Thomas Frognall Dibdin - A Bibliographical, Antiquarian and Picturesque Tour in France and Germany, Volume Two

T >> Thomas Frognall Dibdin >> A Bibliographical, Antiquarian and Picturesque Tour in France and Germany, Volume Two

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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 eclat 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."

We approach the far-famed MAGDALEN. Immediately opposite the boudoir, where
the last mentioned treasures are deposited, you observe a door, or
aperture, half covered with silken drapery of a greyish brown tint. There
was something mysterious in the appearance, and equally so in the approach.
I had no intimation of what it led to; for, as I told you, not a creature
besides myself was in the rooms. With a gently raised hand I drew the
drapery aside, entered ... and looked before me. There stood the MAGDALEN.
There she was, (more correctly speaking) kneeling; in anguish and
wretchedness of soul--her head hanging down--contemplating a scull and
cross, which were supported by her knees. Her dishevelled hair flowed
profusely over her back and shoulders. Her cheeks were sunk. Her eyes were
hollow. Her attitude was lowly and submissive. You could not look at her
without feeling pity and compassion.

Such, in few words, is the Magdalen of Canova. For the first five minutes I
was lost in surprise and admiration. The windows are hid by white curtains;
and the interior is hung all over with the same grey silk drapery, before
noticed. A glass, placed behind the figure, affords you a view of the back
while you are contemplating the front. This is very ingenious; but it is
probably too artificial. The effect of the room, however--from the silken
drapery with which it is entirely covered--is, although studied, upon the
whole excellent. Of course the minutes flew away quickly in such a place,
and before such an object; and I think I viewed the figure, in every
possible direction, for full three quarters of an hour. The result of that
view--after the first feelings of admiration had subsided--I proceeded
forthwith to impart: and shall be most happy to be set right if I have
erred, in the conclusion which I draw. In truth, there can be only one or
two little supposed impeachments of the artist's judgment, in the
contemplation of this extraordinary figure. The Magdalen has probably too
much of the abject expression of _mendicity_ in her attitude; and, for a
creature thus poor and prostrate, one is surprised to find her gazing upon
a _golden_ cross. It is a piece of finery ill placed in the midst of such
wretchedness. But Canova is fond of gilt; yet what is appropriate in _Hebe_
may be discordant in the _Magdalen_. This penitent creature, here so
touchingly expressed, is deeply wrapped in meditation upon her crucified
Master. She has forsaken the world ... to follow the cross!--but surely
this idea would have been more powerfully expressed, if the cross had _not_
been _visible_?. Was this object necessary to tell the tale?--or, rather,
did not the sculptor deem it necessary to _balance_ (as is called) the
figure? Nor am I over well satisfied with the scull. It is common-place. At
any rate, if scull and cross must be there, I wish the cross had been
simply of stone--as is the scull.

My next objection relates to a somewhat more important point. I think the
_face_ and _figure_ do not seem to belong to the _same_ human being: the
former is shrunken, ghastly, and indicative of extreme constitutional
debility: the latter is plump, well formed, and bespeaks a subject in the
enjoyment of full health. Can such an union, therefore, be quite correct?
In the different views of this figure, especially in profile, or behind,
you cannot fail to be struck with the general beauty of the form; but this
beauty arises from its fulness and just proportion. In gazing upon it, in
front, you are pained by the view of a countenance shrunk almost to
emaciation! Can this be in nature? And do not mental affliction and bodily
debility generally go together? The old painters, even as far back as the
time of illuminators of books, used to represent the Magdalen as plump,
even to fatness,--and stout in all respects; but her _countenance_ usually
partook of this vigour of stamina. It was full, rosy, and healthful. The
older artists sometimes placed the Magdalen in a very awkward, and perhaps
impossible, situation; and she was even made to be buried up to the bosom
in earth--still exercising her devotions. Canova has doubtless displayed
great pathos in the wretched aspect, and humiliated attitude, of his
Magdalen; but he has, at the same time, not been inattentive to beauty of
form. I only wish she appeared to be in as good condition as the _torso_
indicates. A fastidious observer might say the figure was not _quite
balanced_, and that she must fall backward--if she retained such an
attitude for a quarter of an hour. But this is hyper-criticism. The date of
the execution of this figure is 1796: and parts of it clearly indicate
that, if the sculptor were now to re-execute it, he would have paid even
yet more attention to the finishing of the hair. Upon the whole, however,
it is a masterly effort of modern art.

