-A\ .X^^,./V^'>_i '■■%l^i'"\,5f<^t/^ /i'7jf^ i JJ FRENCH ENGRAVERS. AND DRAUGHTSMEN OF THE XVIII CENTURY Jalifornia gional Dility UNIVERSITY OF CALIFORNIA AT LOS ANGELES UM-VEKSITY of GmmJiiJHi*, AT ■ ■■ t^ ANGELA UBRARX FRENCH ENGRAVERS AND DRAUGHTSMEN of the XVIIIth Century Uniform with this volume By lady DILKE Imperial Svo. 28/. net each volume FRENCH PAINTERS OF THE XVIIIth CENTURY. FRENCH ARCHITECTS AND SCULPTORS OF THE XVIIIth CENTURY. FRENCH DECORATION AND FURNITURE IN THE XVIIIth CENTURY. LONDON: GEORGE BELL AND SONS NEW YORK: THE MACMILLAN CO. z ^ o J u. C3 M < H TO U' <^ w a ^ o M ■'U; < 2 D < *- J < FRENCH ENGRAVERS AND DRAUGHTSMEN of the XVIIIth Century By lady DILKE AUTHOR OF "the RENAISSANCE IN FRANCE," " CLAUDE LORRAIN, SA VIE ET SES " «c , CEUVRES, "art IN THE MODERN STATE, OR THE AGE OF LOUIS XIV., "FRENCH PAINTERS OF THE XVIIITH CENTURY," "FRENCH ARCHITECTS AND SCULPTORS OF THE XVIIITH CENTURY," "FRENCH DECORATION AND FURNITURE IN THE XVIIITH CENTURY," ETC. LONDON: GEORGE BELL AND SONS YORK STREET, COVENT GARDEN 1902 i "i 6 i i 9 i CHISWICK PRESS : CHARLES WHITTINGHAM AND CO. T00K3 COURT, CHANCERY LANE, LONDON. Librae PREFACE OS WITH this volume ends the series in which I have attempted to sketch the leading features of French Art in the eighteenth century and to trace the aftion of those social laws under the pressure of which the arts take shape just as dogma crystallizes under the influence of preceding speculation. The difficulties of sele6lion and omission have been great, and every day I have received fresh suggestions as to the way in which I ought to have dealt with my subject. For my purpose it seemed better not to venture on a systematic history but to follow lines on which I have previously found myself able to interest my readers. I therefore have throughout selected in each division one or two artists who seemed to represent special tendencies connefted with the life of the day and whose work, still existing, could be treated in some detail. In respeft to the illustrations of these final pages, special difficulties, not unforeseen, have had to be encountered. Archi- te6lure, Painting, or Sculpture can secure better representation in a volume of this size than can be obtained for the art of Engraving. The reprodu6tion of an engraving, even by a costly process in skilled hands, is always unsatisfadfory unless carried out on the same scale as the original. Of a necessity the texture of the execution is confused by redudlion : the lines, crosslines, hatchings and stipplings run together and are choked in each other so that what should be a luminous expression of form becomes a meaning- less pond of ink. As far as possible, therefore, examples have been selected that could be given of their full size. Yet in spite of the friendly help of M. Bouchot and his staff at the Cabinet des Estampes, the equally kind services of my friends of the Gazette des Beaux Arts and the counsels of that distinguished engraver, V Preface. M. Achille Jacquet, I find myself baffled by very delicate work such as ChofFard's portrait of himself in the " Contes de la Fon- taine," or the exquisite head of Marie-Leczinska engraved after Nat- tier by Gaucher. That these reproductions are even — approximately — excellent is due to the zealous supervision of M. Andre Marty and the skill of Paris printers. Drawings of course come out better, and I owe grateful thanks to Baroness James de Rothschild ; to Madame Aboucaya, M. Jacques Doucet, M. Beurdeley and other coUedtors for the gene- rosity with which they have allowed me to make use of their treasures. Emilia F. S. Dilke. VI CONTENTS CHAPTER I The Comte de Caylus and the great "Amateurs" Systematic account of Engravers and Draughtsmen difficult. Method employed. Engraving fashionable. Madame dc Pompadour and other amateurs. Campion. Vivant Denon. Painter-etchers. Coypel. Fragonard. The Count dc Caylus exercised influence over every branch of art. Specially praftised engraving. His charafter and pretensions. Exploration of the Levant and Asia Minor. Life with his mother. Rcproduftions of Crozat's treasures. Of the Royal CoUeftions. Etchings after Watteau. After Bouchardon. Recueil d'Antiquites in which his own colleftions are reproduced and described. Gifts to the Cabinet des Estampes. Fortune and title of Duke. Defefts of his learning and his art, yet debt to him immense. Generosity to the Academy. Madame Geoffrin. Mile. Quinault-Dufresne. De Caylus and Cochin. Marmontel. The Encyclopaedists. Death of dc Caylus. Watclct. Exceptional fortune and position. Salons. Watelet and Mme. Le Comte. George Sand. Fantastic account of them in " Lettres d'un Voyageur." They leave for Italy with the abbe Copette as chaperon. King of Sardinia at Turin ; Pope, Cardinal Albano, Princess Borghese and others at Rome welcome the couple. They rejoin M. Le Comte in Paris. " L'Art de Pcindrc." Carmontcllc. Marcenay de Ghuy. AbbedeSaint- Non. Fragonard. "Voyage pittoresque de Naples et dans les deux Siciles." Engravers and specialists engaged. Ruin of Saint-Non and his brother. Dc Caylus, Watelet and Saint-Non embody three distindl phases of the century ..... page i CHAPTER II Mariette and Basan Mariette. Close friendship with de Caylus and Bouchardon. Connoisseurship and exaft learning. His colleilions. Family traditions. Proud type of best French middle class. His taste not infallible. "Belle main de Michel Ange." Preference for the masters of great periods in spite of fashion. Estimation of his own colleftion of drawings as best chosen in Europe. Early relations with Prince Eugene. Two years in Vienna. Letters given by the Prince. The yellow diamond. Engravings, drawings and "ouvrages de bronze " sent from Paris to Vienna. Letters to Temanza and Bottari. The "A. B. C. Dario, Mariette." Pere Orlandi. Rosalba Carriera. Intimacy with de Caylus began probably when she visited Pierre Crozat. The " Letter on Lionardo" due to collaboration with de Caylus, as also the descriptions of " Peintures Anciennes " which accompanied vii Contents, reproduftions by PietroSanti Bartoli. Printing business sold. Marictte clefted " Honorairc associc-librc " of the Academy. Secretaire du roi et Contr6Ieur-gcncral dc la grandc chancelleric. Madame Geoftrin. Fortune. Gaignat sale. Wille. " Afte de partage." Madame Mariette. Sale of Mariettc's collcftions. Heirs rejcdl the offers of the Crown. Colleftions dispersed. Mariette had direfted the sale of Crozat's coUcftions. Those of Mariette were handled by Pierre-Francois Basan. His taste and learning greatly inferior to his task. Successful dealer. Commercial instinds. Pupil of Fcssard, a man of unscrupulous push. Basan visits Holland, Flanders, England. Keeps a manufaftory of engravings in Paris. His assistants. His technique. Did not engrave any large proportion of the work under his dire(!lion. " Recueils " published by him. Hotel in the rue Serpcnte. Intimacy with Wille. Separation from his wife. His shop one of the sights of Paris. Publication of " Metamorphoses d'Ovide." Various sales handled by him. None equal in importance to that of Mariette. Inaugurates system of illustrated catalogues. Sells Wille's collcftions. Retires from business. Contrast between Mariette and Basan. Basan bridges the gulf which separates the learned and dignified printseller and connoisseur, of whom Mariette the most accomplished type, from the dealers of to-day ..... page i8 CHAPTER III Le Chevalier Cochin Social success and power of Cochin fils. Came of a family of engravers. His mother Louise-Madelaine Horthemels. Her sisters, Mme. Tardieu and Mme. Belle. All engraved. Cochin pere, taft in seizing spirit and style of dissimilar masters. Watteau. Chardin. De Troy. " Pompes funebres." That of "Madame, Premiere Dauphinc," his best work. Chief success of his son in delineation of Court ceremonials. Catalogue of his work by Jombert. Severe discipline in the house of Cochin pere. Cochin fils escapes to the work- shop of Le Bas. Rendering of " La Decoration de I'illumination et du feu d'artifice" in honour of the marriage of Mme. Premiere. Engraves entertainment given to Dauphin at Meudon and the " Porape funibre" of Elisabeth-Thercse de Lorraine. Superb drawing of "Reception par Louis XV de Said Mehemet, 174.2." Praised by Bouchardon. Cochin employed by the Slodtz at the Menus Plaisirs. Reproduces the marriage of Dauphin and other Fetes at Versailles. De Bonneval. His carelessness. Good impressions of the Fetes rare. Madame de Pompadour sends Cochin to Italy with her brother, SoufBot, and the abbe Le Blanc. Cochin a delightful companion. His letters. " Voyage d'ltalie." Return to Paris. Court favour. Received Academician. Leftures. Appointed " Secretaire-his- toriographe " to the Academy. Mariette's estimate of his charafter. Patronage. Alle- gorical designs. "Fables de la Fontaine." De Montenault. M. Bombarde. Work for Masse on "Galerie de Versailles." Employs Miger. Cochin's household in the Louvre. " L'oracle du salon de Madame GeofFrin." Drew and designed incessantly, though he ceased to engrave under the pressure of public and social life. Book-illustrations. "Le Lutrin." " Pastor Fido." "Virgile." Portraits. Drawing of Life School. Amassed no fortune. "Ports de mer de France." Anxiety as to accomplishment of the set. Direftions to his executors. Difficulties. Wille called to arbitrate. How was Cochin's work affe&ed by "society"? His pleasures. The embarrassments of his last years. His cousin robs him. He struggles on for four years, scarcely knowing how to feed his dependent house. Library could not be sold. Dies in great distress .......... page 37 CHAPTER IV The Drevet and Jean-Fran90is Daulle The traditions of Edelinck, Nanteuil and the Audran inherited by the Drevet. The family of Drevet de Loire one of the first in their distrift. Pierre Drevet with Germain Audran at Lyons, then with Gerard Audran at Paris. Associate of the Academy in 1703. Pierre-Imbert Drevet presents himself in 1724.. Father and son work together. Portrait of viii Bossuet after Rigaiid, and Adricmie Lccouvrcur as Cornelia after Coypcl. Portrait of Contents. Samuel Bernard. Adriennc Lecouvreur last worii of Picrrc-Imbert Drevct. Never recovers from sunstroke received 1726. Dates of illness and death. With him passes away the fixity of style which marked the school of the Audran. Pupils of Pierre Drcvet. Francois Chereau. His portrait of Nicolas de Launay. Jacques Chc'reau's portrait of Marie Lec- zinska after Van Loo. Simon Vallc'c. Nicolas Dupuis. Rigaud left the Drevet for Jean- Francois Daullc. On arriving from Abbeville Daullc employed by Hecquet. Daullc's engraving of Mignard's portrait of his daughter shown to Rigaud. Portrait of Gendron en- graved by Daullc. Portraits of Rigaud and his wife. That of the Comtcsse de Caylus. Daullc employs the Hessian engraver Wille. He engraves or helps Daullc to engrave portraits of " The Pretender " and his brother " The Duke of York." Maupertuis. Subjefts after Boucher and Poussin. Prints engraved for the " Galerie de Dresde." Portrait of Anastasia of Hesse-Homburg. Portrait of La Peyronie. Diflicultics as to sufficient pay- ment for "Anastasia." De Caylus supports General Betsky in his refusal to fully pay Daulle for his work. Cochin takes up the cause of Daulle in vain. Daulle dies leaving his family ill provided for. Wille's estimate of Daullc. His line mechanically dexterous. In this respeft he resembles Wille, but his efFeft is usually soft rather than brilliant. He lacks the science and power which enabled the elder men to seize on the heart of their subjefts. Mariette said justly, "il pcchoit par le dessin " ...... page 56 CHAPTER V Wille and his Pupils Wille came to Paris so young that his training was French. Father turns a deaf ear to appeals for help. He raises money from " un bon juif." Presents himself to Largilliere. Works for an arquebusicr on the Pont Marie. Moves to be near the Comcdie Fran^aise. Tries watchmaking. Works for Odieuvre. Engraves portraits of Largilliere and his daughter. Schmidt introduces him to Rigaud, who gives him his portrait of the Duke de Belle-Isle to reproduce. Father sends money. Wille spends it. Silver hilt to his sword. Schmidt agree by the Academy. Wille takes lodgings in the same house as Diderot. Works for Daulle to maintain himself whilst he engraves the portrait of the Duke de Belle-Isle. Success of the portrait. Satisfaftion of the Duke. Liberality of his treasurer. Abrupt end of Wille's "Memoir." Wille's growing reputation probably rendered Schmidt anxious to leave Paris. His departure rather sudden. Wille's journal begins sixteen years after the close of the "Memoir." Constant and friendly relations with Schmidt. Charafter and qualities common to the work of Schmidt and that of Wille. Metallic effeft. Etchings by Schmidt. Portrait of Wille by Greuze. Pupils of Wille. Massard the engraver of "La Cruche cassee." Pierre-Alexandre Tardieu. Marie-Antoinette as a vestal virgin by Dumont. "Lepelleticr de Saint-Fargeau mort " engraved by Tardieu after David. Avril. Berwic. Wille's friendly relations with his pupils. At first Wille devoted himself chiefly to portraits. His portraits of Masse and Marigny after Tocque. He decides to do no more portraits. Declines to do that of the Queen of England. He refuses Clairon on the ground of short sight. Other work more lucrative. "La Liseuse." Schmutzer sent from Vienna to Wille by Kaunitz. "La Tricoteuse," "La Devideuse " fetch high prices. "Le petit Physicien." "La Menagere." Kaunitz pays seven louis d'or for the early portrait of St. Florentin by Wille. "L'Instruftion paternelle " after Terburg. Wille receives diamond ring from the Dowager Empress of Austria. Fashion for great people to visit Wille on coming to Paris. Duke de Deux Fonts, Prince of Monaco, Struensee and others. Robert Strange, Woollet, Vivares. Alderman Boydell. Ryland. Com- missions from dealers. Wille attends all great sales. De Caylus. De Julienne. Surugue. Much work unworthy Wille's skill. Limited interests. Charafter of his journal. Feeling for his wife. Little afFeftion for his family. Indifference to all but personal concerns page 69 IX Contents. CHAPTER VI Laurent Cars, Flipart and Le Bas Work of" Laurent Cars. Its relation to "la gravure d'histoire." Printselling business inherited from his father. Brilliant pupils of Laurent Cars. He was a great artist. His " school " did not attain the commercial importance of that of Le Bas. Marietta's encomium. Engravings after Le Moine. " Les F£tcs Venitiennes " after Watteau. " Camargo dansant " after Lancrct. Illustrations to Molidre after Boucher. The "Malade iraaginaire." Gaucher. Repeated success of Laurent Cars in academical competitions. Tardieu pi^re the master both of Cars and of Le Bas. Beauvarlet, the pupil of Cars, co-operates with him on the portrait of Clairon as Medea. Grimm's criticisms. Engravings by Beauvarlet after de Troy and Van Loo. Reception by the Academy delayed. Madame Dubarry in hunting dress. Other pupils of Laurent Cars : Saint-Aubin, Chedel, Jardinier, Pasquier, Jean-Jacques Flipart. Great powers of assimilation shown by Flipart. " Tempetes " after Vernet. " Chasse au Tigre " and " Chasse a I'Ours " after Boucher and Van Loo. Develops slowly. Frontispiece of" Description des Fetes donnees pour le second mariage du Dauphin." Notice of Flipart by Gaucher. He exhibits in 1755 "Jeune Dessinateur " after Chardin. Engravings after Vicn in 1765. Devotes himself wholly to Greuze. "Chasse au Tigre" and " L'Accordee de Village" works of the same period. Cars then dead. All the younger men crowding to Le Bas. Notice of Le Bas by Joullain. Early difliculties. Marriage with Elizabeth Duret. Sale of the marriage gifts. Organizes atelier. Pupils live under his roof. His treatment of them. Jovial familiarity and mockery. Contrast the pleasant skill of Le Bas with the virility of Cars. Le Bas in touch with every later development of his art from the "vignette" to the " estampe galante." His pupils: Cochin, Ficquet, Eisen, Le Mire, ChofFard and others. Ryland, Strange, Rehn. Letters to Rehn. Easy family relations. Dancing. Muffs for Darcis and Madame Le Bas. Caricatures. Le Bas could do no portraits. Received on "Conversation galante" after Lancret. Bright efFeft. " Manon Lescaut." Molicrc. Renderings of " Le maitrc galant " and " Le pied de boeuf." Sacrifices his profession to the "shop." Honours. Diderot. Le Bas engraves half price for de Caylus. "Les Ports de France." Love of gain and generosity. Engravings of masonic ceremonies. Quarrel with Le Prince. Engraves the " Fetes Flamandes " of the Duke de Choiseul's colleftion. Madame de Pompadour. " Figures de I'histoire de France." " Ceremonies Chinoises." "Ports de France " unfinished when he dies. Disastrous results of his enterprise with Moreau le jeune. Double-dealing of Moreau . _. page 84 CHAPTER VII The Pupils of Le Bas and the Engravers of the Vignette The " graveurs de livres " a class apart. Galerie de Dresde, de Florence, de Dussel- dorf. Galerie de Versailles. Nicolas de Larmessin engraves portraits and vignettes. Change in size and shape of book. Small volumes popular. Pupils of Le Bas illustrate famous small books in latter half of the century. His method. Influence extends further than his own school. Lempereur forms Delaunay, the master of the "estampe galante." The style of Delaunay that of a pupil of Le Bas. The " Henriade." "Don Quichotte." "Fables de la Fontaine." Noel Le Mire. The " Boccaccio " illustrated by Boucher, Eisen, Cochin and Gravelot. Le Mire's work on this book. Engraves ten designs by Eisen for "Le Temple de Gnide." The de Scve Racine. Vignettes engraved by Charles Baquoy. Fermiers- gencraux edition of the "Contes de la Fontaine." Le Mire employs Le Veau to prepare his plates for this work. Joseph de Longueil. " Le roi Candaule " and "Lemari confesseur." Admirable qualities of these marvellous volumes. Alliance between ornament and illustra- tion. Choff'ard. The head and tail pieces of the " Contes." Tailpiece of " Le Rossignol." Etienne Ficquet. Grateloup. Etienne Gaucher. Miniature portrait of Marie Leczinska. Portraits of Joseph II. and Marie-Antoinette. " Couronnement du buste de Voltaire." Drawing in Lord Carnarvon's colleftion. "Contes Moraux " of Marmontel. The Banier Ovid. ChofFard signs the title-page. Well-known names : Le Mire, Le Veau, Augustin de Saint-Aubin, Masquelier, Nee, Baquoy, Delaunay, Basan himself. Le Veau makes a great X advance. His contributions to the Molicre of 1773. The other engravers of these illustra- Contents. tions. Special excellence of Dclaunay's work. " Le Cocu imaginaire." The portrait of Molicre engraved by Cathelin. " Fables de Dorat." Co-operation of Masquclier and Nee. "Chansons de la Borde." Only the first volume shows real perfcftion. " History of Cos- tume." Martini. Baquoy. Malbcste. Splendid excellence of this work contrasts with the elegance and slighter graces of other works of the day. " Pastor Fido." " Origines des Graces." Of these we may weary ; of the " Monument du Costume " we cannot weary page 97 CHAPTER VIII Gravelot and Eisen Gravelot and the designers for illustrated books. The modern novel the creation of the eighteenth century. Gravelot shows us how to illustrate it. Pupil of Restout. Long absence from France in St. Domingo. Return. Encouraged by Boucher. Comes to London. Is said to have remained in England thirteen years. Designs trade-cards, bill- heads and illustrations. "L'Astrc'e." Frontispiece to the Kit-Cat Club. '= Songs in the Opera of Flora." Gay's "Fables." Rapin de Thoyras' " History of England." Sketch of the House of Commons. "Pamela." Shakespeare. "Tom Jones." Mariette's estimate of Gravelot. Some doubt as to exaft time spent in London. "A Conversation with a Romish Priest." "LeLedeur." The "Galerie du Palais " or " The Unlucky Glance." "Sophie de Francourt." " Histoire de Miss Jenny." "Fabricant de Londrcs " and " L'Honncte Crimincl " : Fenouillot de Falbaire. All these have an English air. Other work intensely French. Most admirable work in illustrations to the "Contes Moraux " of Marmontel. Fine drawing in " Exercices de I'Infanterie." Nanine. Beauty of the vignettes to the " Decameron." Studies of children serve for the "Almanack " of 1760. Gravelot's private life. Marries twice. Position in London. Correspondence with David Garrick. He executes a drawing of Clairon for the medal struck in her honour by Garrick's order. Gravelot writes to Garrick of the " Sccchia Rapita," the Voltaire and Colic's " Partie de Chasse de Henri IV." Voltaire delighted with his work. Colman's Terence. Did Gravelot fly from England on account of the treatment he received after the battle of Fontenoy ? Lavish employment of vignettes. Mathieu Marais. Gravelot creates the illustration of "Julie," but Eisen illustrates " Emile." Eisen exhibits at the Salon of the Academy of St. Luke in 1751. Designs for the " Eloge de la Folic." Drawings for Madame de Pompadour. Eisen's marriage. Vignettes for the Boileau of 174.7. Illus- tration of the "Contes de la Fontaine." Eisen's irregular life. His friends. Le Bas godfather to his eldest son. Madame Wille godmother to another in 1749. Wille never mentions Eisen. Quarrel between Eisen and Le Mire over the "Contes." Eisen's faulty and careless drawing. Drawings for the " Contes " chief title to fame. Superior in elegance even to later work on "Metamorphoses d'Ovide." " Les quatre parties du jour." " Les quatre Saisons." Commissions for sacred subjefts executed by Eisen. Drawings for du Rosoi's "Les Sens." "Henriade." Eisen not present at the weddings of his son and daughter. Had left his wife and family. Drawings