among the French, may arise from the natural love of the people for what is
gay and gaudy, rather than for what is grave and instructive. And yet, when
will nations learn that few things tend so strongly to keep alive a pure
spirit of PATRIOTISM as _such_ a study or pursuit? As we reverence the
past, so do we anticipate the future. To love what our forefathers have
done in arts, in arms, or in learning, is to lay the surest foundation for
a proper respect for our own memories in after ages. But with Millin, I
fear, the study of Archaeology will sleep soundly, if not expire, among the
Parisians. VISCONTI has doubtless left a splendid name behind him here; but
Visconti was an Italian. No; my friend--the ARTS have recently taken an
exclusive turn for the admiration, even to adoration, of portrait and
historical painters: No LYSONSES, no BLORES, no MACKENZIES are patronised
either at Paris or in the other great cities of France. I must however make
an honourable exception in favour of the direction given to the splendid
talents of MADAME JAQUOTOT. And I cannot, in common justice, omit, on this
occasion, paying a very sincere tribute of respect to the PRESENT
KING[193]--who has really been instrumental to this direction. I have
lately paid this clever lady a morning visit, with a letter of introduction
from our common friend M. Langlès. As I was very courteously received, I
begged that I might only see such specimens of her art as would give her
the least possible trouble, and afford me at the same time an opportunity
of judging of her talents.
Madame Jaquotot was as liberal in the display of her productions, as she
was agreeable and polite in her conversation. I saw all her performances.
Her copies of Leonardo da Vinci and Guido, in black crayons, are beautiful
of their kind; but her enamel copies, upon porcelaine, of the _Portraits of
the more celebrated Characters of France_--executed at the desire and
expense of his Majesty--perfectly delighted me. The plan is as excellent as
its execution is perfect. But such performances have not been accomplished
without a heavy previous expense, on the score of experiments. I was told
that the artist had sunk a sum little short of five or six hundred pounds
sterling, in the different processes for trying and fixing her colours. But
she seems now to walk upon firm ground, and has nothing but an abundant
harvest to look forward to. Indeed, for every portrait, square, or oval,
(although scarcely more than _three inches_ in height) she receives a
hundred louis d'or. This is a truly princely remuneration: but I do not
consider it overpaid. Some of the earlier portraits are taken from
illuminated manuscripts; and, among them, I quickly recognised that of my
old friend _Anne of Brittany_,--head and shoulders only: very brilliant and
characteristic--but Mr. Lewis is "yet a painter."
As all these bijoux (amounting perhaps to twelve or fifteen in number) were
displayed before me, I fancied I was conversing with the very Originals
themselves. The whole length of _Henri IV_., of the same size as the
original in the Louvre, is probably the chef d'oeuvre of Madame Jaquotot.
It is exquisitely perfect. When she comes down to the reign of Louis XIV.,
she has necessarily recourse to the originals of PETITOT; of which the
Louvre contains a precious glazed case, enclosing about four or five dozen,
of them. Here again the copyist treads closely upon the heels of her
predecessor; while her portrait of _Anne of Austria_ comes fully up to
every thing we discover in the original. Upon the whole, I spent a pleasant
and most instructive hour with this accomplished lady; and sincerely wish
that all talents, like hers, may receive a similar direction and meet with
an equally liberal reward. You must not fail to bear in mind that, in my
humble judgment, this department of art belongs strictly to NATIONAL
ANTIQUITIES.