It is almost fixed that we leave Paris within a week or ten days from
hence:--and then, for green fields, yellow corn, running streams, ripened
fruit, and all the rural evidences of a matured summer.

[164] It was translated into English, and published in this country on a
reduced scale, both as to text and engravings--but a reprint of it,
with a folio volume of plates, &c. had appeared also in 1802. At the
time, few publications had such a run; or received a commendation, not
more unqualified than it was just. See an account of this work in the
_Library Companion_, p. 442. edit. 1824.

[165] [M. Denon DIED in 1825, aged 78. The sale of his _Marbles, Bronzes,
Pictures, Engravings, &c._ took place in 1826.]

[166] [It was sold at the sale of M. Denon's pictures for 650 francs, and
is numbered 187 in the Catalogue.]

[167] [One of these pictures brought 1,400, and the other 220 francs:
prices, infinitely below their real worth. They should have been sold
HERE!]

[168] [M. Crapelet says--this bust was modelled after the life by PIGALLE:
and was, in turn, the model of that belonging to the figure of
Voltaire in the library of the Institute: see p. 195 ante.]

[169] [The result--judging from the comparative prices obtained at the
sale--has confirmed the propriety of my predilection. It brought 5000
francs. In the sale catalogue, is the following observation attached:
"On admire dans ce precieux tableau de chevalet la facilite
surprenante de pinceau et cette harmonic parfaite de couleur qui
faisaient dire au Tiarini, peintre contemporain, "Seigneur Guerchin,
vous faites ce que vous voulez, et nous autres ce que nous pouvons."
No. 14.]

[170] ["This figure was cast from a model made by Montoni in 1809. There
were ONLY six copies of it, of which four were in _bronze_ and
two in _silver_." _Cat._ No. 717. I have not been able to
learn the price for which it was sold.]

[171] The OPPOSITE PLATE will best attest the truth of the above remark. It
exhibits a specimen of that precise period of art, when a taste for
the gothic was beginning somewhat to subside. The countenance is yet
hard and severely marked; but the expression is easy and natural, and
the _likeness_ I should conceive to be perfect. As such, the picture
is invaluable. [So far in the preceding edition. The sequel is a
little mortifying. The above picture, an undoubted _original_--and by
a master (the supposed pupil of John Van Eyk) who introduced the art
of oil-painting into Italy--was sold for only 162 francs: whereas the
_copy_ of it, in oil, by Laurent, executed expressly for the
accompanying plate (and executed with great skill and fidelity) cost
400 francs!]

[172] [What a taste have the Virtuosi at Paris! This interesting picture
was allowed to be sold for 162 francs only. Who is its fortunate
Possessor?]

[173] [The OPPOSITE PLATE, which exhibits the head in question, is a
sufficient confirmation of the above remark.]

[174] [First, of the MARC ANTONIOS. Since the sale of the _Silvestre_
Collection, in 1810, nothing had been seen at Paris like that of M.
Denon. It was begun to be formed in the eighteenth century: from which
it is clear, that, not only was every proof at least an hundred years
old, but, at that period, ZANETTI, the previous possessor of this
Collection, sought far and wide, and with unremitting diligence, for
the acquisition of the choicest impressions of the engraver. In fact,
this Collection, (contained in an imperial folio volume, bound in
morocco--and of which I necessarily took but a hasty glance) consisted
of 117 _original_ impressions, and of 26 of such as were executed in
the _school_ of M. Antonio. Of the original impressions, the whole,
with the exception of four only, belonged to Zanetti. "If, says the
compiler of the Catalogue, (1826, 8vo. p. ij.) some of the impressions
have a dingy tint, from the casualties of time, none have been washed,
cleaned, or passed through chemical experiments to give them a
treacherous look of cleanliness." This is sound orthodoxy. The whole
was put up in one lot, and ... BOUGHT IN.