for Dorat's "Les Baisers," for " Le Temple de Gnide." These books have a better aspeft than " Les Sens." Poor work by young Wille mixed with Eisen's drawings. Cochin's influence on Eisen's allegorical designs. Various contributions to the Academy of St. Luke. Leaves for Brussels. Dies at Brussels. Land- lord's letter to the "Dame St. Martin." Madame Eisen. The " Scellc." Eisen's afi^airs page 1 1 1 CHAPTER IX The Saint-Aubin, Moreau le jeune, Boilly, Prieur Germain de Saint-Aubin. "Les Papillonneries humaines." Gabriel dc Saint-Aubin. Competes for the Grand Prix. " Les nouvellistes." " Vue du Salon du Louvre en I'annc'e 1753." Tries for a place as "elcve protege." " Bal d'Auteuil." " Ballet dansc dans le xi Contents. Camaval du Parnasse." "Dimanchcs de Saint-Cloud." "Chaises miscs aux Thuilleries " and " Tonncau d'arrosage." Bohemian spirit. Notes in Salon Catalogues. Exhibits at the Salon dcs Maitres in 1774. Exhibits at the Colyscc. Gabriel as professor. " Parade aux thdatrcs du Boulevard." Drawings in the collcftion of M. Valton. Last work by Gabriel. "Seance de physique a la monnaic." Gabriel lives in the street. His clothes. Death at his brother's house. Disorder of his lodgings. Augustin de Saint-Aubin. Pupil of Etienne Fessard. Early work. Engravings after Gravelot for the "Decameron." " Promenade des remparts de Paris." Enters atelier of Laurent Cars. Marriage. Portraits of his wife. "Au moins soyez discret " and " Comptcz sur mes serments." Agree by the Academy. The " Bal pare" and the "Concert." Series of portraits after Cochin. Ex- pelled from his atelier by the Revolution. Employed by Renouard. Failing powers. Moreau le jeune in same position. Moreau had as a youth accompanied Le Lorrain to St. Petersburg. Moreau in the workshop of Le Bas. Etches plates for others. Marriage with Fran^oise-Nicole Pineau. Work for Prault. "Le Couche de la mariee." Drawing of "La Revue de la Plainc des Sablons." Appointed "dessinateur des Menus." Birth of his daughter. Her life of her father. "Chansons de la Bordc." Illustrations of "La nouvclle Heloise." Other book-illustrations. " Monument du Costume." " Sacre de Louis XVL" Moreau's great opportunity. Drawing and engraving exhibited 1781, together with a great group of other works. "Fetes de la Ville." Received by the Academy on his drawing of "Tullia." Drawing of " Assemblce des Notables" for the King. Loses fortune, gift and style in the Revolution. Decadence began with Italian tour. Sketch-book of 1785. Influence of David. Accepts post of professor at the " Ecolcs Centrales." Louis XVIII. restores him to his old post before his death. All his companions drop into poverty and ncgleft. Few flourish as did Boilly before and after the Revolution. Boilly a painter, but also a draughtsman and lithographer. Work at Hertford House, in the Louvre and in private colleftions. " La queue au lait." He gives not only documents, but work of artistic value. The works of Prieur interesting as documents. Prieur shows steady deteriora- tion under the excitement of the Terror. "Tableaux de la Revolution." Study of Prieur by M. Jean Guift'rey in "L'Art " page 130 CHAPTER X The Engravers in Colour Varieties of method. Deliberations of the Academy. Jean Lutma and Leblond. Francois. Pension from Marigny. Magny, Gilles Demarteau, Bonnet and others. Repro- duftious of Boucher's drawings made by Demarteau. Work after Cochin, Van Loo and Pierre. Works exhibited in 1773. Jean Le Prince. His secret bought by the Academy. His wild life and eccentric habits. Marriage. Travels in Russia. Received on " Bapteme selon le rite Grec." Mariette's criticisms. Diderot. Death of Le Prince. Janinet applies colour on the method of Le Prince. "L'Operateur." Experiments as aeronaut. Account given by Wille of their total failure. Janinet returns to engraving in colour. "Toilette de Venus " after Boucher. Portraits of Marie-Antoinette and Mile. Bertin. Medallions after Fragonard. "Boudoir" subjefts after Lavreince. Claude Hoin. Dull work by Janinet after Moitte. Debucourt masters Janinet's methods. Exhibits at the Salons 1783, 1785. Publishes "LaFeinte Caresse " as a coloured engraving, 1789. The " Menuet de la Mariee." Important gravure-gouache. Debucourt superior to Descourtis. " Promenade de la gallerie du Palais Royal " and other works. Gives his best during the five years which precede the stir of the Revolution. Methods change. Loses mastery over his own secret. Ceases to be the "gravcur qui cree." Invents new "procede." Stipple in colour. Barto- lozzi. Copia and Roger. They successfully reproduce Prud'hon's drawings. Attempt to apply this system to colour destroys Debucourt's art .... . page 149 Xll CHAPTER XI Contents. Engravers and the Academy Insufficient training of engravers. Reaftion in favour of severer discipline. Wille. Inferior position of engravers in the Academy. Insufficient protcftion. Attaciis of printers and publishers. Appeal to Marigny. Rights of reprodudion and publication. Poilly. Gabriel de Saint-Aubin attacks Delaunay. Balcchou. Portrait of Augustus, King of Poland. Did Balcchou pull too many proofs on his own account ? Trial by the Academy. Balechou found guilty. Banished to Avignon. His printer the chief witness against him. Vernct writes to Balcchou. Nattier sends him a portrait. Dies in exile. Grimm on Balcchou and Willc. Fessard and Germain. Cochin and Willc appear as experts. Colleflion of engravings made by the Academy. Valuable property acquired in the plates of diploma works. Gifts from "honorary amateurs." Coypel. Chardin. Wille. Jean- Jacques Caffieri. Illustrated books. Larmessin. Moyreau. Cochin. Bernard Lcpicie. Purchase of plates. Receipts from this source. Inventory of 1775. Commissions given to engravers. Miger. I,empereur. Academy buy all plates left by Flipart. Acquisitions of the Library. Refuse to the last to recognize engravers as the equals of painters and sculptors. Last meeting occupied with concerns of engravers. Academy suppressed page 158 Triumph of revolt against privilege made easy by centralization. Fall of Academics only a detail. Outbreak of 1789 unlocks sources of spiritual life. Vision of new " Har- monia Mundi." Ideals of this moral evolution. Limitations. Tyranny as exadling as the rule it replaces. Prud'hon and David. Note struck by leaders of Romantic movement. Tendencies released. Task of tracing relation to development of modern democracy yet to be accomplished ........... page 169 APPENDIX (A) List of Works by the Comte de Caylus. (B) Note sur la Famille de M. Mariette. (C) Extrafts from the " Partage des Biens de la Succession de Monsieur Mariette." (D) List of Works exhibited at the Salon by: — Beauvarlet, Cars, Cathelin, Cochin fils, Daullc, Debucourt, Delaunay I'aine, Eisen [Works exhibited at the Academy of St. Luke], Flipart, Larmessin, Le Bas, Lempereur, Moreau le jeune, Saint-Aubin (Augustin de), Saint-Aubin (Gabriel de) [Works exhibited at the Academy of St. Luke and at the Colysee], Willc page 171 INDEX page 205 Xlll LIST OF ILLUSTRATIONS All engraved works are entered under the names of the engravers. With one exception {No. 5) they have been reproduced from examples in the Print Room of the Biblioth^que Nationale. I. 10. II. 12. 13- 14. 15- 16. FACE PAGE Malbeste, Georges ; Lienard, Jean-Baptiste ; Nee, Fran(;ois- Denis. La Revue de la plaine des Sablons. (Moreau le jeune) Heliogravure. Frontispiece Ponce, Nicolas. La Toilette. (Baudouin) Caylus, Comte de. Achetds des Moulins. Mon bel CEillet. (Bou- chardon. "Cris de Paris ") ........ Watelet, Claude-Henri. Portrait of Marguerite Le Comte. (Cochin le fils) ............ Choffard, Pierre-Philippe. Frontispice: " Catalogue Mariette." {Ideni) Basan, Pierre-Francois. Ballet danse au Theatre de I'Opera dans le "Carnaval du Parnasse," Afte I". (Gabriel de Saint-Aubin) Choffard, Pierre-Philippe. Cul de lampe. ("Metamorphoses d'Ovide," 1767-1771) Aveline, Pierre. L'Ouvricre en dentelle : "Diverses charges de la rue de Paris." (Cochin le fils) ....... Cochin le fils, Charles-Nicolas. Vue perspedtive de I'lllumination de la rue de la ferronnerie, execut^e le 29 Aout 1739 par les soins de Messieurs les six corps des marchands a I'occasion du mariage de Madame I"" de France et de I'lnfant Don Philippe IP. Les figures invente et grav6e {sic) par Cochin le Fils, et la Perspective par J. De Seve . Cochin le fils, Charles-Nicolas. Billet de Bal par^ a Versailles pour le mariage de Monseigneur le Dauphin, le 24 fivrier 1745 . Drevet, Pierre-Imbert. Portrait of Bossuet. (Rigaud) Heliogravure Drevet, Pierre-Imbert. Portrait of Adrienne Lecouvreur. (Coypel) Daulle, Jean. Portrait of Cochin le fils ...... Dupuis, Nicolas. Frontispice : " Fables d (Oudry) . Larmessin, Nicolas (Lancret) ........... WiLLE, Jean-Georges. La soeur de la bonne femme de Normandie, dite "La femme a la tulipe." (Wille fils, 1773) XV 'rontispice : DE. Les Remois e la Fontaine," 1755-1759. " Contes de la Fontaine." 1 1 23 31 35 38 41 50 58 62 66 68 72 78 List of TO FACE Illustra- PAGE tions. 17. Cars, Laurent. Le Malade imaginaire: Molicre, "CEuvrcs," 1734. (Boucher) ........... 84 18. Beauvarlet, Jacques-Francois. Madame Dubarry en habit de chasse. (Drouais) ........ Heliogravure 87 19. Flipart, Jean-Jacques. Concours pour le prix de I'expression fond^ dans rAcademie royale de peinture par le Comte de Caylus : Made- moiselle Clairon, assise au-dessus d'une table, sert de modele aux jeunes artistes. (C. N. Cochin le fils) ....... 88 20. Cathelin, Louis-Jacques. Portrait of Le Bas. (C. N. Cochin le fils, 1776; grave 1782) .......... 90 21. Le Bas, Jacques-Philippe. La Marchande de Beignets • • • 93 22. Le Bas, Jacques-Philippe. Les Francma^ons : L'Entr<5e du recipien- daire dans la loge .......... 94 23. Pasquier, Jacques-Jean. Le depart pour Paris. Manon en prison. ("Manon Lescaut," 1753) 97 24. Delaunay, Nicolas. St. Preux mocqu6 par les femmes. (Moreau le jeune. "Nouvelle Hdioise," CEuvres de Rousseau, 1774-1783) Heliogravure 99 Given in the large paper edition only. 25. Baquoy, Jean-Charles. En tete de la "Th^baide." Cul de lampe, "3""' Afte d'Alexandre." (De Seve Racine, 1760) .... loi 26. Choffard, Pierre-Philippe. LeRossignol. ("Contes de la Fontaine," 1762) ......... Heliogravure 103 Given in the large paper edition only. 27. Gaucher, Charles-Etienne. Marie-Leczinska. (Nattier. En tete de la dddicace du Nouvel Abr^g^ Chronologique de I'Histoire de France du President Henault, 1767) ..... Heliogravure 104 28. SiMONET, Jean-Baptiste. Les Graces veng^es. (Moreau le jeune. Querlon, "Les Graces," 1769) . . . . . . . .106 29. Malbeste, Georges. Le Mariage ou la Sortie de I'Op^ra. (Moreau le jeune) ............ 109 30. Ghendt, Emmanuel de. En tete. L'Abeille justifi^e. Cul de lampe. (Marillier, Pierre-Clement. "Fables de Dorat"). Heliogravure 1 10 31. Gravelot, Hubert-Francois. Viola and Olivia. (Hayman. "Twelfth Night": Shakespeare. Oxford, 1744) . . . . . .112 32. Gravelot, Hubert-Francois. Promenade a deux. (Drawing in the collection of M. Jacques Doucet) .... Similigravure 114 33. Le Mire, Noel. Le Misanthrope corrige . . . . . .116 Rousseau, Jean-Francois. Le Connoisseur. (Gravelot. "Contes Moraux": Marmontel) . . . . . . . . . 1 16 34. Gravelot, Hubert-Francois. Conversation with a Romish Priest . 119 35. Le Mire, Noel. La Galerie du Palais, or the Unlucky Glance. (Gra- velot. Corneille, Geneva, 1764) . . . . . . .120 36. Ghendt, Emmanuel de. Les Vendanges ou I'Automne. (Eisen.) Preparation en eau-forte ...... Heliogravure 123 37. EiSEN, Charles-Dominique-Joseph. Les trois Comm^res. (Drawing in the coUedlion of Baroness James de Rothschild) . . . .124 Lempereur. Les trois Commeres. (Eisen. " Contes de la Fontaine ") 124 38. Saint-Aubin, Germain de. Le Bain : " Papillonneries humaines " . 130 39. Saint-Aubin, Gabriel de. Reunion dans un pare. (Etching. Cabinet des Estampes) . . . . . . . . . . .132 40. Saint-Aubin, Gabriel de. Stance de physique a la Monnoie. (Drawing in the colledtion of M. Jacques Doucet) . . . Similigravure 134 xvi TO FACE List of PAGE Illustra- 41. Saint-Aubin, Augustin de. Dernicre heure de Madame de Rebecquc. tions. Heliogravure 137 42. MoREAU, Jean-Michel. Little girl asleep. (Drawing in the colleftion of Mr. Heseltine) ....... Heliogravure 139 43. Le Mire, NoEl. Le Retour de Claire. ("Nouvelle H6!oise," CEuvres de Rousseau, 1 774-1 783. Moreau le jeune) ..... 140 44. Moreau, Jean-Michel. Leaves from a Sketch-Book (Musie du Louvre) Heliogravure 143 45. BoiLLY, Louis-Leopold. La Queue au Lait. (Drawing in the colleftion of Madame Aboucaya) ...... Heliogravure 147 46. Prieur, Jean-Louis. La Fete de la FL'd(5ration. (Mus6e du Louvre.) This drawing shows the Triumphal Arch eredted in honour of the occasion ......... Heliogravure 148 47. Ollivier, Michel-Barthelemy. Study of a woman sitting on the ground ......... Similigravure 153 48. Lavreince, Nicolas. La Marchande de modes. (Gouache in the col- lection of M. Beurdeley) ...... Heliogravure 1 54 49. Debucourt, Louis-Philibert. Le menuet de la marine Heliogravure 156 50. Lepicie, Bernard. La petite fille au volant. (Chardin) . . . 165 xvu LIST OF ABBREVIATIONS G. B. A. A. de I'A. fr. N. A. P. V. WiUe M6m. Basan, D'\6\. Cochin, Mem. iiii-d. A. B. C. Dario Not. hist. Portalis and Beraldi Portalis, " Les Dessinateurs " French Painters, etc. French Architedts and Sculptors, etc, French Decoration, etc. B. M. Chal. du [.ouvre A. R. Engd. Ex. It. = Gazette des Beaux Arts. = Archives de I'Art fran^ais. = Nouvelles Archives de I'Art fran^ais. = Proces-verbaux de I'Academie Royaie. = Memoires et Journal de Jean-Georges Wille. = Basan, Dictionnaire des Graveurs. = Memoires inedits de Charles-Nicolas Cochin. = Abecedario de P. -J. JVIariette. = Notice Historique. = Portalis et Beraldi, " Les Graveurs du XV III Sicclc." = Portalis, "Les Dessinateurs d'lllustrations au XVII] Siecle." = French Painters of the XVIIIth Century. = French Architefts and Sculptors of the XVIII Century. = French Decoration and Furniture in the XVIII Century. = Print Room, British Museum. = Chalcographie du Louvre. = Agre^. = Re^u. = Engraved. = Exhibited. = livres tournois. XIX La Toilette. (Nicolas Ponce, after Bauuouin.) FRENCH ENGRAVERS AND DRAUGHTSMEN OF THE XVIII CENTURY CHAPTER I THE COMTE DE CAYLUS AND THE GREAT "AMATEURS" IT is even more difficult to give a systematic account of French engravers and draughtsmen in the eighteenth century than to write of the painters, the architects, the sculptors and the decorators. To treat of them chronologically or to break up their work into sedlions according to the subjed: would be to give this volume the charafter of a text-book — useful, perhaps, but unreadable. I have therefore again attempted to seledl the man in each division who has impressed me as a typical personality, and to group round him others who appear less marked in character or who present features which may be emphasized by way of contrast. The notice of the Comte de Caylus with which this volume opens has been reserved till now because, though he exercised during the early part of the century an extraordinary influence over every branch of art, his own pradiice connects him specially with engraving. His close alliance with Mariette carries us naturally to the consideration of that famous printseller, colledlor and publisher, who, if he engraved little, bought and sold a great deal. In conjunction with de Caylus, Mariette exercised an authority with which, as long as they lived, every dealer, draughts- man and engraver had to reckon. In this connedtion Basan — whom Mariette appointed to deal with his colledtions — cannot be overlooked. These men form the background for the aftivity of I B The Comte de Caylus and the great "Ama- teurs." others, but their influence was contested even during their lives by the growing power of Cochin fils, who, backed by Marigny, exercised a vigorous direftion in his name. When we come to the engravers and draughtsmen proper the first thing that strikes us is their marvellous power of drawing — due to the severe studies of which they possessed the wholesome tradition. The Drevet — those great engravers of portrait — were the direft heirs of Nanteuil, and to them Daulle, Beauvarlet, Wille and their pupils were deeply indebted. If we turn to those men, who devoted themselves to pieces historiques, the name of Laurent Cars stands first, and his chara6ter and connection with business may be contrasted with the charafter and business of his younger rival Le Bas, out of whose workshop went nearly all the vignettistes and engravers of the " estampe galante " to whom I have devoted the following chapter. Gravelot and Eisen, amongst the draughtsmen, precede the Saint-Aubin, Moreau le jeune, Boilly and those other designers whose work lent itself specially to the pretty art of engraving in colour, which is essentially of the later days of the century ; and for the concluding pages I have kept a short account of the relations of engravers to the Academy of Painting and Sculpture, with the suppression of which and the proclamation of the " Commune des Arts " this work ends. It was the fashion to engrave in the eighteenth century. Cochin's famous pupil, Madame de Pompadour, was by no means original in her efforts to practise the art. Everybody of distinction knew something of the use of the needle or the graver, and lengthy would be even a list of amateurs, some of whom — like de Thiers or the Chevalier de Valory — left a considerable group of work. If we pick out only the most noted names, the Marquis d'Argenson may stand first in point of time with his " Vue du Chateau des Bergeries." Then come the Dukes of Chevreuse, of Charost and of Chaulnes ; the Princess de Conde ; the Marquise de Belloy ; the Marquis de Coigny ; the Marquis d'Harcourt ; the Count de Breteuil, the Count de Clermont and the Count d'Eu. Others as widely different in type as Bachaumont, the writer of those " Me- moires Secrets " which are the most excellent chronicle of their day, and Bertinazzi dit Carlin, the famous aCtor, shared the enthu- siasm of the Court, to which Philippe Egalite himself paid tribute when, as Duke de Chartres, he engraved in 1761 two little subjects after Carmontelle.^ ' "Paysanne de St.-Cloud " and "Manoeuvre de St. -Cloud." 2 For the most part these courtly artists left little behind them. The They contented themselves, after the fishion of Campion,^ the Comte de gallant controleur general^ with a dozen or so examples of a skill and the by which they paid homage to the divinity of the moment : — great a Mme. de Cypierre, " Vues des bords de la Loire " ; a Mme. de t'gu^/" Guillonville, " Vues des bords du Loiret"; a Mme. la marquise de Pilles, " Vue de Meung." Others employed their art with so much indiscretion that it might be said of them, as of Vivant Denon,^ one of the most distinguished of this group of amateur engravers, that their chief occupation was " la gravure et les femmes." He, indeed, seems to have owed much of his success and even his great position at the beginning of the nineteenth century to this means of popularity with women. They were all delighted to sit to him. The list, which begins with Madame Vigee Lebrun and includes Lady Hamilton, is a long one, and his charm is said to have been sufficient to soften even the bitterness of captivity to the outraged Pius VH. Painters have always, like Coypel,^ Rivalz, "M. le chevalier d'Origny,"^ Pierre and others, engraved or etched their own work as a matter of course. Throughout the eighteenth century the etching needle was never out of their hands, though few, if we except Watteau, Oudry perhaps, and Fragonard, ever attained to a high degree of skill or showed any originality of method. The student days in Italy generally saw the birth of these attempts. There it was, as we may remember, that Fragonard engraved and re-engraved subjefts after Tiepolo, " son maitre de gravure " ; there, too, he rendered with deep personal feeling and spirit that forgotten corner of the neglefted garden of some patrician villa, which is known to collectors as " Le Pare." In Italy, also, Fra- ' 1734-1784. * 1747-1825. He was Diredlor of the Imperial Galleries during the reign of the first Napoleon, and had an enormous influence on the movement of the arts. In 1 81 5, after having resisted obstinately the removal of the spoils amassed in the Louvre, he resigned his post. "Toutes les fois," we are told, "qu'un enlevement devait avoir lieu, il ^tait pris au collet et gard6 a vue dans son cabinet par un peloton de soldats prussiens " (Clement de Ris, " Les Amateurs d'autrefois," p. 437). ^ Charles Coypel, the designer of the famous illustrations of " Les Aventures de Don Quichotte" ("French Painters, etc.," p. 28, and "French Decoration, etc.," p. 103), is the author — amongst other pieces of a like charadter — of " L'Histoire d'une Devote," which consists of four satirical subjedls : i. "La Devote va a la messe"; 2. " Elle s'ofFre en holocauste " ; 3. " EUe querelle sa servante " ; 4. " EUe calomnie son prochain." One may also note an amusing " Assembl6e de brocanteurs " with asses' heads examining works of painting and sculpture, and a " lady making her will in the presence of her lover, her lawyer and her cat " — the cat evidently is to be the universal legatee. ' See Salons of 1739 to 1743. 