For _one_, who would turn his horse's head towards Madame Jaquotot's
dwelling, in the _Rue Jacob_, fifty would fly with rapture to view a whole
length by GÉRARD, or a group by DAVID. In portrait painting, and historical
composition, these are the peculiar heroes. None dare walk within their
circle: although I think GIRODET may sometimes venture to measure swords
with the latter. Would you believe it? The other day, when dining with some
smart, lively, young Parisians, I was compelled to defend RAFFAELLE against
David? the latter being considered by them _superior_ to the Italian artist
in a _knowledge of drawing_. Proh pudor! This will remind you of Jervas's
celebrated piece of nonsensical flattery to himself--when, on Pope's
complimenting that artist upon one of his portraits, he compassionately
exclaimed "_Poor little Tit_!"--Surely all these national prejudices are as
unwise as they are disgusting. Of Gérard, I would wish to speak with
respect; but an artist, who receives from fifteen to twenty thousand francs
for the painting of a whole length portrait, stands upon an eminence which
exposes him to the observation of every man. In the same degree, also, does
his elevation provoke the criticism of every man. But, however respectfully
I may wish to speak of Gérard, I do not, in my conscience, consider him
superior to what may be called the _second rate_ class of portrait-painters
in England.[194] His outline is often hard, and full of affectation of a
knowledge of drawing: his colouring is as frequently severe and metallic,
and there is rarely any expression of mind or soul in his faces. I saw at
Laugier's the other day, his portrait of Madame de Stael--painted from
_recollection_. He certainly had _forgotten_ how to _colour_ when he
executed it. Forster (a very clever, sensible, and amiable young man) is
busied, or rather has just finished, the engraving of a portrait of the
Duke of Wellington, by the same painter. What has depended upon _him_ has
been charmingly done: but the figure of the great Original--instead of
giving you the notion of the FIRST CAPTAIN OF HIS AGE[195]--is a poor,
trussed-up, unmeaning piece of composition: looking-out of the canvas with
a pair of eyes, which, instead of seeming to anticipate and frustrate (as
they _have_ done) the movements of his adversary, as if by magic, betray an
almost torpidity or vacancy of expression! The attitude is equally
unnatural and ungraceful. Another defect, to my eye, in Gérard's portraits,
is, the quantity of flaunting colour and glare of varnish with which his
canvas is covered.
The French cognoscenti swear by "the _swearing of the Horatii_" of David. I
saw a reduced copy of the large picture at the Luxembourg, by the artist
himself--at Didot's: and it was while discussing the comparative merits and
demerits of this famous production, that I ventured to observe that
Raffaelle would have drawn the hands better. A simultaneous shout of
opposition followed the remark. I could scarcely preserve common gravity or
decorum: but as my antagonists were serious, I was also resolved to enact a
serious part. It is not necessary to trouble you with a summary of my
remarks; although I am persuaded I never talked so much French, without
interruption, for so long a space of time. However, my opponents admitted,
with a little reluctance, that, if the hands of the Horatii were not ill
drawn, the _position_ of them was sufficiently affected. I then drew their
attention, to the _Cupid and Psyche_ of the same master, in the collection
of the Marquis of Sommariva, (in the notice of which my last letter was
pretty liberal) but I had here a less obstinate battle to encounter. It
certainly appeared (they admitted) that David did not improve as he became
older.
Among the Painters of eminence I must not forget to mention LAURENT. The
French are not very fond of him, and certainly they under-rate his talents.
As a colourist, some of his satins may vie with those of Vanderwerf. He
paints portraits, in small, as well as fancy-subjects. Of the former, that
of his daughter is beautifully executed. Of the latter, his _Young
Falconer_ is a production of the most captivating kind. But it is his _Joan
of Arc_ which runs away with the prize of admiration. The Government have
purchased the house in which that celebrated female was born,[196] and over
the door of which an ancient statue of her is to be seen. Laurent's
portrait is also purchased to be placed over the chimney-piece of the room;
and it is intended to supply furniture, of the character which it
originally might have possessed.
But if France cannot now boast her Mignard, Rigaud, or the Poussins, she
has reason to be proud of her present race of _Engravers_. Of these,
DESNOYERS evidently takes the lead. He is just now in Italy, and I shall
probably not see him--having twice called in vain. I own undisguisedly that
I am charmed with all his performances; and especially with his sacred
subjects from Raffaelle:--whom, it is just possible, he may consider to be
a somewhat better draftsman than David. There is hardly any thing but what
he adorns by his touch. He may consider the whole length portrait of
_Bonaparte_ to be his chef-d'oeuvre; but his _Vierge au Linge, Vierge dite
la Belle Jardinière_,--and perhaps, still finer, that called _au
Donataire_--are infinitely preferable, to my taste. The portrait has too
much of detail. It is a combination of little parts; of flowered robes,
with a cabinet-like background: every thing being almost mechanical, and
the shield of the ex-Emperor having all the elaborate minutiæ of Grignion.