Secondly, for the REMBRANDTS. The like had never been before submitted
to public auction. The Collections of _Silvestre_ and _Morel de Vinde_
out and out eclipsed! _Zanetti_ again--the incomparable--the
felicitous--the unrivalled Zanetti had been the possessor of THIS
Collection also. But yet more ... John Peter Zoomer, a contemporary
(and peradventure a boon companion) of Rembrandt, was the original
former of the Collection. It is therefore announced as being COMPLETE
in all respects--"exhibiting all the changes, retouches, beautiful
proofs, on India and other paper: ample margins, unstained, uninjured;
and the impressions themselves, in every stage, bright, rich, and
perfect. The result of all the trouble and expence of 50 years toil of
collection is concentrated in this Collection." So says John Peter
Zoomer, the original collector and contemporary of Rembrandt. It
consisted of 394 original pieces: 3, attributed to Rembrandt, without
his name: 11, of John Lievens, Ferdinand Bol, and J.G. Villet: 11
copies: and 9 engraved in the manner of Rembrandt. The whole contained
in 3 large folio volumes, bound in red morocco.

No reasonable man will expect even a precis of the treasures of this
marvellous Collection: A glance of the text will justify every thing
to follow: but the "Advertisement" to the Catalogue prepares the
purchaser for the portrait of _Rembrandt with the bordered cloak_--
Ditto, _with the Sabre--Ephraim Bonus_ with the _black ring_--the
_Coppinol_, as above described--the _Advocate Tolling_--the
_Annunciation of Christ's Nativity to the Shepherds--the _Resurrection
of Lazarus--Christ healing the Sick_; called the _Hundred
Guilders_[H]--the _Astrologer asleep_--and several _Landscapes_ not
elsewhere to be found--of which one, called the _Fishermen_ (No. 456)
had escaped Bartsch, &c. &c. The descriptions of the several articles
of which this Collection was composed, occupy 47 pages of the
Catalogue. The three volumes were put up to sale--as a SINGLE LOT--at
the price of 50,000 francs:--and there was _no purchaser_. Of its
present destiny, I am ignorant: but there are those in this country,
who, to my knowledge, would have given 35,000 francs.

I ought to add, that M. Denon's collection of CALLOT'S WORKS, in three
large folio volumes,--bound in calf--also once the property of
Zanetti--and than which a finer set is supposed never to have been
exhibited for sale--produced 1000 francs: certainly a moderate sum, if
what Zanetti here says of it (in a letter to his friend Gaburri, of
the date of 1726) be true. "If ever you do this country (Venice) the
honour of a visit, you will see in my little cabinet a collection of
CALLOTS, such as you will not see elsewhere--not in the royal
collection at Paris, nor in the Prince Eugene's, at Vienna--where the
finest and rarest impressions are supposed to be collected. I possess
_every_ impression of the plates which Callot executed; many of them
containing first proofs, retouched and corrected by the engraver
himself in red chalk. I bought this Collection at Paris, and it cost
me 1950 francs. They say it was formed by the engraver himself for his
friend M. Gerard an Amateur of Prints." "It should seem that Zanetti's
description was a little overcharged; but in _his_ time there was no
complete catalogue of the artists." Cat. p. 153.

[H] It formed No. 345 of the Catalogue; where it is described as
being "a magnificent proof upon India paper, with a margin of 15
lines all round it. It was with the bur, and before the
cross-hatchings upon the mane of the Ass." The finest copy of this
subject, sold in this country, was that formerly in the collection
of M. Bernard; and recently purchased by T. Wilson, Esq. Will the
reader object to disporting himself with some REMBRANDTIANA, in
the _Bibliomania_ p. 680-2.?

[175] One of those pictures (No. 188 in the Catalogue) produced 3015
francs: the other, only 180 francs. The Sebastian Bourdon (No. 139,)
was sold for 67 francs, and the Parmegiano, (No. 34) for 288 francs.