3 Ama- teurs. The gonard etched his four " Bacchanales" or "Jeux de Satyrs" (1763), Comte de jj^g handling of which — like his brilliant work of a different and "he charadler and later date, " L'Armoire " — shows an intuitive per- great ception of the resources of the process employed and qualities which are not revealed by many of the easel pictures which now, in some cases, enjoy an exaggerated reputation. Many of Fra- gonard's etchings have all the charm of his drawings or of his best decorative work, whereas his achievements as a painter are of an amazing inequality, and differ in value to a quite exceptional degree. Amongst amateurs, the learned, self-consequent nephew of Madame de Maintenon, the Comte de Caylus^ — whose authority and influence form one of the most remarkable features of the day — stands in the front rank. The importance of his position, the very nature of his faults and failings, his vast pretensions, real merit and indifferent accomplishment combine to make him an admirable representative of the wealthy amateur in the earlier half of the century, just as we find in Watelet and Saint-Non the finished pattern of the inferior types fashionable at a later date. The exaggerated seriousness with which Caylus took himself might be expefted of a man who had sat on the knees of the Great King,^ but we may recolledt that his sense of his own dignity and importance was no hindrance to those touching relations with Watteau which are the consecration of de Caylus's life. " It is well to remember," says Cochin, " in resped: of the petty despotism which M. de Caylus sought to exercise over the arts, that he had become accustomed to it little by little, which is as it were his apology. Perhaps, indeed, in the beginning of his relations with artists he had no such scheme." ^ His friendship with Watteau was certainly untainted by any of that ambition to play the patron by which he was devoured in later years. No estimate of his charafter will be just that omits to reckon with his real love of and devotion to the arts, or to take into account that he most certainly knew more about them than any other amateur of his day. When he died, the loss of " ce connoisseur profond " ' 1 692-1 765. Anne-Claude- Philippe de Thubieres, de Grimoard, de Pestels, de Levi, Comte de Caylus, was the son of Marguerite de Villette, great-niece of Mme. de Maintenon and stepdaughter of that Marquise de Villette who married Boling- brolce after the death of her first husband. '" "N'^tant encore que mousquetaire, il se distingua a la bataille de Malplaquet, de fa^on qu'au retour de la campagne, le roi, par amiti6 pour Mad"* de Maintenon, le prit sur ses genoux, en disant: ' Voyez mon petit Caylus; il a d^ja tu6 un de mes ennemis ' " (A. B. C. Dario, Mariette). ^ Cochin, M^m. indd., p. 64. 4 was sincerely regretted by the Academicians, in spite of their The personal and painful experience that, as Cochin puts it, " men ^omte de of quality, though doubtless conferring honour on the body to and the which they attach themselves, unfortunately know it too well, great and it is rare that their proteftion does not degenerate into some- tgurs/' thing like tyranny." ^ The pretensions of de Caylus to be an universal expert were at least backed by persistent study and some pra6tical knowledge of more than one branch of art. He was not only a draughtsman and etcher of no mean excellence, but all that experience which may be won by the constant direftion of the attention and steady train- ing of the powers of perception was undoubtedly his. He started for Italy on the death of the old King, from whose favour he had much to expe(5l : " huit mois apres," we are told, " il saisit I'occasion de passer dans le Levant. II partit avec M. de Bonac, qui alloit relever M. Desalleurs a la Porte Ottomane." ^ Thence- forth, de Caylus gave up his whole existence to the serious study of those subjects in which he honestly delighted. Rich and well- placed, he abandoned the dignities of the Court ^ and the pleasures of his class in order to devote himself to literature,* to archaeology, to every branch of art. When he finally returned to Paris after a prolonged exploration of Asia Minor, he settled with his mother in a house surrounded by the gardens of the Petit Luxembourg, and at once began to reproduce the treasures of Crozat's famous collections with his indefatigable needle. In a most touching letter, written on the occasion of his mother's death to the abbe de Conti, de Caylus lets us see how beautiful his life with her at this date had been. "Je ne S9ais plus vivre . . .," he writes; " a tout ce que le commerce leplus aimable peut avoir de plus seduisant, a toute la volupte de la paresse qu'il entrainoit a sa suite, il a succede une solitude afireuse."^ Rallying his strength, de Caylus devoted all his powers to the task which he had set himself, when the riches of de Crozat's portfolios were re- vealed to him, with that deliberate persistence which sustained him throughout his life. ' Cochin, M6m. in^d., p. 25. ' Le Beau, " Eloge de Caylus." An account of this journey, of interest to all who concern themselves with classical archaeology, was given by M. Miintz from an unpublished MS. at a sitting of the Acad, des Inscriptions, April 6th, 1900. ^ He lived at first, after leaving the Petit Luxembourg, in a small building on the terrace near the Tuileries. When the growth of his colledtions forced him to seek larger quarters, he built an hotel in the rue Saint-Dominique. ' See Appendix A for list of his works. " Letter of June 17th, 1729 (de Goncourt, "Portraits intimes," t. ii., p. 22). 5 The The restless energy which never allowed him to remain idle Comte de [qj- ^ rnoment, and which found a certain vent in the voluminous and the writings, published and unpublished,^ which were the excuse for great his ele6lion to the Academy, could not long be diverted from its main "■^"^^r channel. He returned always to his favourite occupation with renewed zest and vivacity. After he had surprised Europe by his reproductions of the treasures of Crozat's admirable collections, de Caylus set himself to etch those in the Royal Cabinet, his access to which was facilitated by the appointment of his intimate friend, Charles Coypel, as gar^ie des dessins du roi? In 1747 Coypel, whose nomination as First Painter and Director of the Royal Academy had been supported by de Caylus, in his capacity of " conseiller et honoraire amateur," against the party which would have recalled de Troy from Rome,^ presented to the Society two hundred and twenty-three proofs of etchings made by de Caylus from the drawings under his care.^ This set, considerable though it seems, includes but a small portion of his accomplishment, for the famous " Recueil " of his complete engraved work, now in the Cabinet des Estampes, fills four folio volumes,^ every example in this unique colledtion having its counter proof facing it. The early efforts here repre- sented, the little figures etched after Watteau, " Un Nouvelliste," " Le beau Cleon," etc.,^ are amongst the most pleasing. The slight but not unintelligent point with which they are indicated has an attraction denied to the more ambitious facsimiles of drawings and reproductions of set and solid work. An exception must, however, be made as regards later work, in favour of the brilliant and workmanlike renderings of Bouchar- don's drawings of the " Cris de Paris," It is true that we find in ' The " Catalogue des Manuscrits provenant de Caylus," and now in the "Biblio- theque de I'Universit^," is printed in the Appendix to the " M^moires de Cochin " (p. 151 et siq.). This represents but only one side of the writer's adtivity, which, as it contains numbers of comedies and society verses, probably belongs to the class of work referred to by Mariette when he says that de Caylus " dans sa jeunesse avoit beaucoup 6crit, mais pourtant des bagatelles" (A. B. C. Dario). ' Coypel was also "garde des planches gravies et des estampes." He was named in succession to Claude de Chancey, " prieur de la Sainte Madeleine," who had robbed the collections and only left the Bastille for the Petites Maisons. See Delaborde, " D^partement des Estampes," pp. 61, 62. ^ See " French Painters, etc.," p. 40. * P. v.. May 27th, 1747. See also August ist, 1750, and January loth and November 27th, 1756, for other gifts, and Catalogue of the Chalcographie du Louvre, Nos. 100 to 322. ' The set (also in four volumes) sold at the death of Mariette consisted of 3,200 pieces. ' "Suites de figures inventees par Watteau et gravies par son ami C " 6 z o X o C z X U this " Recueil " reprodudlions of drawings by Michel Ange, by The Raphael, by Rubens, by Rembrandt and Van Dyck, rendered with Comte de absolutely faithful intention ; it is true that we rise from turning and the over its pages with an enlarged conception of the services rendered great by de Caylus, not to archeology only but to art, yet it is impossible teu^_^" not to see that he interprets the work of his contemporaries with a superior liberty and ease. Gillot and Coypel are more within his grasp than the landscapes of Titian, nor are there many among the more studied examples from his hand which can rival the " Colleur d'Affiches " or the " Porteur d'Eau " of the " Cris de Paris." This "Recueil" was but one of the important gifts actually transferred to the Cabinet des Estampes by de Caylus during his lifetime. Beside many single examples he handed over various " Colleftions," each in its way unique. Amongst these was a series of drawings from objects in his possession which he had caused to be executed for reprodudlion in his own works, ^ as well as the " Peintures antiques trouvees a Rome," copied by Pietro Santi Bartoli in gouache for Queen Christina of Sweden.^ Of all these gifts the Print Room was, however, temporarily deprived on an appeal made by his heir, the Duke de Caylus, to the King. De Caylus himself had never married, but he inherited at the age of sixty-eight, from an uncle who had taken service with Spain, an income of 60,000 It., "la grandesse espagnole et son titre de due reversible a perpetuite sur les heritiers du nom et des armes de Caylus." ^ The title, which he never assumed, went by patent to his nearest relative, the Marquis de Lignerac. He demanded and obtained from Louis XV., " la jouissance, sa vie durant, des choses rares qui composaient le cabinet de feu son oncle." Books and portfolios, therefore, as well as the treasures bequeathed to the Cabinet des Medailles, returned to their old quarters, where they remained till the death of the Duke permitted the Print Room the free exercise of its rights. ' Amongst these may be mentioned the volumes in which were reproduced and described his own colledlions, " Recueil d'Antiquitcs egyptiennes, ctrusques, grecques, romaines et gauloises " (1752-1767, Paris, Dessaint et Vaillant, then Tilliard), the seventh volume of which was published after the death of de Caylus ; " Recueil de peintures antiques " ; " Nouveaux sujets de peinture et de sculpture," etc. See Appendix A. ■ See Delaborde, " Le Departement des Estampes," p. 90 and note 2. Before presenting the original drawings of Bartoli to the Cabinet du roi, Caylus had them engraved and coloured at great cost. Thirty copies were, Le Beau tells us, given to the public ; that in the Catalogue of Marietta, and which is described by Basan in the Catalogue of Mariette's sale, is now in the Bibliothiique Nationale. ^ " Les Amateurs d'autrefois," pp. 279, 280. The Whoever wrote or spoke of de Caylus in his own day, if of a Comte de friendly turn, invariably attached to his name the solemn epithet and "he " profond." To the Academy he is a " profond connoisseur." great Gaburri,^ the friend and correspondent of Mariette, writes of the '' Ama- " profonde intelligence de M. le Comte de Caylus." Yet " pro- fond " de Caylus was not, nor had he any trace of that sense of exad: science in which others were then equally lacking. The text and illustration of his " Recueil des Antiquites"^ are both open to criticism. The one is full of errors ; the other, especially where works of sculpture are concerned, shows — whether we recognize the hand of Bouchardon or of Caylus — a pure travesty of classic style. All the same our debt to Caylus remains immense. We can- not be too grateful to the man who devoted his fortune to bring together these vast colledlions, who gave his time, his labour, his intelligence to the scrupulous exactitude of their description, and who did so much in this and in every other direction to raise the level of taste in his day. At the Academy he was a frequent lecturer, and when, as a consequence of a discourse on " Testes d'expres- sion," a petition was got up by the students, funds were found by him for the maintenance of a class which has been immortalized by Cochin's drawing,^ and the prize for a duller subjedt — " I'Osteo- logie " — was also instituted through his initiative.* His own work shows that his taste was not always sure, and that he could dwell as fondly on a drawing by one of the Caracci as on the work of Lionardo. He could prefer Vasse^ to Pigalle, in which he was certainly wrong, and we may be sure that Cochin says no more than the truth when he avers that Caylus, if he had given a hasty judgement, was loth to retract or modify it — a most usual weakness with critics. But when we have made all deduc- tions, there remains a remarkable man, one whose chara6ter and life had unity and dignity, one who deserves something more than to be remembered only as the friend of Watteau, the lover of Mademoiselle Quinault-Dufresne ^ and Madame GeofFrin, the ' His colleftion of engravings and drawings was sold in London, after his death, in 1742. "Ella ny a pas eu beaucoup de faveur, chose assez singuliere, car tout ce qui vient d'ltalie est repute bon pour les Anglois" (Mariette, A. B. C. Dario). ' See p. 7, note i. ' See the reproduaion in " L'Art du XVIII. Siecle," ed. 1882, t. ii., p. 51. * P. v., Oftober 6th and 27th, 1759; February, i 760 ; April 28th, 1764. ' See " French ArchiteiSts, etc.," pp. 39 note, 75, 109 and note, 147 note, etc. " Jeanne-Fran^oise, the younger sister of Ouinault-Dufresne, a brilliant adlress and witty woman, often consulted by Voltaire on his plays. She made her debut at the Comedie Fran^aise in 17 18. This, it has been suggested, preceded by two years the date of her relations to de Caylus. 8 etcher of " Les Petits Pieds," that supplementary illustration to the The romance of Longus without which colled:ors hold that no copy of Comte de " Daphnis et Chloe " can be complete. and the The references made to de Caylus in Cochin's Memoirs are by great no means friendly ; they lay bare all the flaws of a nature prone both t'e^j^^^-" by birth and inclination to the exercise of authority, but show at the same time that de Caylus was one to whom, as Cochin himself says, much must be forgiven because he really loved much. The venomous attack made by Marmontel on the man by whose good- will he had probably been admitted to Madame GeofFrin's table conveys the impression that de Caylus had been justly displeased by the bumptious and underbred familiarity of the author of those mawkish " Contes Moraux " which owe their only value to Gra- velot's brilliant illustrations. The quarrel with the Encyclopedists, which began with their intentional exclusion of de Caylus from their list of authorities,^ embittered the last years of his life and had no doubt contributed to develop hostile relations between himself and Marmontel. Neither side could tolerate the pretensions of the other and de Caylus dealt with Diderot as insolently and more frankly than Diderot dealt with him. "Je connais peu Diderot," he wrote to Pacciaudi in 1761, " parce que je ne I'estime point; mais je crois qu'il se porte bien. II y a de certains b qui ne meurent pas tandis que pour le malheur des lettres de I'Europe d'honnetes gens . . . meurent dans leur plus grande force." 2 Cochin even attributes a certain coolness which crept between de Caylus and Watelet to the fadl that Watelet undertook to write those articles " on the arts " for the Encyclopaedia which had not been offered to himself. " II est aimable," writes de Caylus, " mais son genre d'esprit et sa societe ne vont pas avec la fafon dont je pense sur certaines choses," and in these words we have probably an exadl and even kindly statement of the situation. Watelet belonged to the new generation, de Caylus represented the old. The indefatigable activity and high ambitions displayed by de ' Cochin, M^m. indd., pp. 42, 43. ' " Correspondance inWite du Comte de Caylus avec le Pere Pacciaudi, Th6atin. (1754-1765), " t. i., p. 237, ed. Nisard, 1877. Pacciaudi was librarian to the Dulce of Parma. Diderot's resentment may be measured by the satisfadtion with which he congratulates himself and others, in the Salon of 1765, on having been delivered by death from the " plus cruel des amateurs." Yet his debt to de Caylus, whose teaching had cleared the way for his own, was large. See E. Miintz, " Un pr^curseur et un ennemi de Diderot " (Rev. Bleue, 29 Mai, 1897). Q C The Caylus both as an archaeologist and engraver were seconded, it is Comte de true, by " plus de zele que de talent," but they sustained him and tife throughout the agony of his mortal illness ^ — as they had throughout great his life — and gave to his figure a consistent dignity and consequence '' ^™^,' of w^hich there is no example amongst the many " gens du monde " who followed in his footsteps. Claude-Henri Watelet,^ born to great wealth,^ employed his riches to make his colledtions perfed: and to lead an easy life with a picked circle of friends. " He likes," says Mariette, " to paint, to draw, to engrave, and to all these talents he adds another and superior, that of versifying and writing elegantly in French." ^ His early journeys with Leroi de Saint-Agnan in Germany and Italy, his long stay in Vienna, and still longer stay at Rome, where he remained as a sort of amateur student of the Ecole de France, encouraged the development of tastes and friendships which became a part of his life. On his return, Watelet was naturally regarded by de Caylus as a promising disciple. These expeftations were heightened by the successive publication of various sets of " Vases " engraved by Watelet, after drawings by Pierre, or by Pierre and Vien, one of which was dedicated to Madame GeofFrin.^ Watelet had, however, no intention of sacrificing any of the advantages and pleasures that exceptional fortune and position could secure. He was pleased to busy himself with music, or painting, or engraving; but he lived for the world, in the Salons of Madame Geoffrin and Madame Tencin, in the pleasant company of the reigning favourite, for whom he engraved Cochin's portrait of her young brother, Abel Poisson, the future Marquis de Marigny, or the even more agreeable society of Madame Le Comte, whose ' Le Beau says: "II supporta avec le plus grand courage des operations douloureuses. . . . Des que la plaie fut fermee, il se rendit avec empressement a nos occupations. II n'avoit point interrompu ses etudes ; il reprit son train ordinaire ; il visita ses amis, les savants, les artistes, dont il alloit animer les travaux, tandis qu'il mouroit lui-nieme. Porte entre les bras de ses domestiques, il sembloit laisser a chaque lieu une portion de sa vie. Combien de fois ne I'avons-nous pas vu en cet etat assister a nos stances et se ranimer a nos leftures." ' 1718-1786. Honoraire associ^ libre, 1747. ^ He succeeded his father, who was " receveur general des finances " for the " generalite d'Orleans," at the age of twenty-two. ^ Mariette, A. B. C. Dario. His chief performance was " L'Art de Peindre," but he also published one or two tragedies and comedies, an " Essai sur les jardins," and the first two volumes of a " Didtionnaire des beaux arts," which was re-edited with additions in 1792 by L^vesque. ^ " Raccolta di Vasi intagliate dal suo amico Watelet," 1749. A similar set is dedicated to " la Signora illustrissima Duronceray nel arte del' intagliatura dilettante virtuosissima " — a thoroughly unmerited eulogium. 10 H. rrhlclrl Jclin £/. Xrfi}tper«m- ,rcal ■ Portrait of Margueritk Le Comte. (Claudk-Hknri Watelet, after Cochin le kil>. ) portrait in profile, also after Cochin, was engraved by him in The j-yr^ ^ Comte de . * . Cavlus In 1754 Watelet, who had been received as an associe libre by and the the Royal Academy in 1747,^ signs a "Suite de dessins peints et great graves par Watelet du cabinet de Madame Le C . . ." This initial tgu^^.' indicates the lady of whom he has left us this engaging portrait, and whose relations with Watelet and the fashion after which they were accepted by the world are as incredible as anything recounted concerning Voltaire and the divine " Emilie." George Sand, in her " Lettres d'un Voyageur," draws a senti- mental picture of Watelet, " an etcher superior to any of his day," and Marguerite Le Comte as two poor old people etching together, and thus consoling themselves for the narrow poverty of their lives by their common love for art.