre_ of his art, as a single figure. Of course, I speak of his
_Magdalen_. But let me be methodical. The open day for the inspection of
his treasures is _Friday_.
When I entered, not a creature was in the rooms. The general effect was
splendid and imposing. I took out my memorandum-book, and went directly to
work; noticing only those subjects which appeared, on one account or other,
to be more particularly deserving of attention. There is a pretty picture
of CUPID AND PSYCHE, by _Carlo Cignani_; the simple and quiet effect of
which is much heightened by being contrasted with the very worst
representation of the _same subject_, which I ever saw, by _David_: painted
last year at Brussels. How the Marquis can afford so many square yards of
his walls for the reception of such a performance, is almost marvellous. It
is, throughout, in the worst possible taste. The countenance of Cupid, who
is sitting on the bed or couch with the vacant grin of an ideot, is that of
a negro. It is dark, and of an utterly inane expression. The colouring is
also too ruddy throughout. Near to this really heartless picture, is one of
a woman flying; well drawn, and rather tenderly coloured. Opposite, is a
picture of Venus supported in the air by a group of Cupids. The artist is
_Prudhon_. In the general glare of colour, which distinguishes the French
school, it is absolutely refreshing to have the eye soothed by something
like an attempt, as in this picture, at a mellow chiaro-oscuro. It has
undoubted merit. It is, upon the whole, finely coloured; but the
countenance of Venus is so pale as to have an almost deathly effect. It is
intended to represent her as snatched away from the sight of her dead
Adonis.
In common courtesy I must make but brief mention of a very clumsy, and
ill-drawn child, by De Broisefremont: and hasten, in the next room, to the
magnificent picture of _Diana and Endymion_, painted by Guerin in 1810, and
lately engraved. This picture is a very fair illustration of the merits and
demerits of the FRENCH SCHOOL OF PAINTING. The drawing of Endymion is, upon
the whole, good; but a palpable copy of the antique. This necessarily gives
it somewhat an air of affectation. The shepherd lies upon a bed of clouds,
(terminated by an horizon which is warmed by the rays of a setting sun)
very gracefully and perhaps naturally. He seems to sleep soundly. His whole
figure and countenance glow with the warmth of beauty and youth. I will not
disturb his slumbers by finding the least fault--even with the disposition
of the extremities. But his nightly visitor--the enamoured goddess--is, of
all female figures which I have ever seen upon canvass, one of the most
affected, meagre, and uninteresting. Diana has been exchanged for an opera
dancer. The waist is pinched in, the attitude is full of conceit, and there
is a dark shadow about the neck, as if she had been trying some previous
experiment with a _rope_! Endymion could never open his eyes to gaze upon a
figure so utterly unworthy of the representation of an enamoured
deity.[190] The Cupids must also be condemned; for they are poor in form,
and indifferent in execution. The back ground has considerable merit: but I
fear the picture is too highly glazed. In this room also is the famous
picture of _Belisarius_, engraved with so much éclat by Desnoyers. I own
that I like the engraving better than the painting; for I see no occasion
for such a disproportionate quantity of warm colouring as this picture
exhibits.
Pope (in his Epistle to Jarvis, I think) says of artists, that, "to paint
the naked is their dear delight." No artists ever delighted so much in this
branch of painting as the French. Does not this taste argue a want--not
only of respect, but--of _feeling?_ It was therefore pleasing to me, my
dear friend, to turn my attention from the studied display of naked
goddesses, in the collection of the worthy Marquis of Sommariva, towards
objects a little more qualified to gratify the higher feelings connected
with art:--and the first thing which soothed me, when I _had_ so turned my
attention, was, the _Terpsichore_ of _Canova_. You know it from the print
by Morghen. The countenance, to my eye, is the perfection of female
beauty:--yet it is a countenance which seems to be the abstract--the result
of study, and of combination--rather than of beauty, as seen "in mortal
race which walks the earth." The drapery appears to be studiously
neglected--giving it the appearance of the antique, which had been battered
and bruised by the casualties of some two thousand years. By this, I mean
that the folds are not only numerous, but the intermediate parts are not
marked by that degree of precision and finish, which, in my opinion, they
ought to have received. Yet the whole has an enchantingly simple air: at
once classical, pure, and impressive. The Marquis has indeed great reason
to be proud of it.
But if I pat the right cheek of Canova with one hand, I must cuff his left
cheek with the other. Here is a Cupid by him, executed in 1787. It is
evidently the production of a mind not ripened to its fullest powers. In
other words, I should call it "a poor, flat thing."