[176] See the _Bibliographical Decameron_; vol. i. p. clvii. &c. [M.
Denon's Missal was purchased by an English amateur, and sold at the
sale of the Rev. Theodore Williams's Library for L143. 17s.]

[177] [Ere we take leave of this distinguished Frenchman, let us dwell for
two seconds on his autograph.

[Autograph: Denon]

[178] There has been recently struck (I think, in 1819) a medal with the
same obverse and reverse, of about the size between an English
farthing and halfpenny. The statue of Henry is perhaps the MIRACLE OF
ART: but it requires a microscopic glass to appreciate its wonders.
Correctly speaking, probably, such efforts are not in the purest good
taste. Simplicity is the soul of numismatic beauty.

[179] The Artist who struck the series of medals to commemorate the
campaigns of the Duke of Wellington, from his landing in Portugal to
the battle of Waterloo.

[180] [See the OPPOSITE PLATE, which represents the upper part of the
Picture.]

[181] [I sent a commission for it, for a friend, at the sale of Mr.
Craufurd's effects, but lost it.]

[182] [Purchased by myself: and now at Hodnet.]

[183] [This picture was purchased for the gallery at ALTHORP. There is an
exquisite drawing of it by Wright, for the purpose of a stipling
engraving.]

[184] It was purchased by the late King of France for 10,000 francs.

[185] [Purchased for the gallery at ALTHORP.]

[186] The above quotation is incomplete; for the passage alluded to runs
thus.--"Where is the painter so well sorting his colours, that could
paint these faire eyes that are the _windows of the body, and glasses
of the soul_." The continuation is in a very picturesque style. See
the _Theatre or Rule of the World_, p. 236-7, quoted in a recent
(1808) edition of _More's Utopia_, vol. ii. p. 143. But _Primaudaye's
French Academy_, Lond. 1605, 4to. runs very much in the same strain.

[187] A little graphic history belongs to this picture. I obtained a most
beautiful and accurate copy of it by M. Le Coeure, on a reduced scale:
from which Mr. J. Thomson made an Engraving, as a PRIVATE PLATE, and
only 75 copies were struck off. The plate was then destroyed; the
impressions selling for a guinea. They are now so rare as to be worth
treble that sum: and proofs upon India paper, before the letter, may
be worth L5. 5s. Three proofs only were struck off of the plate in its
_mutilated_ state; of which my friends Mr. Haslewood and Mr. G. H.
Freeling rejoice in their possession of a copy. The drawing, by
Coeure, was sold for 20 guineas at the sale of my drawings, by Mr.
Evans, in 1822, but it has been subsequently sold for only _nine_
guineas; and of which my worthy friend A. Nicholson, Esq.--"a good
man, and a true"--is in the possession.

Subsequently, the ABOVE ORIGINAL picture was sold; and I was too happy
to procure it for the gallery at Althorp for _twelve_ guineas only!

[188] [A magnificent whole length portrait of this first DUKE DE GUISE,
painted by PORBUS--with a warmth and vigour of touch, throughout,
which are not unworthy of Titian--now adorns the very fine gallery at
Althorp: where is also a whole length portrait of ANNE OF AUSTRIA, by
Mignard. Both pictures are from the same Collection; and are each
probably the masterpiece of the artist. They are of the size of life.]

[189] [Mr. Craufurd died at Paris in 1821.]

[190] ["Amateurs, connaisseurs, examinateurs, auteurs de revues du Salon,
parodistes meme, vous n'entendez rien a ce genre de critique; prenez
M. Dibdin pour modele: voila' la _bonne ecole_!" CHAPELET, vol.
iv. p. 200. My translator shall here have the full benefit of his own
bombastical nonsense.]

_LETTER XI._

NOTICE OF M. WILLEMIN'S MONUMENS FRANCAIS INEDITS. MISCELLANEOUS
ANTIQUITIES. PRESENT STATE OF THE FINE ARTS. GENERAL OBSERVATIONS UPON THE
NATIONAL CHARACTER.