^ It is true, indeed, that Watelet not long before his death was embarrassed by the flight of a dis- honest subordinate, ,vho carried off considerable sums due to the State, the payment of which, exafted stridtly and promptly by the abbe Terray, straitened the resources of the unfortunate receveur general; but in 1754, thirty years earlier, when he is supposed to have found in the wife of the procureur, M. Le Comte, the woman to whom by a rare conformity of tastes and pleasures he became indissolubly attached, the source of Watelet's wealth was untouched, nor can the fortune of M. Le Comte and his wife be regarded as inconsiderable. Le Moulin-Joli, a beautiful property near Argen- teuil, was actually bought by Watelet as a retreat for himself and Marguerite Le Comte, in which they might enjoy each other's society in the company of trusted friends, and he certainly lavished great sums on making it a perfect maison de platsance. Watelet's social successes were crowned by his election to the Academy, and the journey to Italy which he undertook with Madame Le Comte in 1763 was a sort of triumphal procession. The couple — chaperoned by Watelet's complaisant old tutor, the abbe Coppette, and carrying in their train Savalette de Buchelay and the Swiss landscape-painter and engraver Weirotter * — were ' A second portrait of the same lady, in full face — an example of which is cited by Portalis and B6raldi as in the colleilion of Baron Pichon — was also engraved by Watelet. " P. v., September 30th, 1747. ^ " II y avait un bon artiste qu'on appelait Watelet, qui gravait a I'eau-forte mieux qu'aucun homme de son temps. II aima Marguerite Le Comte et lui apprit a graver a I'eau-forte aussi bien que lui. Elle quitta son mari, ses biens et son pays pour aller vivre avec Watelet. Ouarante ans apres on d^couvrit aux environs de Paris, dans une maison appel^e Moulin-Joli, un vieux homme," etc. (" Lettres d'un Voyageur," ed. 1869, p. 142). * 1730-1771. Mariette says of Weirotter: "Nous I'avons vu a Paris, et s'y I I The everywhere magnificently received and entertained. At Turin Comte de (-hey were welcomed by His Majesty of Sardinia ; at Rome the and the Pope and the ambassador of France combined with Natoire and great the eleves of the Ecole de France to do them honour.^ In a letter, ''Ama- written it has been supposed to M. Le Comte, from Rome,^ Watelet, after giving direftions as to the arrangement of their rooms at the Moulin, adds : " Nous nous portons au reste a mer- veille. Mme. Le Comte est toujours comblee de politesses, de prevenances et d'attentions sur tout et en toute occasion. Elle auroit ete logee sur la route de Naples dans tous les palais qui sont sur ce chemin et refeue dans cette ville par ce qu'il y a de plus grand. II y a ici un cardinal Albane qui I'a prise dans la plus sin- guliere amitie ainsi que la princesse Borghese," Nowhere, indeed, do we find any hint of the sacrifices generously suggested by George Sand as having been made for her lover's sake by Marguerite Le Comte.'^ There is, however, an even more suggestive pifture of this curious society in later years, by Mme. Vigee Lebrun, who was herself one of the privileged guests of" Le Moulin-Joli." In her amusing " Memoirs " she writes of" that elysee which belonged to a man of my acquaintance, M. Watelet, a great lover of art, a dis- tinguished man of a sweet and attaching chara6ler who had made many friends. In his enchanted isle, I found him in keeping with all his surroundings : he received there with grace and simplicity a small but perfeftly well-chosen set. A friend, to whom he had been attached for thirty years, lived in his house. Time had sandlified, so to say, their tie, to such a point that they were every- where received in the best company, as well as the lady's husband, who, drolly enough, never left her." ^ The abode of this curious household, " La maison de Mar- guerite Le Comte, meuniere du Moulin-Joli," is the subjedt of one distinguer par des desseins de paysage faits d'aprds nature, ou il mettoit beaucoup de gout et peut-^tre trop de maniere. Etant dans cette ville, il en a grav6 plusieurs qui m6ritent d'etre estim^s. II 6toit un esprit inquiet et qui ne pouvoit demeurer en place. 11 suivit M. Watelet en Italic" (A. B. C. Dario). ' They published a little book entitled " Nella venuta in Roma di madama Le Comte e dei Signori Watelet e Copette, componimenti poetici di Luigi Subleyras colle figure in rame di Stefano della Vall^e-Poussin, 1764." The cuts, which show Watelet arriving with his sketch-book under one arm and his lady on the other, are excellent comedy. ° This letter is quoted by MM. de Portalis and B^raldi, t. iii., pp. 643-645. From its style it is more probable that it was written by Watelet to his caissier, Roland, than to M. Le Comte. See Wille, M^m., Sept. 3rd, 1767. ' See note 3, p. 11. * "Souvenirs de Madame Vigde-Lebrun," ed. 1835, t. i., pp. 151, 152. 12 of Watelet's happiest attempts, and here he produced by far the The greater part of the three hundred etchings which bear his name.^ p°"?^^ ^^ Unfortunately one can only say, even of the best, that they show and the the good intentions of the intelligent amateur, and in that respe6t great are about on a level with the literary efforts which, culminating in ^'gu^^' his versified and illustrated " Art de Peindre," opened to him the doors of the Academy.^ " M. Watelet," wrote Colle, " receveur general des finances, est un amateur des arts, mais qui, dans aucun n'a montre ni un genie ni un talent decide. II sait peindre, il salt graver, il a fait des vers, mais tout cela dans un degre si mediocre que le moindre des artistes est infiniment au-dessus de lui." The criticism is, indeed, painfully true not only of Watelet but of all that busy crowd of gens du monde who were pleased to have a talent for the arts. On one of my first visits to Chantilly, the Duke d'Aumale sent me off with M. Gruyer to look over the drawings of one of the most widely celebrated — Carmontelle.^ The opportunities which Louis Carrogis dit de Carmontelle enjoyed as Reader to the Duke de Chartres, and which he cultivated by means of his excellent address and social talents, were employed by him to make that extra- ordinary colleftion of curious, full-length sketches of his con- temporaries in which, as Grimm observed, he has seized the air, the bearing, the essence as it were of each person rather than their adtual features. The interest which his drawings excite is in- dependent of any artistic value; it is simply that of a chronicle of things and people out of sight.* This is the sole merit which accrues to him in connexion with the famous engravings by Delafosse, one of which represents " La Malheureuse Famille ' Portalis and B^raldi say "son oeuvre grav6 d^passe 300 pieces," t. iii., p. 648. His work is by no means remarkable, but it had a great social success. Wille writes, March 29th, 1766: "J'ay chargd M. Huber d'obtenir de M. Wattelet son oeuvre pour le Cabinet dle6loral." ' This poem, which was published by Guerin and Delatour in 1760, was orna- mented by Pierre with vignettes. It excited the ire of Diderot. " If it were mine," he wrote, "I would cut out all the vignettes, frame and glaze them, and throw the rest into the fire." The vignettes are not much better than the text. ' 171 7-1806. He was the son of a shoemaker named Carrogis, whose shop was at the corner of the rue des Quatre- Vents. It is supposed that he took his second name in order not too constantly to recall that of the shop. See the notice by Mme. de Genlis to " Proverbes et Comedies Posthumes de Carmontelle." * He kept all his drawings, and the colledlion now at Chantilly is supposed to include the 520 portraits from his hand, sold in 1831, at the sale of La M6sangere, to an English purchaser. One drawing, that of the Calas family, is historic. Grimm tried in vain to induce Wille to engrave it, and it was handed to Delafosse. See Wille, M6m., April 20th, 1763. 13 The Calas,"^ whilst In the other deeply interesting if less sensational Comte de work we see the seven-year-old Mozart at the spinet, accompany- and\"he i"g ^^^^ ^^^^^^ ^'■^^^^ Marianne whilst their father plays the violin, great Both these works had sketches by Carmontelle for their basis. "Ama- -YYie few portraits which he etched himself show that their author might easily have rivalled Watelet, and that is all. The only amateur whose execution rises above this level is Antoine de Marcenay de Ghuy,^ and he is an exception proving the rule, for though always reckoned as an amateur, he appears to have no title to this indulgence except good birth. He regularly sold his work in order to eke out his income,^ and his abortive attempt, with the help of Wille, who had already solicited for him the " patent " of the Imperial Academy of Augsburg, to get himself received as an associate by the Royal Academy indicates an essentially professional ambition. " J'ay fait mes visites," writes Wille, on July 20th, 1761, "aux officiers et membres de I'Academie royale ayant voix, pour les prier de m'accorder leurs suffrages lorsque je presenterai le portrait de M. le marquis de Marigny, que j'ay grave pour ma reception. Ces prieressont d'usage. M. de Marcenay m'accompagna et fit ces visites avec moi et prieres pour des suffrages aux memes personnes ; car il desire etre agree le jour que j'espere etre re9u, qui sera vendredy prochain 24 de ce mois." Unfortunately, when the day came, Wille has to enter together with his own unanimous reception the dis- comfiture of his friend, who " n'ayant pas le nombre de voix pour lui qu'il lui auroit fallu, fut refuse." As the justification of his pretensions, de Marcenay submitted to the Academy " quatre tableaux " — probably those which he hastened to exhibit with the waif res in 1762 — but it is probable that had he even been able to show the best of his etched work, the portraits of Marshals Saxe and Turenne, or the medallions of Stanislas Leckzinski, the result would not have been different.^ These were, however, all executed after his rejeftion by the Academy, and show that' de Marcenay, in his least pretentious things, does best. As a rule, in large work he gets thick and heavy when trying for force, and " woolly " when he wants an ' This work is shown hanging in the alcove of Voltaire's bedroom, in Denon's " Dejeuner de Ferney." " 1724-1811. ^ See Louis Morand, "Antoine de Marcenay de Ghuy, peintre et graveur. Catalogue de son oeuvre, Lettres inddites," etc. * Turenne, d'apr^s Ph. de Champagne, 1767. Le Mar^chal de Saxe, d'apr^s Liotard, 1766, et Stanislas-Auguste, roi de Pologne, d'apr^s Mile. Bacciarelli. Demarcenay inv. et sc. 1765. H effe6t of delicacy. Possibly the check to his ambition, by disgust- The ing him with painting, threw him back on the practice of an art Comte de for which he had more aptitude, and in which he could appeal to ^nd the Wille for praftical counsel and guidance. great From his close association with this great engraver, de Mar- j-ly^^' cenay doubtless drew a certain strength, just as his years with Fragonard and Hubert Robert fortified the taste and talent of the abbe Richard de Saint-Non,^ whose zeal and devotion to the great work on which he spent his fortune entitle him to be regarded as the most distinguished amateur of the second half of the century. He had inherited artistic tastes from his mother — daughter and grand-daughter of painters of the family of Boullogne. He became an abbe and a conseiller au Parkment for family reasons, but took the first opportunity that offered of quitting his place, the sale of which supplied the means for his stay in Italy, whence he returned in 1 76 1, bringing Fragonard with him, and, says Mariette, "quantite de desseins qu'il lui a fait faire, et parmi lesquels j'en ai vu plusieurs representant des veues de Rome, dont la touche et le faire m'ont beaucoup plu." He was a member of the set received by Watelet at Moulin- Joli, and six views of the enchanted isle — in one of which Mar- guerite Le Comte is seen with her academician in a boat on the lake — are amongst the earliest of the abbe's performances.^ On his return from Italy, the publication of those " Vues de Rome et de ses environs," which he etched — with, in some instances, brilliant success — from drawings by Fragonard and Hubert Robert, betray the charafter of the impressions which seem to have given a new direftion to his life. This attempt was followed up by the series of " Fragments de peintures et tableaux les plus interessants des palais et eglises d'ltalie," engraved by Saint-Non after his system of "eau-forte completee de lavis " ^ which closely resembled the method per- fected by Le Prince. Already he had begun to plan the great work to which he dedicated his fortune and his life, the " Voyage pittoresque de Naples et dans les Deux Siciles." The passion by which he was inspired communicated itself to others and, at first, he found zealous co-operation on the part of all whom he ap- proached concerning the preparation of this costly work. ' 1 727-1 79 1. Honoraire associd libre, December 6th, 1777 ; amateur, February 26th, 1785. ^ The first date found on his work is that of 1753 on " Vue des Environs de Poi- tiers," an etching executed by its author during the exile of the Parhament at Poitiers. ^ Reference will be made to this and to the various other processes which came into fashion at this date in Chapter X. 15 The Comte de Caylus and the great " Ama- teurs." Amateurs opened their purses ; a long list of subscribers guaranteed a prosperous undertaKing ; artists explored Sicily and Calabria under the guidance of Vivant Denon ; the chief engravers of Paris, Duplessi-Bertaux, Choffard, Saint-Aubin, Daudet, Mar- tini, Marillier, were busied with the illustrations, and the text was entrusted to distinguished specialists.^ De Saint-Non himself undertook with admirable unselfishness the least attractive duties on the perfed: discharge of which the perfection of a great under- taking of this sort must depend. Proof-reading, careful critical examination of the text, were the least of the actual drudgery which devolved on him, and, in this respeCt, as well as in the distribution of the subjefts of the illustrations to the engravers — whom he treated with an open-handed generosity — he showed the same devoted temper of self-abnegation, reserving for his own execution only the simpler ornaments at the foot of the page, in which figured antique vases or groups of fruit and foliage.^ Magnificent success seemed certain to crown this great enterprise, which, begun in 1778, went steadily forward till, in 1786, it was complete in five great folio volumes. Complete also was the ruin of its creator. Subscribers had become weary of the drain on their funds, and in order to keep his engagements de Saint-Non had been compelled to throw into the gulf not only his own fortune but that of his brother. Throughout this desperate struggle with adverse circumstances, de Saint-Non was sustained by the fire with which he pursued his unselfish ends. His character in this respeCt presents a remarkable contrast both to the epicureanism of Watelet and to the formal dignity of de Caylus. All three men are types of their century in its successive phases of development. The whole attitude of de Caylus, with its manifest assumption of authority, is reminiscent of the traditions of the Grand Siecle ; Watelet personifies the lighter philosophy by which they were replaced, but the spirit of de Saint- Non had been stirred by the breath of the coming revolution. His friends were Rousseau and Franklin ; he had generous illusions which consoled and fortified him in disaster and the hour of death. He closed his eyes in the firm faith of a great national renewal ; ^ ' Faujas de Saint-Fond, the geologist, and Dolomieu (de Gratet de Dolomieu), were amongst those who undertooic special portions of the book. ' His work never rises above that of a gifted amateur. The figure subjedts are usually the worst, though there is an etching by him of a woman in bed chatting with another seated at the foot, that has "come" very well and has a real air. One may also mention " Vue prise dans les jardins de la Villa Barbarini, Rome" (Saint- Non sc. 1770, Robert del.). ^ His last words were " Et le patriotisme, se soutient-il ? " 16 knowing also that, by the conscientious perfeftion of the work to The which he had sacrificed his all, he had himself in a certain measure ^ajiut "^^ co-operated with those who were engaged in the great attempt to and the bring the sincerity of truth to bear on the whole domain of know- great ledge. teurs." 7 D CHAPTER II MARIETTE AND BASAN IN the bond which closely united de Caylus and Bouchardon, Pierre-Jean Mariette had always made a third. Cochin describes Bouchardon as " tres-despote ches lui ... mais comme cela n'auroit pas reussi dans le monde, il y a apparence que c'est ce qui I'a engage a se repandre peu, et a ne manger que tres-rarement hors de ches lui, si ce n'est ches M. Mariette^ qui, pour ainsi dire, etoit toujours a genoux devant lui."^ To Mariette, Bouchardon, on his deathbed, gave the letter by which — in direft opposition to the wishes of de Caylus — he appointed Pigalle to carry on his unfinished work.^ " II fit," says Cochin, " conjointement avec M. Mariette, cette lettre, lui ayant confie son idee sous la promesse du plus grand secret. M. Mariette le lui garda et s'en justifia comme il put dans la suitte aupres de M. de Caylus."* Mariette's position in this conjunfture was one of great difficulty, and the fadt that his close and intimate relations with de Caylus remained undisturbed, in spite of what might have been regarded as unfriendly condud; on his part, goes to prove that Mariette was no such slave to de Caylus as has been pretended,^ ' 1 694- 1 7 74. ' M6m. indd., pp. 39, 85. "M. de Caylus . . . et M. Mariette faisoient tres assiduement leur cour a M. Bouchardon. Le premier donnoit par la bonne opinion de son goust, et le second en tiroit de la consideration et presque touttes les contre- preuves de ses desseins." ' See " French Architedts and Sculptors," p. 79. * Mem. ined., p. 55. ' "M. Mariette," says Cochin (p. 33), "libraire et marchand d'estampes, devenil fort riche par ces deux commerces r^unis, et considdri^ en consequence, 6toit fort amy de M. le Comte de Caylus et fort susceptible d'en recevoir les impressions, et de ne voir que par ses yeux." Again we find in another passage (p. 118) an even more decided statement: "M. de Caylus ^toit un homme partial . . . quant a Mariette ce n'6toit que son 6cho." 18 nor was de Caylus himself as intolerant of all opposition as Cochin Mariette would have us believe. Basan There is indeed no hint, except in Cochin's pages, that the friendship existing between these men was ever troubled,^ and Mariette, when writing to Bottari (Oftober 12th, 1765) of de Caylus's death, added the kindly words : "il est dur, a mon age, de voir partir un ami qui avait, depuis quarante ans, autant d'attache- ment pour moi que j'en avais pour lui." ^ The tie between Mariette and de Caylus had grown out of common interests and diversity of gifts. Each found in the other qualities in which he himself was more or less lacking. The varied acquirements of de Caylus, his tendency to dogmatic system and theoretic speculation were a stimulus to the intelligence of Mariette, who, inheriting narrower traditions and special training, was inclined towards the exhibition of pure connoisseurship, backed, it is true, by an amazing store of exad: learning. The influence which they combined to exercise on their contemporaries was of incalculable importance. Just when superior diredtion was failing, de Caylus eredted a standard of attainment which was of the highest charadler : when the passion for prettiness and fantastic graces threatened to blind men to the larger virtues of art, Mariette, strong in the immense authority of his unrivalled colledfions which formed, as it were, an incontrovertible body of do6trine, called their attention to the work of men who had won the heights, to the great periods which have left us the masterpieces of the arts. These colleftions had been to a great extent amassed by the father and grandfather of Pierre-Jean, whom he had succeeded as printseller and publisher at the sign of the Colonnes d'Hercule, rue St. Jacques, with the motto " Haec meta laborum."^ The ' " Ceux qui ont bien connu M. de Caylus . . . ii'ont pas dout6 que, malgr6 tous les beaux semblans . . . il n'eut 6t6 int^rieuiemeiu tres refroidi pour lui. J'ay encore M confirme dans cette id^e par I'aveu que j'ay entendu faire a M. Mariette que, malgr6 le long attachement qu'il avoit tdmoign^ a M. de Caylus il avoit aper^u que ce n'etoit point pour lui un v(^ritable amy" (Ibiti., pp. 55, 56). ^ /ipud Dumesnil, " Hist, des plus celebres amateurs fran^ais," p. 214. ^ This house, in which Pierre-Jean Mariette died, was reconstrufted out of three by his father and mother. (See Appendix B.) The sign of the " Colonnes d'Hercule" is coupled with the name of a Mariette for the first time in 1644 (Le livre original de la Pourtraiiture pour la jeunesse tir6 de F. Boulogne, a Paris, chez Pierre Mariette le fils. Rue St. Jacques, aux Colonnes d'Hercule, 1644.). It appears to have come into the family from Langlois dit Chartres, who died in 1647, leaving a widow who married Pierre le fils. Delatour, in error, gives her to Denys, whose wife was Justine Abonnenc. The original sign of the Mariettes appears to have been " a I'Esperance," and in a dispute over the house bearing it, in which several of the 19 Mariette family were closely united and belonged to the proudest and best and (ype of the great Parisian midille class. Their traditions were asan. preserved with noble dignity by Pierre -Jean, and one may see, even from chance references made by Cochin, how strictly he kept to his own class — married in it, lived in it, sought alliances for his children in it — at a time when his close relations with the great and powerful would have enabled him to gratify less worthy ambitions. " M. Mariette," writes Cochin, " avoit marie une de ses filles a M. Brochan,' marchand d'etoffes ; cette famille etoit trcs-consideree dans la paroisse St. Germain tant a cause de son opulence, qu'a cause de ses moeurs les plus honnetes et les plus respeftables dont elle faisoit profession. lis n'entendoient rien aux arts et regardoient M. Mariette comme un aigle en ces matieres." ^ In this respeft, the family gave proof of better wit than Cochin, whose judgement was distempered by the rejedlion of the proposals made by his friend Slodtz for the decoration of the choir of St. Germain I'Auxerrois, and who resented the influence which he supposed to have been exercised by de Caylus on the Brochant family, through Mariette, in order to procure the commission for Vasse. On such a point Mariette might now be held to have been wrong. The weakness inherent to the position taken up by himself and de Caylus was that it led to a doftrinaire assumption of the merit of all work — no matter how poor in quality — executed ac- cording to certain canons of taste, and to the condemnation of all — no matter how graceful and brilliant — in which these canons were not respedled. No doubt they quite honestly preferred the feeble elegance of Vasse to the vigorous bravura of Slodtz, neither of whom, however, was in the least likely to have felt the beauty of the structure they were proposing to decorate. As regards taste, even in his own special province, the judge- ments of Mariette have not always been confirmed by posterity. It is, indeed, impossible, even for one as brilliantly endowed as he, not to be biassed occasionally by some capricious fancy or strain of personal prejudice. Mariette, who wrote of Lionardo, " il etoit lui-meme une lumiere qui devoit servir de guide a tous ceux qui family were interested, Pierre is described as " marchand de taille-douce " (MS. in possession of Mr. Percy Mariette, whom I have to thank for these details). ' A M. Brochant left a collection of engravings, drawings and pidtures, etc., etc., sold in 1774. He may have been of the same family, but is not the Sieur Claude- Jean-Baptiste Brochant, marchand, fournisseur de la maison du Roy, who married Ang^lique-Genevidve Mariette and figures with her in 1776 in the "Afte de partage," etc., by which her father's affairs were wound up. (See Appendix C.) ^ M6m. in6d., p. 35. 