I am heretic enough to prefer the famous whole length of poor Louis XVI, by
Bervic after Callet: there is such a flow of line and gracefulness of
expression in this latter performance! But Desnoyers has uncommon force, as
well as sweetness and tenderness, in the management of historical subjects:
although I think that his recent production of _Eliezer and Rebecca_, from
_Nicolo Poussin_, is unhappy--as to choice. His females have great
elegance. His line never flows more freely than in the treatment of his
female figures; yet he has nothing of the style of finishing of our
STRANGE. His _Francis_ I, and _Marguerite de Valois_ is, to my eye, one of
the most finished, successful, and interesting of his performances. It is
throughout a charming picture, and should hang over half the mantle pieces
in the kingdom. His portrait of _Talleyrand_ is brilliant; but there are
parts very much too black. It will bear no comparison with the glorious
portrait of our _John Hunter_, by Sharp--from Sir J. Reynolds. Desnoyers
engraves only for himself: that is to say, he is the sole proprietor of his
performances, and report speaks him to be in the receipt of some
twenty-five thousand francs per annum. He deserves all he has gained--both
in fortune and reputation.
MASSARD works in the same school with Desnoyers. He is harder in his style
of outline as well as of finishing; but he understands his subject
thoroughly, and treats it with skill and effect. ANDOUIN is lately come out
with a whole length portrait of the present king: a palpable copy, as to
composition, of that of his late brother. There are parts of the detail
most exquisitely managed, but the countenance is rather too severely
marked. LIGNON is the prince of portrait-engravers. His head of
_Mademoiselle Mars_--though, upon the whole, exhibiting a flat, and
unmeaning countenance, when we consider that it represents the first comic
actress in Europe--is a master-piece of graphic art. It is wrought with
infinite care, brilliancy, and accuracy. The lace, over the lady's
shoulder, may bid defiance even to what Drevet and Masson have effected of
the like kind. The eyes and the gems of Mademoiselle Mars seem to sparkle
with a rival lustre; but the countenance is too flat, and the nose wants
elevation and beauty. For this latter, however, neither Gérard nor Lignon
are amenable to criticism. Upon the whole, it is a very surprising
performance. If I were called upon to notice Lignon's chef d'oeuvre, I
would mention the frontispiece to the magnificent impression of _Camoens'
Lusiad_, containing the head of the author, surrounded by an arabesque
border of the most surprising brilliancy of composition and execution. You
must however remember, that it is in the splendid work entitled LE MUSÉE
FRANÇAIS, that many fine specimens of all the artists just mentioned are to
be found. There is no occasion to be more particular in the present place.
I must not omit the notice of FORSTER and LAUGIER: both of whom I have
visited more than once. At the same time, I beg it may be distinctly
understood that the omission of the names of _other_ engravers is no
implication that they are passed over as being unworthy of regard. On the
contrary, there are several whom I could mention who might take precedence
even of the two last noticed. Some of Forster's academic figures, which
gained him the prize, are very skilfully treated; both as to drawing and
finishing. His print of _Titian's Mistress_ exhibits, in the face and bosom
of the female, a power and richness of effect which may contend with some
of the best efforts of Desnoyers's burin. The reflex-light, in the mirror
behind, is admirably managed; but the figure of Titian, and the lower parts
of his Mistress--especially the arms and hands--are coarse, black, and
inharmonious. His _Wellington_ is a fine performance, as to mechanical
skill. M. Bénard, the well-known print-seller to his Majesty, living on the
_Boulevards Italiens_, laughed with me the other day at the rival
Wellington--painted by Lawrence, and engraved by Bromley,--as a piece of
very inferior art! But men may laugh on the wrong side of the face. I
consider, however, that what has depended upon Forster, has been done with
equal ability and truth. Undoubtedly the great failing of the picture is,
that it can hardly be said to have even a faint resemblance of the
original.