_July 8, 1818_.

I rejoice that it is in my power once more--and certainly for the last
time, from hence--to address you upon a few subjects, which, from your
earlier replies to my Paris letters, you seem to think that I have lost
sight of. These subjects, relate chiefly to ANTIQUITIES. Be assured that I
have never, for one moment, been indifferent to them; but in the vast
bibliographical field which the public libraries of this place held out for
my perambulation, it was impossible, in the first instance, not to take
advantage of the curious, and probably useful information, to be derived
from thence.

I must begin therefore by telling you that I had often heard of the
unassuming and assiduous author of the _Monumens Francais Inedits_, and was
resolved to pay him a visit. I found him in the _Rue Babile_ towards the
eastern end of the Rue St. Honore, living on the third floor. Several young
females were in the ante-room, colouring the plates of that work; which are
chiefly in outline and in aqua-tint. Each livraison contains six plates, at
twelve francs the livraison. The form is folio, and about twenty-eight
numbers are printed.[191] There is something in them of every thing:
furniture, dresses, houses, castles, churches, stained glass, paintings,
and sculpture. Illuminated MSS. are as freely laid under contribution as
are the outsides and insides of buildings, of whatsoever description.
Indeed I hardly ever visited the Public Library without finding M. Willemin
busied, with his pencil and tracing paper, with some ancient illuminated
MS. The style of art in the publication here noticed, is, upon the whole,
feeble; but as the price of the work is moderate, no purchaser can
reasonably complain. The variety and quantity of the embellishments will
always render M. Willemin's work an acceptable inmate in every well-chosen
library. I recommend it to you strongly; premising, that the author
professedly discards all pretension to profound or very critical
antiquarian learning.

For himself, M. Willemin is among the most enthusiastic, but most modest,
of his antiquarian brethren. He has seen better days. His abode and manners
afford evidence that he was once surrounded by comparative affluence and
respectability. A picture of his deceased wife hung over the chimney-piece.
The back-ground evinced a gaily furnished apartment. "Yes, Sir, (said
M.W.--on observing that I noticed it) such was _once_ my room, and its
_chief ornament_"--Of course I construed the latter to be his late wife.
"Alas! (resumed he) in better days, I had six splendid cabinets filled with
curiosities. I have now--not a single one! Such is life." He admitted that
his publication brought him a very trifling profit; and that, out of his
own country, he considered the _London_ market as the most advantageous to
him. A large broken phial, containing water and a fleur-de-lis in full
bloom, was the only, ornament of his mantle piece. "Have you no curiosities
of any kind--(said I to him) for sale?" "None--" replied he; but he had
_drawings_ of a few. "Have the kindness to shew me some of these
drawings"--and forthwith appeared the case and _pocket-knife of Diane de
Poictiers_, drawn from the original by Langlois. "Where is the original?"
observed I, hastily. "Ha, Sir, you are not singular in your question. A
nobleman of your country was almost losing his wits because he could not
purchase it:--and yet, this original was once to be obtained for _twenty
louis_!" I confess I was glad to obtain the drawing of Langlois for two
napoleons. It is minutely and prettily executed, and apparently with great
fidelity.

M. Willemin proceeded to shew me a few more drawings for his national work,
telling me precisely what he _meant_, and what he did _not_ mean, to
publish. His own drawings with a pen are, some of them, of a masterly
execution; and although of a less brilliant and less classical style than
those of LE NOIR, M. Willemin is still an artist of whom his country will
always have reason to be proud. I bought several drawings of him.[192] One
represents the sculptured figures upon the outside of the _grand portal_ of
the _Cathedral of Chartres._ These figures seem to be of the thirteenth
century. The other drawing is of a rich piece of _fayence_, or of painted
and glazed earthenware dish, and about the middle of the sixteenth century:
of which I remember to have seen some very curious specimens at Denon's.
But nothing can be more singular, and at the same time more beautiful of
its kind, than the present specimen--supposed to be the work of the famous
Bernard Palissy. Paris is full of such treasures.

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