20 viendroient apres lui,"^ is the same Marictte who writes to Mariette Bottari,^ " J'ai une prcdile(;;tioii pour les ouvrages de Carle ^^ Maratte. J'ai plusieurs de ses desseiiis que je met au rang de tout ce que je connois dc plus beau,"^ and who accepted the attribu- tion to Michael-Angelo of the somewhat coarse and violent drawing of a hand which now figures under the name of Annibal Caracci in the Louvre. Condivi, in his " Life of Michael-Angelo," had related that when Cardinal Santo Giorgio sent to the sculptor to ask whether a statue of Cupid, sold to him as an antique, were not really by him, Michael-Angelo took a pen and drew a hand in proof of his claims.^ The drawing brought from Italy by Evrard Jabach,^ was supposed to be the one in question. It passed from Crozat to Mariette, and Mariette was convinced of its authenticity. He refers to it with unmeasured admiration in the notes published by Gori in the first volume of his edition of Condivi, which appeared at Florence in 1746. " C'est peut etre," he says, " le plus beau dessin qu'il eut [Crozat] . . . et je le conserverai precieusement toute ma vie."'' This drawing, which appears to us but a sorry makeshift for a masterpiece,' imposed on Mariette because it was accredited by a ' See the article on Lionardo in the A. B. C. Daiio, which is followed by the " Lettre sur Leonard de Vinci, Peintre Florentin," addressed by Mariette to Caylus, and intended to accompany the " Recueil de Caricatures " engraved by de Caylus after da Vinci. (See also Nos. 192-195, Chal. du Louvre.) The letter first appeared in 1730 without the names of either Caylus or Mariette; it was translated into Italian in the " Lettere su la pittura," and finally was reprinted with corrections and additions, and accompanied by the engravings, in 1767. It will be found again reprinted by the editors of the A. B. C. Dario, vol. iii., pp. 139-164. The sixty drawings were acquired by Mariette. See No. 787 of^ his Catalogue. ^ 1689-1775. He formed the Cabinet des Mddailles of the Vatican Library. In 1737 he published "Sculture e Pitture sacre estratte dei cimiterj di Roma," and in 1754 "Raccolta di lettere sulla pittura, scultura e architettura, scritte da' i piii celebri professori." ' See letter of 15 F6vrier, 1757, " Courrier de I'Art," August 22nd, 1884. * " Prese una penna . . . e con tal leggiadria gli dipinse una mano, che ne resto stupefatto " (Condivi). ^ See A. B. C. Dario, Mariette, t. i., p. 207. ° A. B. C. Dario, Mariette, t. i., p. 213, and Dumesnil, ut supra, pp. 95-97. ' In 1732 Gaburri wrote to Mariette asking him to send him the engraving by Caylus of this drawing, and saying, "Je sais bien que M. Crozat possede un tres- grand nombre de dessins tous beaux et tares, mais n'eut-il que cette seule main, elle suffirait a elle seule pour le rendre cilebre, comme il I'est dans le monde entier, parce qu'elle est veritablement un tresor " (Bottari, t. ii.. No. xcix., p. 359 ; apud Dumesnil, p. 96). Eight years later, on the death of Crozat, the drawing now in the Louvre became the property of Mariette, whose admiration for its quality withstood even the comparison with important and authentic work by the master of which he was possessed. 21 Mariette probably apocryphal legend and backed by the names of the ^"'^ famous colle6tors who had been its previous possessors. " Je I'ai achete," he says, "a la vente qui vient de se faire apres la mort de M. Crozat." 1 He saw in it the virtues that he wished to see. On this one occasion his habitually direct judgement was warped by the desire which constantly betrays the ordinary col- leftor — the desire to recognize unique importance in his own possessions. The one slip made by Mariette is conspicuous only by contrast with the innumerable proofs of his consummate connoisseurship, which constitute his claim to take a higher place than can be conceded to any other amateur. His special distinftion consisted in the fine taste which led him instinctively to the work of great periods, and which rendered him insensible to the caprices of fashion. "On compte," he writes in 1769, " les curieux qui, comme moi, donnent la preference aux ouvrages des maitres Italiens, sur ceux des peintres qu'ont produit les Pays Bas. Ceux-ci ont pris un tel credit qu'on se les arrache et qu'on y prodigue Tor et I'argent, tandis qu'un tableau ou qu'un dessein d'ltalie n'est regarde qu'avec une sorte d'indifference. Cela ne m'empeche pas de suivre mon gout, aussi n'est-ce point une exageration de vous dire que ma colleftion, formce dans cet esprit-la, est peut-etre la plus complette et la mieux choisie qui soit en Europe." " Mariette's natural gifts had been fostered by circumstances from his earliest days. He was born to great opportunities. Not the least of these was offered by the collections formed by his father and grandfather, who seem to have carried on their business with the objeft of reserving for their own portfolios everything that they thought to be of exceptional interest or beauty. Trained by daily contaft with the treasures stored in his own home, Mariette was ready, at an age when most men are but at the threshold of life, to take advantage to the full of the relations which his father had acquired in the conduct of his affairs. On the 30th November, 171 8, Prince Eugene wrote from Vienna to Baron von Hohendorff : " La satisfaction que j'ay des travaux du jeune Mariette m'engageront \sic\ avec plaisir de recom- penser les soins et attentions, qu'il s'est donne de seconder et favoriser les desseins, qu'il a de faire un tour en Italic par telles lettres de recommendations, dont il pourroit avoir besoin et de luy procurer par ces moyens tous les agremens, et facilites que sa ' A. B. C. Dario. See under the heading " Buonaroti." ^ Letter to Temanza, 12 Dec, 1769. See "Lettres de Mariette a Temanza," "Les Archives des Arts, Recueil, etc.," edited by E. Miintz, 1890, p. 133. 22 Frontispice: "Catalogue Mariette." (Pikrre-Philippe Choffard, after Cochin le fils.) louable curiosite et gran desir de se perfedtionner dans sa sphere Mariette ' •. >> 1 and peuvent meriter. Basan. At this date Mariette, who had spent two years in Vienna, was about twenty-four, and we learn from the " Note sur la Famille de M. Mariette," drawn up by " M. Delatour, successeur de M"^ Mariette,"^ that he had started in business with his father, Jean, in 17 14. He was, says the writer, " libraire en 1714 . . . imprimeur en 1722, il acheta conjointement avec son pere d'Antoine-Urbain Coustelier moitie du privilege de I'ouvrage des historiens des Gaules et de France, colleftion volumineuse dont le premier volume in f° n'a paru qu'en 1738."^ The friends made during the stay in Vienna,^ the letters of introdu6lion, due to the friendship of Prince Eugene, which brought him into relations with all those whom he most desired to know during his Italian tour, laid the foundation of Mariette's prosperous and distinguished future. " Ses grandes relations," writes the author of the " Note" already quoted, " le mirent a meme d'etendre son commerce de la maniere la plus brillante et de pousser sa fortune jusqu'ou elle pouvait aller ; on peut dire qu'il realisa dans son etat la devise que son pere ^ avait adoptee." His early debt to the Prince was faithfully recalled by Mariette when at the height of his success, and when his fortune had reached its period of exceptional brilliancy. Special mention is made in the " Partage des biens de la succession " of a " diamant jaune qu'il avait re9u de M. le Prince Eugene," and he requests his eldest son to keep it as a " marque des bontes que ce prince avait eiies pour luy et comme une marque honorable pour leur famille." ^ Mariette's relations with the Prince had not ended with his stay in Vienna and his Italian tour." From letters written in Paris in 1728, we find that his services were in demand, not only for the choice of drawings and engravings, but for the selection of " ouvrages de bronze dore d'or moulu " ; for the biddings to be ' Letter published by M. Eugene Miiiitz, " Courrier de I'Art.," April i ith, 1884. See also von Arneth, "Prinz Eugen von Savoyen," t. iii., p. 70. ^ See Appendix B. ^ Amongst these may be especially noted Antonio Maria Zanetti (i 680-1 767), who was a lifelong correspondent, and Pietro Santi Bartoli. In writing to Temanza (15 Avnl, 1768) Mariette mentions " Bertoli, habile dessinateur que j'ai connu per- sonnellement dans le s^jour que j'ai fait a Vienne " ("Arch, des Arts," i8go, p. 1 15). * This is an evident allusion to the motto " Nee plus ultra," which I learn from Mr. Percy Mariette was not the motto of his great ancestor. ' See Appendix C. ' See letter of the Prince to Mariette, July 27th, 1724, Haus arch., von Arneth, "Prinz Eugen," etc., t. iii., p. 522. 23 Mariette and Basan. made at the sale of the " bibliotheque de M. Colbert," and for the purchase of a " Recueil de quatre cent vingt-cinq plantes dessinees ou pour mieux dire imprimees par le moyen d'un nouveau secret."^ In 1732 he says in a letter to Gaburri : " J'ai eu par le moyen du prince Eugene, les quatre gravures des tableaux du grand-due qui me manquaient." - Mariette's letters, whether they treat of business or learning, are mostly dull reading, though saved by the perfeft simplicity of their style from any touch of pedantry. Every page gives evidence of that exceptionally exadt knowledge and wide experience which, as Delatour puts it, " le mirent dans le cas de meriter la confiance des personnages les plus distinguees et de plusieurs souverains." Although, however, they must be consulted — especially the series addressed to Temanza ^ and Bottari * — by anyone who wishes to follow the development of Mariette's interests and pursuits, that which we find in them and in other writings by him is but as dust in the balance if compared with that monument of learning, to which we turn even now day by day for information, the famous Abecedario. In undertaking this vast enterprise Mariette had the advantage of a forerunner. The mistakes and errors of the Pere Orlandi,^ a writer "sans methode et sans exactitude," provoked Mariette, as he has himself told us, into jotting down day by day the correc- tions which occurred to him. " La fine, reguliere et juvenile ecriture que Ton retrouve sur certains feuillets de I'Abecedario, et qui y recopie des extraits de livres italiens ou des addita d'editions nouvelles d'Orlandi, nous permet de reporter vers 1730 les plus anciennes notules qui se trouvent sur I'exemplaire qu'il avait fait interfolier de I'edition de 1719."^ Thus writes M. de Chennevieres, to whom, aided by M. de Montaiglon, we owe ' See " Lettres inedites de P. J. Mariette," published by M. E. Miintz, "Courrier de I'Art," April nth and i8th, and May 2nd, 1884. ^ " Lettres extraites de la Correspondance de Mariette," Dumesnil, ut supra, p. 299. ^ 1 705-1 789. First Architect to the Venetian Republic. The autographs of Mariette's letters to him, eighteen in number, were found by M. Miintz at the Mus6e Correr, and published in the "Archives des Arts," 1890. They were previously known only in the Italian translation given by Ticozzi, " Lettere pittoriche " (Bottari, t. viii.). * Various letters to Bottari have been published by M. Miintz in the "Courrier de I'Art," July 4th and nth, August ist and 22nd, 1884; January 2nd and 9th, 1885. ' " L'Abecedario pittorico de' professori piii illustri in pittura, scultura ed archi- tettura" (Bologna, 1704). The edition of 171 9 was dedicated to Crozat, "excellent et magnifique amateur et dilettante de peinture, sculpture et des autres beaux arts dans la royale ville de Paris." This edition was the basis of Mariette's great work. ' De Chennevieres, "Un Amateur fran9ais du XVIII. Siecle," " L'CEuvre d'Art," Oa. 15th, 1897. 24 the publication of this work. When, however, we read in Mariette Mariette's letter to Bottari ^ his angry condemnation of Orlandi's ^^ , ... ., , n n 1 • • /- • Basan. carelessness, it is impossible not to renect that it is rar easier to correct old blunders and add new fatts when someone else has brought into shape, however clumsily, the great body of the materials to be employed. It does not diminish the honours of the great French amateur to point out that Orlandi, hasty and uncritical as he was, furnished him, by the publication of his " Abecedario pittorico," with the ground for his own work,^ " Tous les jours, malgre nous, ne remontons-nous pas encore a V Abecedario du moine de Bologne." ^ His warm attachment to de Caylus is dated by Mariette from 1726, but it is certain that their acquaintance must have begun in earlier years. Mariette had known Rosalba Carriera at Venice, during his Italian tour, and when she came to Paris in 1720, she visited him and his mother in the rue Saint Jacques.* Mariette was also often in her company at the hotel in the rue de Richelieu, where Pierre Crozat offered a splendid hospitality to the Venetian pastel-painter and her companions. From the journal kept by her during her stay'' we get not only an entertaining pifture of the crowd of fine ladies and gentlemen by whom she was besieged,^ but an exaft notion as to the regular guests of the house. Amongst these one of the most assiduous was de Caylus, who busied himself, as we have seen, with the reprodudion of the magnificent collec- tion of drawings which Crozat had himself brought back from Italy in 17 14. " M. Crozat," says Mariette, " n'aimait point ses dessins pour lui seul ; il se faisait, au contraire, un plaisir de les faire voir aux ' 1 1 Aout, 1764. ^ When Mariette sent correftions to Bottari for his edition of Vasari, 1 759-1 760, Bottari rephed : "II semble qu'il y ait une malWidion qui s'attache aux dcrivains qui traitent les beaux-arts ; car tous ont commis et commettent journellement des erreurs incroyables. Je le dis en me citant moi-mSme, qui me suis trompd' sur des noms que je connais aussi bien que mon nom. La mcme chose est arrivde a Vasari et a ceux qui sont venus apres lui " (Bottari, t. v., p. 433, No. clx.). ' De Chennevieres, "L'CEuvre d'Art," Oft. 15, 1897, p. 178. ^ Her message to Madame Mariette in the letter of September i8th, 1722, and other letters to Mariette, show a most afFeftionate intimacy. Dumesnil, ut supra, pp. 31-32. ' " Diario degli anni 1720-1721 scritto di propria mano in Parigi, da Rosalba Carriera, 1793." A French translation, "Journal de Rosalba Carriera," by M. Sensier, appeared in 1865. " For example we find, February 2ist, 1721 : " Venuti da me, con madama la duchessa et la principessa di Clermont, due altre duchesse e cavalieri . . . Venne pure M. ^uelus, di nascosto, e per ordine dell' altra principessa sorella, disposta anche ella di venirci alle sei della mattina seguente . . ." 25 E Mariette amateurs, toutes les fois qu'ils le lui demandaient, et il ne refusait ^^^ pas meme d'en aider les artistes. On tenait assez regulierement ^^^"' toutes les semaines des assemblees chez lui, ou j'ai eu pendant long- temps le bonheur de me trouver; et c'est autant aux ouvrages des grands maitres, qu'on y considerait, qu'aux entretiens des habiles gens qui s'y reunissaient, que je dois le peu de connaissances que j'ai acquises." ^ To his collaboration with de Caylus we owe not only Mariette's excellent letter on Lionardo^ — which is a remarkable performance for its date — but the descriptions of " Peintures Anciennes," which accompanied the reproductions by Pietro Santi Bartoli, to which a letter was prefixed by de Caylus, Mariette was, also, it may be noted, the publisher of this costly work,^ but the printing business in which he had engaged two years before his marriage^ was abandoned in 1750, when it was sold to Louis-Francois Delatour, the writer of the not always accurate note on the family of Mariette already quoted. M. de Chennevieres rejedls Cochin's assertion that the Academy could not receive Mariette as " honoraire associe libre " until he had given up his printing business as a " petitesse," ^ but look- ing to the kind of standard maintained by that body in these matters it seems as if Cochin were probably right. The same writer also quotes Mariette's proud saying, " I wish no other title than that of h'i>r a ire-amateur " but that was made only in repudiation of the " quality of painter " with which Gori had enriched him in the notes to his edition of Condivi's life of Michael-Angelo.^ It is more than probable that Mariette cared nothing for the honours of the Academy but that his friends de Julienne and de ' " Avis de Mariette, mis en tete du Catalogue Crozat," p. xj ; apud Dumesnil, ut supra, p. 13. ^ See p. 21, note i. ' In Wille's journal, under the date March 7th, 1762, is the entry: " Repondu a M. Usteri de Neuenhof. Je lui marque que M. Mariette m'a remis le volume d'Antiguites, peint pour lui. Cet ouvrage lui a 6t6 fait present par M. le Comte de Caylus qui n'a fait imprimer que trente exemplaircs. La depense pour peindre et coloricr ces estampes est de trois cents livres, et la relieure dix-huit livres." There is a note on the drawings given by Caylus to the Bibliotheque saying that the plates had been broken up. An edition of the work was published by Didot in 1783. * "Imprimeur 1722," writes Delatour. In the second and somewhat fuller MS. note which is appended to the first the date of Mariette's marriage to " Angelique- Catherine Doyen, fille de Louis Doyen, notaire," is given as 1722, but M. de Chennevieres quotes it as " 15 mai, 1724," and this date is accepted by the family as corredt (" L'CEuvre d'Art," Oct 15, 1897, p. 177). " " Des que le fils (P. J. Mariette) eut quitt6 ce commerce, 1' Academic s'empressa de I'admettre dans son sein " (" L'CEuvre d'Art," Nov. 15, 1897, P- ^9^)- ' See the note by Mariette reproduced by Dumesnil, ut supra, p. 92. 26 Caylus were anxious to have the guidance of his incomparable taste Mariette and judgement at their sittings and were unable to carry their point. ^"'^ The Academy remained unmoved even by the example of the Academy of Florence, which had done itself the honour of receiv- ing Mariette as a member in 1733 ; ^ it remained indifferent to the fine performance of his " Description sommaire des dessins des grands maitres du Cabinet de feu M. Crozat,'"'' to the Catalogue of the Cabinet Boyer-d'Aguilles ; ^ in short, Mariette — even though rumour declared that his most important work, " Traite des pierres gravees," had won the favour of Mme. de Pompadour — did not exist for the Company until " il se demit de son imprimerie et de la pratique de la police, en faveur de L. F. Delatour." * As soon as he had also sold his printing business and reduced his publishing to a mere share in the great work of the " Historiens de France," Mariette received the compliment that had long been his due, and which would doubtless have been paid many years earlier had he been as apt to intrigue as were most of his contemporaries. His purchase in 1752, " avec I'agrement et I'estime du chef de la magistrature . . . d'un office de secretaire du Roi, controleur general de la grande chancellerie de France," ^ no doubt added to his position and consideration in the world. I have seen it suggested that he was not one of Mme. Geoffrin's set, but Cochin, no friendly witness, mentions his name as present at one of her famous dinners in 1760, and adds that he drove away afterwards with de Caylus in Marigny's coach to look at the Catafalque by Slodtz. A year or two later Cochin again mentions his presence at Mme. Geoffrin's " bureau des amateurs," when the quarrel had arisen between Betzky and Daulle over the engraving of the portrait of the Princess Anas- tasia,^ and does so in terms which show that, at that date, the learned author of the " Traite des pierres gravees " was one of the regular guests of the Monday dinners instituted by de Caylus.'