M. Laugier has not yet reached his full powers of maturity; but what he has
done is remarkable for feeling and force. His _Daphne and Chloe_, and _Hero
and Leander_ are early performances, but they are full of promise, and
abound in excellences. Colour and feeling are their chief merit. The latter
print has the shadows too dark. The former is more transparent, more
tender, and in better keeping. The foreground has, in some parts, the
crispness and richness of Woollett. They tell me that it is a rare print,
and that only 250 copies were struck off--at the expense of the Society of
Arts. Laugier has recently executed a very elaborate print of Leander, just
in the act of reaching the shore--(where his mistress is trembling for his
arrival in a lighted watch-tower) but about to be buried in the
overwhelming waves. The composition of the figure is as replete with
affectation, as its position is unnatural, if not impossible. The waves
seem to be suspended over him--on purpose to shew off his limbs to every
degree of advantage. He is perfectly canopied by their "gracefully-curled
tops." The engraving itself is elaborate to excess: but too stiff, even to
a metallic effect. It can never be popular with us; and will, I fear, find
but few purchasers in the richly garnished repertoire of the worthy
Colnaghi. Indeed it is a painful, and almost repulsive, subject. Laugier's
portrait of _Le Vicomte de Chateaubriand_ exhibits his prevailing error of
giving blackness, rather than depth, to his shadows. Black hair, a black
cravat, and black collar to the coat--with the lower part of the background
almost "gloomy as night"--are not good accessories. This worthy engraver
lives at present with his wife, an agreeable and unaffected little woman,
up four pair of stairs, in the _Rue de Paradis_. I told him--and as I
thought with the true spirit of prediction--that, on a second visit to
Paris I should find him descended--full two stories: in proportion as he
was ascending in fortune and fame.
The French are either not fond of, or they do not much patronise, engraving
in the _stippling_ manner: "_au poinctilliet_"--as they term it. Roger is
their chief artist in this department. He is clever, undoubtedly; but his
shadows are too black, and the lighter parts of his subjects want
brilliancy. What he does "en petit," is better than what he does upon a
larger scale." In _mezzotint_ the Parisians have not a single artist
particularly deserving of commendation. They are perhaps as indifferent as
we are somewhat too extravagantly attached, to it. Speaking of the FRENCH
SCHOOL OF ENGRAVING, in a general and summary manner--especially of the
line engravers--one must admit that there is a great variety of talent;
combined with equal knowledge of drawing and of execution; but the general
effect is too frequently hard, glittering, and metallic. The draperies have
sometimes the severity of armour; and the accessories, of furniture or
other objects, are frequently too highly and elaborately finished. Nor is
the flesh always free from the appearance of marble. But the names I have
mentioned, although not entirely without some of these defects, have great
and more than counter-balancing excellences.
In the midst of all the graphic splendour of modern Paris, it was
delightful music to my ears to hear WILKIE and RAIMBACH so highly extolled
by M. Bénard. "Ha, votre _Wilkie_--voilà un génie distingué!" Who could say
"nay?" But let BURNET have his share of graphic praise; for the _Blind
Fiddler_ owes its popularity throughout Europe to _his_ burin. They have
recently copied our friend Wilkie's productions on a small scale, in
aqua-tint; cleverly enough--for three francs a piece. I told Benard that
the Duke of Wellington had recently bespoke a picture from Mr. Wilkie's
pencil. "What is the subject to be?"--demanded he, quickly. I replied, in
the very simplicity of my heart, "Soldiers regaling themselves, on
receiving the news of the victory of Waterloo." Mons. Bénard was paralised
for one little moment: but rallying quickly, he answered, with perfect
truth, as I conceive "_Comment donc_, TOUT EST WATERLOO, _chez vous!_" M.
Bénard spoke very naturally, and I will not find fault with him for such a
response; for he is an obliging, knowing, and a very pleasant tradesman to
do business with. He admits, readily and warmly, that we have great
artists, both as painters and engravers; and pointing to Sharpe's _John
Hunter_ and _The Doctors of the Church_--which happened to be hanging just
before us--he observed that "these, efforts had never been surpassed by his
own countrymen." I told him (while conversing about the respective merits
of the British and French Schools of Engraving) that it appeared to me,
that in France, there was no fine feeling for LANDSCAPE ENGRAVING; and
that, as to ANTIQUARIAN art, what had been produced in the publications of
Mr. Britton, and in the two fine topographical works--Mr. Clutterbuck's
Hertfordshire," and. Mr. Surtees' Durham--exhibited such specimens of the
burin, in that department, as could scarcely be hoped to be excelled.[197]
M. Bénard did not very strenuously combat these observations. The great
mart for _Printselling_ is the Boulevards; and more especially that of the
_Boulevards Italiens_. A stranger can have no conception of the gaiety and
brilliance of the print-shops, and print-stalls, in this neighbourhood. Let
him first visit it in the morning about nine o'clock; with the sun-beams
sparkling among the foliage of the trees, and the incessant movements of
the populace below, who are about commencing another day's pilgrimage of
human life. A pleasant air is stirring at this time; and the freshness
arising from the watering of the footpath--but more particularly the
fragrance from innumerable bouquets, with mignonette, rose trees, and
lilacs--extended in fair array--is altogether quite charming and singularly
characteristic. But my present business is with prints. You see them,
hanging in the open air--framed and not framed--for some quarter of a mile:
with the intermediate space filled by piles of calf-bound volumes and sets
of apparently countless folios. Here are _Moreri, Bayle_, the _Dictionnaire
de Trévoux, Charpentier_, and the interminable _Encyclopédie_: all very
tempting of their kind, and in price:--but all utterly unpurchasable--on
account of the heavy duties of importation, arising from their weight.