^ Evidence that a very considerable fortune was amassed by this great publisher and dealer before he sold his business is not wanting. From a reference in Wille's journal (February, 1769) ' Dumesnil, ut supra, pp. 53, 54. " This Catalogue, which was accompanied by " des reflexions sur la maniere de dessiner des principaux peintres," is perhaps the best known of Mariette's works. It bears his name both as author and publisher, " Pierre- Jean Mariette, rue Saint-Jacques, aux Colonnes d'Hercule, 1741." The first "Description" in one volume appeared in 1729. See "Crozat," A. B. C. Dario. ^ This appeared in 1744. The short preface written by Mariette will be found under the name of Boyer-d'Aguilles in the A. B. C. Dario. * See Appendix B. ° See Appendix B. ' See Chapter IV. ' Md-m. ini^-d., p. 77. 27 Mariette and Basan. we find that Mariette — who had then been promoted by the Academy to the rank of Amateur^ — was attending the Gaignat sale^ in much state and comfort. "J'y fus toujours," he writes, " accompagne par M. Daudet . . . je revenois cependant plusieurs fois dans le carosse de M. Mariette car le temps etoit fort mauvais." The driver of this " carosse " is mentioned in that " Adle de partage," the clauses of which bear witness to the prosperity of the house. The " Cocher Pelletier " figures with Mile. La Croix and Mile. Le Blanc — the first and second maids of Mme. Mariette — the domestiqiie Belleville and the gardener of the country place at Croisy, which is mentioned by Mariette in his letter to Temanza of the 1 8th June, 1 768 : "Je re^ois," he says, " votre lettre a la cam- pagne, dans une maison que j'ai a quelques lieues de Paris, et que j'habite pendant la belle saison." ^ Mme. Mariette survived her husband and the arrangements made during her lifetime as to the employment of her fortune when the four children of the house were married and dowered * seem to have been answerable for the sale of the unique colledlion which was the glory of Paris. It was felt by the small group of connoisseurs who continued the traditions of the Grand Siecle that the treasures accumulated during more than a century by three generations of iconophiles — the last of whom was the most illustrious known — ought not to be allowed to leave the country. A movement was set on foot to secure for the Bibliotheque Royale this priceless colleftion and so realize the wishes of one who had in his lifetime patriotically refused the brilliant offers made by the Empresses of Austria and Russia, the King of Prussia and the Eleftor of Saxony.^ Joly» then at the head of the " Cabinet," was keenly alive to the necessities of the situation.^ " Memoires " were addressed to the " ministre de la maison du ' P. v., Oa. 31, 1767. ^ In his letter to Temanza of the 8th August, 1767, Mariette says: "II s'est fait ici depuis peu une vente tr^s considerable de tableaux prdcieux, de desseins, d'estampes et de toute esp^ce de curiositds. Elle a produit plus de 530,900 It. Jugez de ce que se \s'ic\ pouvoit etre. J'y ai eu pour ma part un nombre de desseins qui ne ddpareront point ma colledtion " ("Arch, des Arts," Miintz, 1890, p. 109). ' lb\d.^ 1890, p. 116. * See Appendix C. ' Delaborde, " Le D^partement des Estampes," p. 92. See also " Documents sur la Vente du Cabinet de Mariette," N. A., 1872, pp. 346-370. ° He writes to Malesherbes : " On ne pourra jamais, m^me a prix d'argent, rassembler un cabinet de dessins et d'estampes tel que celui de M. Mariette." " L'assemblage de ces richesses est un prodige. Ce prodige a enfant^ un second, celui d'avoir transmis pendant pr^s de deux siecles, la meme fortune, le meme gout ^pur^ et le meme savoir (^clair^ dans la personne du citoyen dernier possesseur de cette superbe colledlion." 28 roi," setting forth the " raisons puissantes pour acquerir le cabinet Mariette de feu M. Mariette et le reunir a celui de Sa Maieste." For a ^'^ while there seemed to be some hope of success. Pierre, Cochin and Lempereur were told off to negotiate with the heirs, but their expectations had been raised by the large sum — 69,000 1. — obtained at the first sales of duplicates^ and they rejected the offer of 300,000 1. made in the King's name for the complete group of drawings and engravings, reckoning on obtaining a larger sum by a sale at au6tion. Their expeftations were dis- appointed ; the sale of November 15th, 1775, only realized a sum inferior by 1 1,500 1. to that which they had refused. Joly, in the bitterness of his defeat, may have found some satis- faction in this circumstance, but he had himself had the pain of watching, hour after hour, the acquisition by others of the in- estimable treasures for ever lost to France. The credit of 50,000 1. finally wrung from Turgot came too late — not until the eighth day of this memorable sale was past.^ When Crozat's great colleftion was dispersed the sale had been directed by Mariette; the weight and colour of every word in his description had added value and character to the whole event ; the unrivalled collection of Mariette found no such com- petent handling. The famous dealer, publisher and expert of the rue Serpente, Pierre-Fran9ois Basan,^ to whom the treasures amassed by the house of Mariette were entrusted, lacked the necessary qualification for his task, not having the scholarship which had rendered the Catalogue of the Cabinet Crozat a work of the highest form of teaching. " Basan etait loin d'avoir I'erudition aussi sure que celle de Mariette, et Mariette lui-meme eut seul pu donner de son cabinet le catalogue qu'on attendait."* Basan had shown remarkable aptitude as an engraver and had ' For details of the first sale of duplicates see C. Blanc, " Trdsor de la Curiosit^," t. i., pp. 256-304. " There were a few pidtures, gems, coins, etc. (see Wille, May 17th, 1775), but the enormous importance of the collection consisted in the unrivalled perfeftion of the sets of the work of all the great engravers of every school and the incomparable beauty and rarity of the drawings, the chief portion of which had been in the hands of Crozat. The prices, though not realizing as much as the heirs expecfted, went beyond the expeilations of the outside world. " R^pondu a M. Dittmer, a Ratis- bonne," writes Wille, "je lui fais voir I'impossibilit^ ou je me suis trouv6 (par rapport aux prix que son ami, M. I'Assesseur Hartlaub, m'avoit marquds pour divers articles dans la vente de M. Mariette), d'acqu^rir ce que M. Hartlaub auroit ddsir(^ " (27 Mars, 1776). ' 1 723-1797. See " Abr^g^ historique " prefixed to the " Catalogue raisonni du Cabinet de feu Pierre-Francois Basan pere." ' De Chennevi^res, " Un Amateur," etc. ("L'CEuvre d'Art," Nov. 15, 1897, p. 199). 29 Basan. Marietta received lessons, at an early age, from Etienne Fessard,^ who was 2nd a member of his own family. Prompted as it would seem by the desire of gain, he abandoned his art and devoted his energies to dealing. He put into the trade which he developed and carried on in his hotel, rue Serpente, the zeal, the devotion, the passion even, which Mariette displayed in the service of learning and of art. Basan, in short, represents the temper of that later generation of dealers, who have seen in the knowledge of and care for beautiful things mainly the means of making money and who have valued the knack of anticipating their market beyond any interest or pleasure to be derived from the intrinsic value of the works in which they dealt. Mariette by his personal taste, by his traditions, by his won- derful power of recognizing good work under the most varied or unaccustomed aspects, by his fine qualities of judgement raised the standard of the libraire-amateur to a point which it has never attained before or since and adlually exerted a dired; influence on the formation of that opinion which determined the classic re- adlion, which coloured the art of Prud'hon and contributed to form the talent of David. In Basan we have the prototype of the successful dealer of our own day : his commercial instinfts had been sharpened by his early stay with Etienne Fessard, a pushing, unscrupulous man, whose ability was greatly inferior to his ambition and his pre- sumption. Under him Basan necessarily became familiar with all the courses of profitable advertisement. If Fessard engraved a work, there was the dedication in favour of which money or credit were to be won. He contrived to stand so well with great people that all Cochin's wit and wisdom were needed to support Marigny in his refusal to grant Fessard the exclusive privilege of engraving with his facile burin the " Tableaux du roi," and he succeeded in extracting a " pourboire " of 600 It. for each volume of his poorly illustrated edition of the "Fables de la Fontaine" (1765-1775), on the strength of dedications inserted after every title-page to the " Enfants de France"; he could not even suffer the slight of re- jection at the Salon without making capital out of it by a vigorous appeal to Marigny himself. From Fessard, Basan went, we are told,^ to Daulle, a master ' 1714-1777- ^ Basan gives only a few lines to his own name in his " Di6tionnaire des graveurs." The chief source of our information concerning him and for all these details is the "Abr^gi historique" prefixed to the "Catalogue raisonn^ " of his colledtions, to which reference has already been made. 30 a: w o < CAl << a: w 5 ^ = 'J 33 whose laborious life is represented, as we shall presently see, by an Mariette immense series of portraits, very unequal in value, and whose ^^ ^^ pupils must often have learnt from example that it is better to do quickly than to do well. When Basan left Daulle, he was determined on making money. He bought a few good plates, engraved a few himself, and colleded round him various young engravers, whom he employed and housed under his own roof. Italy did not tempt Fran9ois Basan but, noting the passion for little Dutch piftures of the class skilfully manipulated by Wille, he had resort to Holland, to Flanders and to England^ for the establishment of a connexion. Mariette, with whom he was on friendly terms, may have served him in this part of his business. Meanwhile the manufacture of engravings was steadily kept going in Paris, and in 1760 the public were invited to buy a " Recueil de cent estampes de sujets agreables et paysages, gravees d'apres les meilleurs maitres des Pays-Bas et de I'Ecole Fran9aise par Fran9ois Basan, ou sous sa direction." Very few, if any, were wholly executed by his hand ; but as one turns over the pages signed by Le Veau, Cochin, Lucas, ^ Sornique,^ Pierre Aveline,^ Daulle, Flipart or Beauvarlet, one gradually recognizes a bright, intelligent, exceedingly summary rendering in certain prints which bear the name of Basan : it is, I think, quite obvious, even when, as in the " Hameau de Flandre," after Teniers,^ we find the name of Basan coupled with that of another. The kind of technique, clear and eifed:ive as far as it goes, if not too scrupulously honest, is just of the order which necessarily appeared most desirable to Basan for the setting out of the series of subjefts after Flemish and Dutch painters which were to find their market " a Amsterdam chez Fouquet junior, a Paris chez Basan graveur, rue St. Jacques." For himself alone, Basan claims work such as the " Cordonnier hollandais" after *' Skowmann,"^ the " Ouvriere en dentelle " ' He made more than one visit to London. Wille mentions that Basan was away, in London, in August, 1770. ^ " Le Traitant," after Dumeril, is signed " Lucas sculp." There were two engravers of this name. ' I722-I7s6(?). Basan says "a gravd I'Enlevement des Sabines. m. p. en t. d'apres Luca Jordano, pour le Recueil de Dresde. Sornique ayant laiss6, en mourant, cette planche imparfaite, elle a itk termini par Beauvarlet." * 1697-1760. A. 1737. In 1757 he exhibited three works engraved for the " Galerie de Dresde." ' In February, 1 76 1, Wille buys at the sale of the Count de Vence " un tableau de Teniers que M. Basan a grave." ' Schouman (Arthur), 1710-1792. 31 Mariette and Basan. after van Mien's, and the " Femme en courroux " after Zick,^ the friend of David Rontgens. His title to the execution of these has been contested, but it is clear from the special charaderistics of the work that if Basan did not do it he had at least a very clear idea as to how it was to be carried out under his diredlion. To this class belong also the reprodu6tions of the sketches of Oudry — " ' Le Mouton ' et ' Le Chat Panterre,' peint d'apres nature a la Menagerie du Roy." The selection of a subjeft by Zick was probably diftated by Wille, with whom Basan was on terms of the closest intimacy. Wille seems to have had frequent business relations with Basan. " Livre les epreuves a M. Basan, au nombre de quarante-huit, des planches que M. Zingg " m'a gravees d'apres M. Vernet," he writes on the 4th November, 1760, a date at which Basan was engaged in the publication of the first "Recueil." In 1762 came out the second coUedlion, followed by four other sets at different intervals, the last appearing in 1779, and thus, if we include a variety of independent work, we reach the enormous total, filling the six heavy folio volumes which we find as " L'CEuvre de Basan " in the Print Room of the Bibliotheque Nationale. Before going to the rue et Hotel Serpente, where we find him (No. 14) in 1776,^ Basan had two other addresses. He lived first, 1 suppose, in the rue St. Jacques, where he would have received in 1754 the encouragements of his neighbour, Mariette; then in the rue du Foin * near St. Severin, until the great extension of his trade forced him to seek larger quarters. His domestic troubles may also have contributed to make him desire the change. " M. Basan," writes Wille, January 31st, 1768, " depuis sa separatioji d'avec sa femme, a soupe la premiere fois chez nous. II me fait bien de la peine, car il ne merite pas ce qui lui est arrive." Mile. Basan, however, soon comes on the scene,^ the business prospers and develops, visitors are taken to the shop as to a great sight,^ and Wille's journal shows a constantly increasing friendly intercourse ' See "French Decoration and Furniture, etc.," p. 187 and note 4, p. 190. " A Swiss employed by Wille. ' This address is given in the Almanach des Artistes for the year, with a note to the effeft that Basan is the Paris dealer doing the largest business. * The engraving by Daull6 of Drouais' portrait of Mile. P^lissier is inscribed " se vendent a Paris chez Basan, graveur rue du Foin." ° Mem. Wille, January, 1770. There is no explanation given of the "separa- tion." The writer of the preface to the " Catalogue " says only that " Basan avoit ^pous^ Marie Drouet, qu'il perdit apres trente-sept anndes de mariage." She certainly returned to her husband long before her death. " Mdm. Wille, NovembV i6th, 1768. 32 between the families accompanying the increasing consequence Marietta and importance attached to Basan's position. oil.,, 11- ri-i--i Basan. He plays the host at suppers and dinners ot which it is always recorded that there was much laughter and good cheer, Boucher dines with him to meet Wille ^ and on another occasion he enter- tains the whole Wille family, the Chereau and M. de St. Aubin I'aine,^ whose name reminds us that the two most interesting engravings with which Basan's name is connedted are from draw- ings by that most delightful artist.^ Business did not suffer from this jovial existence; on the contrary, it would seem to have been a means of extending and cultivating useful relations and we soon begin to hear something of the project regarding the publication of that edition of the " Metamorphoses d'Ovide " which was one of the most harmoniously beautiful books of the century.* Grimm, who was no lover of illustrations and who had been rightly disgusted by the wretched performance of Fessard's " Fables," pro- phesied evil concerning the undertaking, but draughtsmen and engravers made a combination of admirable perfection. Boucher, Moreau, Gravelot, Eisen, Monnet, Choffard were interpreted by Le Mire, de St. Aubin, de Longueil, Simonet, Masquelier and Baquoy, The enterprise was, however, the cause of a serious quarrel between Basan and Noel Le Mire, who finally appealed to Wille and three other experts to compose their differences. On the I2th August, 1771, the entry occurs in Wille's journal: " M. Basan m'avoit invite pour etre mediateur, avec trois autres, entre lui et M. le Mire, qui se sont separes d'interets dans leur entreprise des ' Metamorphoses d'Ovide.' M. Basan reste aduellement seul proprietaire, en donnant dix mille six cents livres et douze exem- plaires complets a M. le Mire, et tout le monde paroit content." To have carried out this remarkable work refledls the greatest honour on Basan as a publisher. It places the credit of his taste and judgement on a level with his reputation as a brilliant man of business, and Mariette himself may well have given his approval to its pages. It is, indeed, not impossible that the beauty of the work contributed to determine the selection of Basan to deal with the sale of Mariette's collections. In the notice prefixed by Basan to the Catalogue he frankly acknowledges his debt to the twenty ' M^m. Wille, February 13th, 1770. ' Ibid., June 5th, 1770. ' " La Guinguette, Divertissement pantomime du Th&tre Italien, par le sieur de Hesse," and " Le Ballet dans6 au Theatre de I'Opdra dans le Carnaval du Parnasse, Afte I"^, gravd par F. Basan," See Chapter IX, * See Chapter VIL 33 f" Mariette years of friendship with which Mariette had honoured him, and ^^^ speaks proudly of the " choix qu'il a bien voulu faire de moi pour Basan. ,f ^ /, u- . ' ^ .> 1 arrangement de son cabinet apres sa mort. As an engraver-publisher Basan had affirmed his reputation when he brought out the famous Ovid; the sale of Marietta's col- leftion gave him the opportunity by which his standing as the great expert dealer of the second half of the century was equally established. Neither before nor after had he anything to handle of like importance.^ The names of Bouchardon, Van Loo, Marigny, Cochin and Wille illustrate the interminable list of sales which were arranged by him, but the great event of his career was, undoubtedly, the dispersion of the Cabinet Mariette. With the sale of the colledlions of an amateur of Amsterdam named Neyman, Basan — encouraged probably by the success of the set of little engravings which accompanied the sale of the collection of the Duke de Choiseul — inaugurated the system, since popular, of illustrated catalogues. The Neyman and Poullain sales seem to have decided Wille to sell all his pictures and such drawings as he had in portfolios. " M. Basan," he says (Odlober, 1784) "destine a en faire la vente, est venu tous ces jours-cy pour prendre notes des uns et des autres, notes necessaires pour composer le catalogue." The catalogue was allowed to circulate for a month, four days were allowed for arranging everything at the Hotel Bullion and the sale, which began on December 6th, 1784, lasted four days. It probably answered Wille's expeftations, for the " bon repas" given on the 2nd February, 1785, to M. and Mme. Basan (whose reappearance receives no comment), M. and Mme. Poig- nant ^ and others may be connefted with the final settlement of the operations at the Salle des Ventes. It was certainly no ordinary occasion, for the host adds : " Nous etions en tout douze personnes tres-joyeuses et de bonne humeur. Tous ont egalement soupe le soir, et nous sommes restes ensemble jusqu'a minuit," after which Basan pays his debt by inviting the party to his country house at Bagneux.'^ There was a certain uneasiness already creeping over the men who were concerned with affairs and Basan decided Wille to part with the greater part of his fine colleftion of engravings. The re- ' " Dans le nombre des catalogues qu'il a publics, on distingue ceux des cabinets Bouchardon, Rumpr6, Slodtz, Quarr^ de Quintin, Fabre, les Vanloo, Mariette ci- dessus nomm6, Neyman, Latour d'Aigues, Marigny, Cochin et Aliamet " (Catalogue Basan, p. iv). ■^ Poignant had married Mile. Basan, and was associated with her father in his business. ' M6m. Wille, June 4th, 1785. 34 Cui. DE Lampe from thk " Metamorphoses d'Ovide," 1767-1771. (Pierre-Philippe Choffard.) suits of the sale, which opened on the i ith December, 1785, do not Mariette seem to have been as satisfactory as those of that by which it was ^'^ preceded. "Sur bien des estampes," writes Wille, "j'ay perdu, sur d'autres j'ay gagne, comme il arrive ordinairement," No pains, however, had been spared, Basan himself having "compose et fait imprimer le catalogue." It was the last noteworthy sale in which he actively participated. In 1787 he figured as an expert in the " Plainte en escroquerie de Coutant contre Martin, marchand de tableaux," ■' and a few years later he decided to give up business. In 1790 Schmuzer, writing to Wille as to the sale of an engraving, is told that he must not count on Paris printsellers, for " les prin- cipaux, qui etoient MM. Basan et Chereau, avoient quitte le commerce." ^ Basan died in 1797. In December of the following year Regnault-Delalande organized the sale of the colleftions which had made the old hotel of the rue Serpente one of the sights of Paris. Mariette had lived his life, as it were, to himself; we are told that he hid his treasures as a miser would his gold ^ and did not willingly open his portfolios except to those whose taste and judgement he resped:ed — a sentiment which appeals to every collector ; for who has not suffered anguish at seeing damp thumbs pressed on bronze medals ; prints handled by the wrong ends, and books pulled from their shelves and laid open with a display of total ignorance as to the constitution of their backs ! To such distresses Basan, whose house was genially open to every visitor, must have been continually exposed. No words of mine can better the picturesque description of his life and surround- ings given in " Les Graveurs du XVIII. Siecle " by MM. de Portalis et Beraldi. They speak of the great sale-room on the ground floor, where Basan left on view the pidlures, prints and curiosities entrusted to him ; on the first floor they note the atelier of the engravers working for the house, and near to it the atelier of Basan himself — the gallery, shown us in a little engraving by Choffard,* where he hung all his colledtions of engravings, paint- ings and drawings. " C'est un va-et-vient continuel," they say, " d'acheteurs, de graveurs . . . au milieu de tout cela des corre- spondances arrivant de I'etranger, des envois a expedier par toute ' N. A., 1873, pp. 408-437 and 457-466. ' M6m. Wille, May 26th, 1790. ' See " Raisons puissantes, etc.," Dumesnil, ut supra, p. 387. * This is the allegorical engraving which figures in the catalogue of his sale. Basan is represented surrounded by all his works and encouraged by Mercury, the god of commerce. 35 Mariette I'Europe, des catalogues a rediger, des graveurs a diriger, des and voyages auxquels il faut se preparer, du commerce a surveiller, des ^^^"' amateurs a conseiller et souvent a instruire ; et Basan, ' melange de vivacite et de froideur,' trouve moyen de faire face a tout et, sans rien negliger, de rediger encore un * Diftionnaire des Graveurs,' bien sommaire du reste." ^ From the short notice written by himself in this " Di6lion- naire," taken in conjundlion with that prefixed to the catalogue of his sale, we are able at any rate to glean fa6ls which not only complete the story of Basan's life, but which set it in a light that shows us the salient points of difference between the great amateur dealer of the past and the great dealer of later days. If one dwells on the charadter and interests of Mariette, who traded and pub- lished and made fortune as his fathers had done before him, one is struck by its dignity and the immense services rendered to art by his sincerity and erudition ; if we turn from Mariette to the men who handle beautiful things now, there is a great gulf. It is bridged by Basan. By his clever substitution of intelligence for personal taste, by his dexterity in business, his quickness to feel the pulse of the public and take advantage of the market, he may be rivalled but can scarcely be outdone by his successors of to-day. ' Portalis and B^raldi, t. i., p. io8. CHAPTER III LE CHEVALIER COCHIN THE social successes and the enormous power which Cochin fils ^ exercised through his relations to the Court, to Mme. de Pompadour and to her brother, the Marquis de Marigny, make his life profoundly interesting, because it became the centre of so many other lives and ambitions. He came of a family of engravers. His first lessons were received from his father and mother, for Cochin pere ^ had married Louise- Madelaine Horthemels, and she — as did her two sisters, Mme. Tardieu and Mme. Belle — worked regularly with her husband. Cochin pere had an admirable tadt in seizing the spirit and style of the very dissimilar masters after whom he engraved. Whether his " sujets des ouvrages en gravure " represent Watteau^ or Chardin ^ or de Troy, he displays the same quick-witted powers of sympathetic apprehension ; but his " Pompes funebres : Celle de Madame, Premiere Dauphine, a Notre-Dame, Celle de ladite Princesse, a S. Denis. Celle du Roy d'Espagne, a Notre-Dame,"^ must reckon amongst his best work, and from these we may single * 1715-1790. A. April 29th, 1741 ; R. November 27th and December 4th, 1 75 1. From the Catalogue of his work by Jombert, we learn that he gave (P. V., Oft. 31st, 1761) as his diploma work the drawing of " Lycurgue bless6 dans une sWition," which is at the Mus6e du Louvre. See Salons of 1761 and 1769. He also gave on May 31st, 1766, a portrait of Pope Benedidt XIV., by Subieyras. " 1688-1754. R. August 31st, 1731, on portraits of Lesueur and Sarrazin, Chal. du Louvre, Nos. 2273, 2279. He exhibited at the Salons of 1737, 1739, •740, I743> 1746 and 1750. ^ The best after Watteau is his " Mari(5e de Village." * His engravings of " L'Ecureuse " and " Le Gar^on Caberetier " (sic) were ex- hibited in 1740. " Ex. 1750. Chal. du Louvre, Nos. 4051, 4052, 4053. 37 146419 Le out his very remarkable rendering of the " Pompe funebre " of Chevalier Polixene de Hesse-Rhinfels (1735), on account of its extraordinarily °^ '"' brilliant effedl of space and air. In like manner, the chief successes of Cochin fils were won in the delineation of those court cere- monials such as the " quatre Fetes du premier mariage de M. le Dauphin," which were engraved by the father from his son's drawings, and exhibited together with those which commemorated the funeral obsequies of the " Premiere Dauphine." Brought up to handle the point and the burin from the cradle, Cochin fils showed from the first a brilliant and inexhaustible facility. Under his name is grouped an innumerable variety of book-illustrations, fashion plates, trade cards, ornament, book- stamps and portraits of all the celebrities of the century.^ His friend Charles-Antoine Jombert,^ the publisher and bookseller, to whose industry and zeal we owe catalogues of the work of Sebastian Le Clerc and of Belle, prepared that of Cochin during his lifetime. In the letter which he wrote with the copy sent to Marigny, Jombert says : " Comme j'ay I'avantage d'avoir ete son camarade des I'enfance, et que je ne I'ai guere perdu de vue depuis ce tems, personne n'etoit plus a portee que moi de donner quelque ordre au nombre considerable de pieces qui forment son ceuvre depuis quarante-quatre ans qu'il a le burin a la main. J'ay done tache de debrouiller le cahos de la quantite d'ouvrages qu'il a fait." ^ The letter is dated December i6th, 1770, and, in a note, Jombert says that the total of Cochin's work, exclusive of his etchings, already amounted to 1,262 pieces. If, however, we could add to the list all the work which he produced during the last twenty years of his life we should reach a more startling figure. His first engraving was, Jombert tells us, made at the age of twelve, and he adds that he had preserved a set of sketches, " Diverses charges des rues de Paris," which had been executed by Cochin when a boy of sixteen. He had been placed at that time with Restout to complete a training and discipline which seem to have been sufficiently severe under his father's roof, and • " Recueil de portraits, etc.," Paris, 1755-1 775. See also " Bulletin de Souscription au portrait de Louis XV, par C.-N. Cochin fils," 1779. N. A., 1880-1881, p. 131. ^ 1 7 12-1784. See letter from Jombert to Marigny, with a copy of his "Cata- logue de rCEuvre de Ch.-Nic. Cochin fils, 6cuyer, chevalier de i'Ordre du Roi, censeur royal, garde des Desseins du Cabinet de Sa Majest6, secretaire et historio- graphe de I'Acad^mie royale de peinture et de sculpture. Par Charles-Antoine Jombert. A Paris, de Fimprimerie de Prault, MDCCLXX." (N. A., 1874-1875, p. 316). ' N. A., 1874-1875, p. 320. 38 L'OuvRiEKE EN Dentelle : " DivERSES Charges de la Rue de Paris." (Pierre Aveline, after Cochin le fils.) C.2^ .^uJHl\jll from the studio of Restout Cochin fils slipped away to the work- Le shop of Le Bas. As he went to and fro he made sketches in the Chevalier street, and so doing developed that marvellous facility of rapid and accurate observation which served him well when he came to discharge his official duties as *' dessinateur et graveur du Cabinet du roy." In early work founded on these lessons of the street — such as the series representing the trades of the men and women of Paris ^ — Cochin seizes on gestures and manners with the same agility and vivacity as distinguish his treatment at a later date of the aftors in court pageants, his delineations of which are alive with minute suggestions of significant detail. His first great popular success was achieved by the brilliant rendering of" La Decoration de I'illumination et du feu d'artifice," organized by Servandoni at Versailles, in honour of the marriage of Madame Premiere with Don Philip of Spain.^ Cochin fils had, however, given earlier proof of an almost equal skill and wit. In 1735, the year in which his father was engraving the " Pompe funebre " of Polixene de Hesse-Rhinfels, Queen of Sar- dinia — in concert with the Slodtz, by whom it had been carried out in Notre Dame — Cochin fils was engaged on the reprodu(5tion of a sketch by Dumont le Romain of the illumination given by Cardinal Polignac in 1729 on the Piazza Navona, in honour of the birth of the Dauphin. This work, which was finished by his mother, seems to have led to his employment on an engraving in commemoration of the entertainment given at Meudon to the little Dauphin, in December, 1735, by the Duke of Orleans.^ This commission, as well as that of engraving the " Pompe funebre" of another Queen of Sardinia, Elisabeth-Therese of Lor- raine * (September 22nd, 1741), seems to have been due to the in- fluence of the Count de Bonneval, i\\Q controleur des menus, for Cochin tells us that it was to him that he had " I'obligation d'avoir travaille pour le Roy des I'age de vingt ans, honneur," he adds, " dont j'etois flatte, ne prevoyant pas que je serois toujours fort mal paye dans ce district et que je perdrois toutte ma jeunesse sans profit a leur service." Under a strong sense of obligation to Bonneval, and probably with an equally strong sense of his own interest. Cochin had made a present to him of his superb drawing of the " Reception par ■ "Le Tailleur pour femmes," " L'Ouvriere en dentelle," etc. ^ The fete took place on August 21st, 1739. The engraving was exhibited at the Salon of i 741. Chal. du Louvre, 4014. Sept. 25th is given by Portalis and Bcraldi. ' Chal. du Louvre, No. 4013. * Ibid., No. 4050. 39 Le Louis XV de Said Mehemet pacha, ambassadeur du grand Turc, Chevalier 1742." " It cost me," Cochin says, " a considerable time, and was °'^ *"' countermanded exactly when it was already sufficiently advanced for me to want to finish it, the more so as I saw that it might be a credit to me. ... As soon as it was finished, I showed it to M. de Bonneval, then controlleur des Menus-Plaisirs du Roy. He seemed to want it so keenly, he who was cold and undemon- strative, that I gave it him." ^ Afterwards, we are told, the Duke d'Aumont " eut envie de ce dessein," and as Bonneval did not dare refuse him, Cochin was called in to find a pretext for resistance, but he took Bonneval's part to his own hurt ; in any case, as Bonneval resigned his post, the gift to him of the drawing in question was a pure loss. It was exhibited in 1745, and it is interesting to find that it attradted the notice of Bouchardon. "J'ay eu aussi I'encouragement," writes Cochin, " qu'il voulut bien trouver du talent dans un dessein que j'avois expose au Salon, qui representoit I'audience de I'ambas- sadeur turc a Versailles, et il est certain que cette marque de con- tentement de sa part me fit plus de plaisir que tous les eloges du public et meme des autres artistes." ^ Until Sebastian and Paul-Ambroise Slodtz ^ were placed in command at the Menus Plaisirs, very little was done there. It was not, as Cochin tells us, until 1745 that the expenditure on royal shows became considerable. To the Slodtz fell the conduft of the splendid fetes which then signalized the Dauphin's marriage with his first wife, Marie-Therese d'Autriche, and Cochin gives us lively pidlures of the ceremony in the chapel at Versailles ; of the jeu du rot ; of the masked ball which took place in the grand gallery ; of the gala representations given in the theatre which had been arranged in the riding school, and of the no less splendid show of the state ball.* The masked ball — of which the original drawing is preserved in the Louvre — is the most striking of the set, each one of which has great interest as showing the immense importance attached to these costly royal pageants and the brilliant talent lavished on their produ<ftion. ' See pp. 105 and 106, M6m. indd. This magnificent drawing was one of the most important of the Miihlbacher colledtion, and was admirably reproduced in the catalogue of the sale (No. loi). ^ M^m. inW. ; Bouchardon, pp. 93, 94. ' In the Salon of 1757 '^^ ^"^ " Trois portraits en Medallions. Messieurs Slodtz. D'apr^s les Desseins de M. Cochin. Par M. Cars." On the death of Michel-Ange in 1765 Cochin wrote a short biography of the three brothers, entitled " Lettre aux Auteurs de la Gazette Litt^raire " (CEuv., t. ii., pp. 228-240). * Chal. du Louvre, Nos. 4029-4033. 40 \ • J- *-* O X u < ■A c '^ s H CO Z Z g; c T- < :i r^ a; 2: b CJ u X - X. « V2 a a r Id p < Q J 1 — I ;zj 7. ^ <5 < _j X Z y) td X Q < Q 2 ^_ S ^ 1»- X <■ z >^ ^ z S K ^ 'J X D ,q X Z3 a »-H >-I » "-^ a! < C X -d < ^ CTv U u > p y H -<: D ■y as < M c- r4 'A P > It was a year, Cochin says, in which " chacun fit asses bien sa Le main : M. de Bonneval, cadet d'une famille de financiers, n'ayant Chevalier < ,1 A/r 1 n 1 Cochin, nen, ou tres peu de chose, . . , ce M. de lionneval en resta riche." Plentiful details as to other indecent fiDrtunes made in the " tripot des Menus-Plaisirs " follow on this statement, and his obligations to M. de Bonneval do not hinder the writer from revealing that the said Controkur " avoit une petittesse de gloriole asses singuliere : sur mes planches dont j'avois fait les desseins, il faisoit mettre T>e Bofineval invenit ; on en rioit, personne n'en etoit la dupe, mais il etoit content." ' This absurd practice was established before Cochin was brought into the Menus, for we find " De Bonneval invenit" on the " Pompe funebre " of Polixene, Queen of Sardinia, which is supposed to have been drawn as well as engraved by Cochin pere. De Bonneval seems to have con- sidered that every representation of court ceremonial which was " sous sa conduitte " ought properly to receive this stamp. In the decorations for the Dauphin's marriage fetes the Slodtz had surpassed themselves. Everything after that date of a similar character was absolutely entrusted to them, and Cochin's share in the performance had no less serious consequences as to his future, for it brought him direftly under the notice of the Court. He had, however, to suffer in more than one way from the ignorance and carelessness of his superiors. Anxious as to the effe6l of his work, he had seledled the printer to be employed by de Bonneval : "je I'avois prevenu," he adds, "que c'etoit un des plus habiles, mais qu'il avoit besoin d'etre veille." No notice was taken of this caution. The printer got drunk and set an incompetent sub- ordinate to do his work, with the result that before a hundred proofs were pulled, the plates, which had been delicately engraved by Cochin pere, were worn out.^ The consequences of this disaster are to be felt at the present day, for good impressions of the Fetes are exceedingly rare. Engravings of the "Mariage" and the " Comedie," together with Cochin's drawings of" Le Roy tenant grand appartement" and of the " Illuminations des deux grandes Ecuries," were exhibited at the Salon of 1750. Cochin had then left for Italy, for his drawings had not missed their due effedl ; they had brought him the favour 2 C( M^m. in^d., pp. 135-137. 'J'en avertis plusieurs fois," adds Cochin, " inutilement ; il les servit done de maniere a meriter punition. Le bon M. de Bonneval lui fit donner une pension. Ce qu'il y cut de plaisant, c'est que I'imprimeur qui avoit imprimd mon ouvrage, qui avail mal servi, fut bien paye et recompense, et que moy je fus mal paye et n'eut aucune recompense" (Mem. ined., p. 139). 41 G Le of the reigning favourite. " II se fit connoitre," writes Mariette, Chevalier <■<■ ^^ Mad. la Marquise de Pompadour, qui, ayaiit resolu de faire Coc in. ^^.^^ ^ ^^^^ ^^^^^ jyj j^ Marquis de Marigny, pour lors appele sim- plement M. de Vandieres, le voyage d'ltalie, pour y prendre le gout des arts, et se mettre en etat de remplir dignement la place de diredteur des batiments du roi, qui lui etoit destinee et voulant lui former une compagnie qui le servit utilement dans ce projet, jetta en particulier les yeux sur M. Cochin." ^ The story of this journey, which lasted nearly two years, has been often told. Soufflot and the abbe le Blanc, who were also of the party, contributed a stock of sober learning, which was a barely sufficient makeweight for the more lively parts of the "petit Cochin." - He had rebelled from the earliest days of his youth against the restraints imposed by his father's training, and on more than one occasion he found relief from the tedium of copying the works of the great engravers of the previous century^ in the repro- duction of sujets galants. The scarcity of his engraving of Pierre's version of" Le Villageois qui cherche son veau " is accounted for by the story that his father angrily broke the plate before it was even entirely finished. Madame de Pompadour could have chosen no more delightful companion for her brother than Cochin. He was not only full of wit and talent, but he had the manners which made him possible at Court and he knew a good deal. Not indeed very exadlly, as a curious passage in one of his letters from Italy bears witness. "Je me souviens," he writes, " d'avoir autrefois lu dans un traitte sur la peinture (je crois de Paul Lomasso) des regies dont il dit que le Poussin faisoit usage " — forgetting apparently that Lomazzo died at least two years before Poussin was born. The letter is in other respedls full of interest, for the writer criticises chiefs of the contemporary Italian school : — Delia Mura at Naples ; Ercole Gratiano at Bologna ; Tiepolo and Piazzetta at Venice, and regrets " la couleur outree dans la quelle les Venitiens sont tombez." He regrets too — and a vision of Watteau rises before us as Cochin notes — that he has not yet had " occasion de ' A. B. C. Dario, Mariette. ^ Lettres de Madame de Pompadour. ^ Amongst these it is said that Cochin pere gave to his son " Le Christ couronnd d'^pines de Bolswert." It is described by MM. Portalis and Bdraldi as " d'apres Rubens " (t. i., p. 504), but would seem to be the same engraving referred to by Wille, March 1 6th, 1775 : "J'ayacheti^ a la vente d'estampes de la succession de M. Mariette le 'Couronnement d'epines,' gravd par Bolswert, d'apres Van Dyck. Superbe 6preuve. EUe m'a coute deux cent trente-neuf livres dix-neuf sols. II y avoit longtemps que je dcsirois posseder une parfaite cpreuve de cet ouvrage magnifique." 42 voir la ros'alba, elle a perdue la vue et on assure qu'elle n'aime Le point a etre vue dans cet etat." ^ Chevalier ^ rm • 1-1 1-1 • 1 T 1 Cochin. There is no hint by which we can identity the personage to whom Cochin writes with so much freedom combined with the deepest respe6t, but as he suggests that Cochin's remarks might furnish the matter for a conference at the Academy, he was probably a leading amateur-honoraire. The letter is full of so much detail that it might indeed be a leaf fallen from the note- book out of which Cochin put together on his return the three volumes of his " Voyage d'ltalie." ^ The return of the party to Paris brought renewed strength to the classic reaction. '* La veritable epoque decisive," writes Cochin, " 9'a ete le retour de M. de Marigny d'ltalie et de sa compagnie. Nous avions vu et vu avec reflexion. Le ridicule nous parut a tous bien sensible et nous ne nous en tumes point. Nos cris gagnerent dans la suite, que Soufflot precha d'exemple. . . . J'y aiday aussi comme la mouche du coche." ^ This sensational arrival put the finishing touch to the success of a most successful expedition. The discovery of de Troy's mal- administration and the illness of Soufflot had scarcely ruffled the sense of uninterrupted satisfaftion. Cochin, who had succeeded in capturing the goodwill of Marigny and placing himself on a footing of friendly intimacy with him, must have felt that his " petites esperances " were in a fair way of realization, and the next step in his good fortune brought him the letters patent by which he was ennobled, together with the cordon of a " chevalier de I'ordre de St. Michel," obtained for him by the all-powerful mistress of the King. To a man so assured of court favour nothing could be refused, and the Academy hastened to receive Cochin, although his diploma work was still in abeyance. On the 27th November, 1 75 1, Coypel informed the Society that the work which their associate, M. Cochin, had been obliged to take in hand for the King, and specially his tour in Italy with M. de Vandieres, having hindered him froin completing his diploma work, he found him- ' See A. de I'A. fr., t. i., pp. 169-176. The letter is preserved in the Egerton MSS. at the British Museum. ^ " Voyage d'ltalie, ou recueil de notes sur les morceaux d'architedture, et sur les ouvrages de peinture et sculpture, qu'on voit dans les principales villes d'ltalie." 3 vols. In-8. 1754. Cochin also published, in 1755, "Observations sur les antiquit(5s de Herculanum, avec une dissertation sur les morceaux de peinture et de sculpture trouves dans cette ville souterraine." In-12. See " L'CEuvre de Cochin," par Jombert. N. A., 1874-1875. There are various editions of these works. ^ Mem. ined., p. 142. 