However--again I say--my present business is with _Prints_. Generally
speaking, these prints are pleasing in their manner of execution,
reasonable in price, and of endless variety. But the perpetual intrusion of
subjects of studied nudity is really at times quite disgusting. It is
surprising (as I think I before remarked to you) with what utter
indifference and apathy, even females, of respectable appearance and dress,
will be gazing upon these subjects; and now that the art of _lithography_
is become fashionable, the print-shops of Paris will be deluged with an
inundation of these odious representations, which threaten equally to
debase the art and to corrupt morals. This cheap and wholesale circulation
of what is mischievous, and of really most miserable execution, is much to
be deplored. Even in the better part of art, lithography will have a
pernicious effect. Not only a well-educated and distinguished engraver will
find, in the long run his business slackening from the reduced prices at
which prints. are sold, but a _bad taste_ will necessarily be the result:
for the generality of purchasers, not caring for comparative excellence in
art, will be well pleased to give _one_ franc, for what, before, they could
not obtain under _three_ or _five_. Hence we may date the decline and
downfall of art itself. I was surprised, the other day, at hearing DENON
talk so strongly in favour of lithography. I told him "it was a bastard
art; and I rejoiced, in common with every man of taste or feeling, that
_that_ art had not made its appearance before the publication of his work
upon Egypt." It may do well for
"The whisker'd pandour and the fierce hussar"--
or it may, in the hands of such a clever artist as VERNET, be managed with
good effect in representations of skirmishes of horse and foot--groups of
banditti--a ruined battlement, or mouldering tower--overhanging rocks--
rushing torrents--or umbrageous trees--but, in the higher department of
art, as connected with portrait and historical engraving, it cannot, I
apprehend, attain to any marked excellence.[198] Portraits however--of a
particular description--_may_ be treated with tolerable success; but when
you come to put lithographic engraving in opposition to that of _line_--the
_latter_ will always and necessarily be
... velut inter ignes
LUNA minores!
I cannot take leave of A CITY, in which I have tarried so long, and with so
much advantage to myself, without saying one word about the manners,
customs, and little peculiarities of character of those with whom I have
been recently associating. Yet the national character is pretty nearly the
same at Rouen and at Caen, as at Paris; except that you do not meet with
those insults from the _canaille_ which are but too frequent at these
first-mentioned places. Every body here is busy and active, yet very few.
have any thing _to do_--in the way of what an Englishman would call
_business_. The thoughtful brow, the abstracted, look, the hurried step..
which you see along Cheapside and Cornhill ... are here of comparatively
rare appearance. Yet every body is "sur le pavé." Every body seems to live
out of doors. How the _ménage_ goes on--and: how domestic education is
regulated--strikes the inexperienced eye of an Englishman as a thing quite
inconceivable. The temperature of Paris is no doubt very fine, although it
has been of late unprecedentedly hot; and a French workman, or labourer,
enjoys, out of doors--from morning till night those meals, which, with us,
are usually partaken of within. The public places of entertainment are
pretty sure to receive a prodigious proportion of the population of Paris
every evening. A mechanic, or artisan, will devote two thirds of his daily
gains to the participation of this pleasure. His dinner will consist of the
most meagre fare--at the lowest possible price--provided, in the evening,
he can hear _Talma_ declaim, _or Albert_ warble, or see _Pol_ leap, or
_Bigotini_ entrance a wondering audience by the grace of her movements, and
the pathos of her dumb shew, in _Nina._