43 Lc self thus deprived of the enjoyment of the instructive confirences Chevalier vvhich the Academy gave " sur les differentes parties des Arts °^ '"' qu'Elle cultive; qu'il supplieroit done la Compagnie, en attendant qu'il satisfasse a ses engagemens, de lui accorder la grace d'assister aux assemblees." Thereupon all rules were cast to the winds. Cochin was on the spot received Academician without any diploma work, and simply contented himself with giving a ledture in the following spring (March 4th, 1752) on the advantages of an Italian tour. Coypel seems to have been prompted by something like a touch of gentle irony when he replied that all depended on the person : " Convenons que pour se rendre un tel voyage parfaitement avan- tageux, il faut, comme vous, s'etre prepare des longtemps." This pifture of Cochin's aplomb is amusing if we contrast it with his reply to the suggestion made by the unknown corre- spondent to whom he writes the letter preserved in the Egerton MSS. " Vous me flattez, Monsieur, que mes foibles remarques pourraient etre la matiere d'une conference a I'Academie. Je n'ay point cette vanite, et n'ay assurement rien a dire que tout le monde ne sache mieux que moy. D'ailleurs je ne croy pas que je pusse jamais surmonter la timidite (qui m'est naturelle) jusques a ce point." Coypel, who had alluded with so much delicate humour to the evident advantages of an Italian tour, died shortly after,^ and was immediately succeeded by Cochin in the vacant post of " garde des dessins du roi." Two years later Lepicie, " secretaire et historiographe " of the Academy, also died and Cochin was at once selected to fill his place. His fellow members felt that they could not have a better representative. He himself was so deeply touched by his appoint- ment that he was obliged to read instead of speaking his thanks and acknowledgements : " Dans les premiers moments de ma nomination," he says, " il ne m'eut pas ete possible de vaincre la timidite qui saisit naturellement toutte personne obligee de paroistre pour la premiere fois au milieu de vostre respeftable Compagnie." Mariette, commenting on Cochin's special qualifications, says he was worthy to succeed Lepicie " tant parce qu'il a le talent d'ecrire, que parce qu'il a de la souplesse dans I'esprit, et, s'il faut le dire, du manege." A hint of something of this charafter seems to be given in Coypel's speech on Cochin's election, and his immense social popularity would in itself suggest " du manege." At Court or in the town Cochin was equally welcome. The " bureau d'amateurs" ' June 14th, 1752. 44 at Madame Geoffrin's adopted him as one of their leading counsel ; Le his close intimacy with Madame de Pompadour, whom he advised Chevalier as to all her purchases and commissions, placed a large amount of patronage in his hands, and the influence which he had acquired over the young Abel Poisson gave Cochin, when his friend came to power, the acflual administration of the fine arts for over forty years. Mariette, whilst observing that, as far as concerned the Academy, Marigny did nothing except what Cochin told him, adds that this flattering position had its disadvantages, for it induced Cochin to sacrifice his special gifts : " depuis cette epoque," he says, " il n'a presque plus manie la pointe ni le burin. II s'est contente de dessiner et d'affedter dans ses dessins d'y mettre ce qu'on appelle de la grande maniere. Mais il y a des gens qui regrettent celle qu'il s'etoit faite autrefois, et qui, pleine de gentillesse, paroissoit lui avoir ete didlee par la nature seule." In justification of this criticism he cites the noble drawing of the " Reception de I'ambassadeur turc," and compares it with the allegorical compositions designed by Cochin for the illustra- tions of President Henault's " Histoire de France." ^ We have but to look at these or at any of the tiresome allegories, which form so great a proportion of Cochin's later work,^ to feel that an Italian tour in the company of archasologists is not always an un- mixed advantage. After his return from Italy, but before he ceased to engrave. Cochin undertook, in concert with M. de Montenault, the pub- lication of the " Fables de la Fontaine," ^ with 276 illustrations after the drawings which Oudry " avoit gribouille a ses heures perdues." M. de Montenault, of Aix in Provence, was a man of parts who had wasted his fortune. He had attached himself to Darcy the banker, and had induced him, as well as one of his confreres, to finance the undertaking. To these there joined himself a M. Bombarde, of whom Cochin tells us that he was simply " un important riche, de ces gens qui font les entendus en tout, sans que Ton sfache au juste * Twenty-nine " estampes de I'Histoire de France de M. le President Haynaut," drawn and engraved by Cochin, were exhibited in 1750. Other drawings for this work appeared at the Salons of 1765, 1767 and 1773. * See the allegorical drawings engraved by Gilles Demarteau I'ain^: " La France t^moigne son afFeftion a la ville de Liege," " La Justice protege les Arts," etc. ' "Fables choisies mises en vers par J. de la Fontaine," 1755-1759. It is said that the frontispiece only is etched by Cochin fils, and that the other engravings signed C. Cochin are all by his father. I note, however, that Cochin pere died in 1754- 45 Le pour quoy, qui cependant viennent a bout de persuader aux gens Chevalier g^ place . . . qu'on ne peut rien <^aire de bien sans leurs conseils." ^ Called to attend the meetings which took place at his house, Cochin put in an appearance unwillingly: "Je fus charge," he says, " de reftifier les desseins oii il y avoit des figures qu'Oudry estropioit a merveille. Mon affaire etoit rangee, il n'en etoit pas question. Mais la partie tipographique etoit importante, et M. de Montenault, I'editeur (du moins celui qui paroissoit, car il n'etoit pas le veritable bailleur de fonds), n'auroit pas cru rien faire de passable, sans la direction de M. Bonibarde," Montenault it seems knew how little the man was worth, but he knew also how important it was to have " les proneurs bavards pour soy " ; so meetings were held and attended by Berryer,^ then Lieutenant de police, and Malesherbes,'^ the son of the Chancellor. *' Never," says Cochin, " did I hear so much serious talk about nothing . . . the best of it was that after many conferences at which nothing was decided, we remained and politely made our- selves masters of the edition, wisely enough or we should never have finished. The smallest printer knew more than they did." At the same time that Cochin was engaged on this enterprise, for which he etched the delightful frontispiece of " Esope montrant le buste de la Fontaine," which was finished by Dupuis, he found time to help Masse, who was then absorbed by his magnificent reproduftion of the paintings and decorations by Le Brun in the "Grande Galerie" of Versailles.^ The fine "developpement" which opens the series, giving the scheme of the interior decoration and the paintings of the ceiling, was drawn, re-touched and partly etched by Cochin ; * nor could Masse have found anyone more admirably competent to handle work full of expressive movement on a minute scale. The incessant demands on Cochin's time, the necessity for the stridl fulfilment of official obligations, forced him to seek for some one who could not only give him efficient help in his profession but take charge of his house. On the death of his father he had ' M6m. inW., p. 71. " Reni Berryer, a protege of Madame de Pompadour, who made him Ministre de la Marine. ^ The famous Malesherbes who defended Louis XVI. * "Je profiterai de cette occasion, pour vous entretenir des gravures de la gallerie de Fersai/les, dont I'illustre M. Masse vient d'orner le sallon " (Cochin, " Lettre a un amateur, en r^ponse aux critiques qui ont paru sur I'exposition des tableaux," Sep- tembre, 1753, CEuv., t. ii., p. 49, note). See also " Eloge hist, de M. Mass6," t. iii., pp. 283-323. The work was begun in 1723 and ended in 1753. ° " Developpement de la decoration int6rieure et des peintures du plafond de la Galerie de Versailles." Chal. du Louvre, No. 1018. 46 given shelter to his aged mother and others dependent upon him Le in his lodgines in the Louvre, where they lacked the attention Chevalier 1 -1 •, ^. I • r 1 • 1 c- Cochin, they required, until Cochin found in the young engraver, bimon Miger,^ one who was exa(itly suited to the place. Miger, whom Wille speaks of as " mon eleve," had been employed by Montenault on his edition of the "Fables" both as secretary and superintendent of the printers and engravers. He had, in faft, relieved his employer of all serious responsibility, but there arose between them a mysterious quarrel, and Miger only consented to remain with Montenault until the completion of the work out of deference to the combined authority and influence of Madame Darcy and Cochin. In June, 1760, when the last proof had passed, Miger took his leave with inexpressible joy, and settled down in the galleries of the Louvre as the " commis " of Cochin with a salary of 200 It. yearly.'^ The household of which he found himself in charge was ex- traordinarily incongruous. " La maison de mon maitre," he writes, " se composait de M. Cochin ; de sa mere, agee de 80 ans ; de sa soeur, personne de 40 ans; d'une cousine de 50 ans: trois femmes bien devotes, et jansenistes pardessus le marche ; d'un domestique femelle pour ce trio, et d'un laquais pour le chevalier." Cochin put in an appearance at this cheerful table scarcely once a month. Miger, therefore, had to do the honours regularly for those whom his master had christened " les sempiternelles " : ^ he never went out except on Sunday to dine with Madame Darcy, where he usually found Cochin, who was incessantly engaged with Marigny by day, and spent his evenings and supped with a circle of friends. This last allusion points to the house of Madame Geoffrin, for, as Alexandre Tardieu tells us, " Cochin fils fut I'oracle du • 1736-1820. R. January 31st, 1778, on the engraving of "The Satyr Marsyas," after Carle Van Loo : on February 24th, 1781 he presented the plate of the portrait of Michel Van Loo painting his father, Jean-Baptiste (Chal. du Louvre, Nos. 1299,2213). His "Billet Doux," after Boucher, is a pretty example of his work. '' See Emile Bellier de la Chavignerie, "Biographic et Catalogue de I'ceuvre du graveur Miger," p. 19. ^ Cochin's mother died in 1767. Wille writes on the 4th Oftober of that year : " J'assistay aux convoy et enterrement de Madame Cochin, n^e Horthemels, mdre de M. Cochin, chevalier de I'ordre de Saint-Michel, graveur du roi, secretaire de I'Acaddmie royale de peinture et sculpture, et garde des desseins du Cabinet du roi. EUe demeuroit avec M. son fils, aux galeries du Louvre, et fut enterrd a Saint- Germain-l'Auxerrois, sa paroisse. Un monde infini, outre 1' Academic, accompagnait le corps de la defunte. Elle etoit d'une grande douceur et avoit beaucoup et fort bien travailie dans la gravure. Elle avoit quatre-vingt sept ans, et il y avoit bien vingt- sept ans que je la connoissois et estimois infiniment." 47 Le salon de Madame Geoffrin et Fame des soupers qu'elle donnait a Chevalier j^ meilleure compaenie de Paris, soupers si recherches plus pour Cochin. . , ,. . ^ 6 ,' ^ -^ „ r r ce qui s y disait que pour ce qu on y mangeait. Yet, whilst playing a conspicuous part in this brilliant society, Cochin's activity in various directions was incessant. If we look only at the innumerable portraits which he drew, we feel that they might represent the labour of a lifetime. Not a celebrated man, nor charming woman of his day, has escaped the delicate pencil which records their features for us — generally in profile — with a sincerity invariably tempered by kindly sympathy. The work which he did for Marigny in connection with his admini- stration of the Fine Arts was onerous and often ungrateful. He had to " menager les Anti-Caylus " in the Academy and at the same time he tells us that he had to remain neutral " et a me garder de leurs conseils qui m'auroient mal pousses et m'auroient fait com- mettre quelques imprudences." Cochin went, moreover, in some fear of his friend Marigny, who was not the man to allow himself to be directed by " les conseils d'Amateurs." Cochin's work in connection with the post he held in the Academy also made heavy claims on his time, yet he contrived to draw incessantly. He put his own hand to nine of the fine series — " Les principaux evenements du regne de Louis XV par medailles " — commissioned by the King.^ The number of other illustrations, vignettes and portraits by him are not to be counted, for on all sides so many applications were made to him, that he ceased to use either point or graver and contented himself with giving drawings only.^ As we run over the list of his contribu- tions to the Salons, we see that from 1777 they consist almost wholly of engravings for which he has given the drawings. We pass from Delaunay, Augustin de Saint-Aubin, Miger, Ponce, till we come, after his death, in 1793, to "la cit. Cernel " — the lady concerning whose married life Sergent made indiscreet revela- tions to Restif de la Bretonne. As we follow the lines of Cochin's brilliant adtivity we must not lay stress on his masterly delineations of court pageants to the ' Four were exhibited in 1755. Cochin refers to this series as the ground on which he thought himself entitled to succeed Bouchardon as " dessinateur des mWailles du Roy." It was secured for Vass6 by Caylus (see " French Archite£ls and Sculptors," p. 88), greatly to Cochin's disappointment. "Je ne voyois," he says, "gueres d'autre maniere d'avoir aussi un petit bien-etre que par le moyen de cette place" (M^m. ined., p. 49). The work was never finished, and in his will Cochin leaves to the "Cabinet des dessins" the allegorical drawings "qui se trouvent faits pour I'histoire metallique du feu roy " (Mem. in^d., p. 149). ' His work in the Cabinet des Estampes fills six large folios. 48 exclusion of the great share which he had in the transformation Le of the ilkistrated book. In addition to the many volumes the Chevaher illustrations of which are mainly due to him, innumerable are those in which we find unexpected traces of his hand. His illustrations of " Le Lutrin," exhibited in 1742,^ are of inimitable wit and spirit : the fat Bishop rolling out of bed when aroused by the angry chantre ; the Canons and the Grand chantre furiously destroying the offending Lutrin ; the meeting of the Grand chantre and the Bishop at the battle of the books on the steps of the Sainte Chapelle, are of an amazing liberty of execu- tion, free also from the influence which might naturally have been exercised by the previous designs of Bernard Picart ^ for the same poem. Compared with these transcriptions from the very life, the allegorical compositions which complete the series are sadly inferior, although they are less mannered than the same class of work executed from Cochin's designs at later dates. From amongst these we may take, for example, the illustra- tions of "L'Origine des Graces,""^ which show a lamentable want of distinction ; but even in his best years Cochin is not really interesting when he is busied either with allegory or the classics. How inferior is his " Virgil " * to the " Lutrin," or to the ex- quisitely dainty trifling of the cuts in the " Pastor Fido " ! ^ Although this book did not appear until 1766, the illustrations had been executed by Cochin in 1745, and are worthy, such is their elegance, to reckon amongst the triumphs of that famous year : the year which saw Cochin designing and engraving the miraculously pretty ticket of admission to the " Bal Pare, porte et gradins a gauche," ^ and setting the great subje6t of the " Bal " itself in the framework of flowers and flights of airy Loves which has so much to say to the general beauty of the effect. The truth is that Cochin was great in handling scenes of his ' There is a great difference between the beauty of the impressions in the early copies. These may be known by the transposition of the vignettes by Eisen at the head of Satires VIII and IX. ^ "CEuvres de Boileau," Amst., 17 18, fol. ' By Mile. Dionis Dus^jour, 1 776. There are six illustrations engraved by Augustin de St. Aubin, Simonet, N^e, Masquelier, Delaunay and Aliamet. It is noticeable that some are signed " Cochin filius " and one "Cochin eques." * The drawings were exhibited in 1742. " "II Pastor Fido. Tragicom. Pastor, del Cav. Guarini. In Parigi. Appresso Prault. M.DCC.LXVI." The title-page, which is an extremely beautiful work by Moreau le jeune, is dated and signed "J. M. Morea [//V] Le j. 1766." The six cuts are all signed by Cochin with the date 1745. All are engraved by Provost, and on two he has added the date 1765. ' Chal. du Louvre, No. 2556. 49 H Le own time with the superb courtliness he loved. Of classic story and Chevalier mythology his conceptions were vague and unmeaning ; he had no more imagination than Boucher; but let him only touch the pulse of those who breathe the same air as himself and he receives instant inspiration. No better proof of this can be given than is to be found in the admirable drawing of the Life School, ex- hibited in 1767, which shows the students competing for the Prix d'Expression founded by de Caylus. Every head is drawn with as much care as if it were the subjecfl of independent study, such as that bestowed in 1787 on the masterly portrait of Fenouillot de Falbaire,^ now in Mr. Heseltine's colleftion, where we also find the superb coloured portrait of the famous litterateur, Antoine Thomas,^ in the execution of which Cochin has employed and balanced red and black chalk with surprising dexterity and skill. Great were Cochin's opportunities for amassing fortune. The speculation into which he entered with Le Bas ^ for the repro- duftion of the " Ports de France," after Joseph Vernet, had a complete commercial success, but Cochin remained poor. Wille, who always had an eye to business, writes on the iith Oftober, 1760: "J'ay retire six exemplaires des marines que MM. Cochin et le Bas ont gravees d'apres M. Vernet. J'ay souscrit de nouveau pour six exemplaires des quatre planches suivantes." Twenty subjedls were originally promised to the subscribers but only fifteen were completed when Cochin took the matter so much to heart that he started for Havre (1776) to see what he could himself do. " Vous connoisses," he writes to Descamps, " les Ports de France de M. Vernet, he bien, je vais faire- un essay pour tenter de les continuer. Vous penses bien que je n'ay pas la sottise d'imaginer que je feray des Vernets, ce ne seront tout au plus que des Cochins, mais peut-etre s'en contentera-t'on faute de mieux." * One subject was successfully completed by Cochin at Havre and engraved by Le Bas for the Salon of 1781. Two others, giving different views of the port and town of Rouen, were also executed by Cochin, but the engraving of one, at least, was not finished when he died, for in his will, dated April 28th, 1790, the day before his death, special provision was made for its completion. "Je charge mon executeur testamentaire," so runs the clause, ' The author of" L'honnete Criminel" and " Le Fabricant de Londres," both of which are illustrated by Gravelot. ' 1732-1785- ' See the Scelle of Le Bas, 1783. N. A., 1885, p. 153. * Letter cited without reference, Portalis and B^raldi, t. i., p. 529. 50 w o O o ot. 5 O Id a. « U J W J S < f-Ti a s u o 0. FQ 5 ^^m-^ "cy-apres nomme, de faire achever et perfedlionner par M. Le Chauffard, graveur, la planche du port de Rouen, qui m'appar- tient." ^ Some difficulty attached to the execution of Cochin's wishes, and Wille writes on August 14th, 1790: "Je devrois etre un des juges et M. Bervic devoit I'etre egalement, par rapport a deux planches non achevees reprcsentant deux vues de Rouen que feu M. Cochin et M, Hecquet,^ avocat, faisoient graver en societe. Cette societe etant rompue par la mort de M. Cochin, les heritiers de celui-cy sont en dispute avec M. Hecquet, qui veut avoir I'argent avec I'interet. MM. Bervic, Hecquet, Bel, avocat des heritiers, Basan et un autre s'etoient rendus chez moi pour I'ar- rangement de cette affaire, mais rien ne put etre decide." To this passage the conscientious editor of Wille's MS., M. Duplessis, has appended a note to the effedl that these two planches were probably never finished ; that there is no mention made of them anywhere ; and that in spite of every search he has been unable to find a single proof. They were, however, most certainly finished and exhibited. The catalogue of the Salon for 1793 contains entries of " Vue du Port et de la Ville de Rouen, prise de la pointe de I'lsle de la Croix," and " Vue du Port et de la Ville de Rouen, prise de la petite chaussee." They are described as drawn from nature by C. N. Cochin and engraved under the diredlion of Le Bas and Choffard. The two engravings are, we are told, the Nos. 17 and 18 of the colledtion of the "Ports de mer de France, d'apres Vernet, et se trouvent chez Basan." ^ The enterprise, to the conclusion of which Cochin attached so much importance, and which so anxiously occupied his last hours, although it had an immense popular success, provoked from the first the hostility of Diderot. He did not love Cochin, perhaps because he owed him so much. The Chevalier Cochin, says Alexandre Tardieu, was the regular source of all Diderot's tech- nical information, but again and again he goes out of his way to abuse him. In the Salon of 1763 he taxes Cochin with being " homme de bonne compagnie qui fait des plaisanteries, des soupers agreables, et qui neglige son talent." In 1767 he goes farther, and brands the two engravers of the " Ports de France " * M^m. in^d., p. 149. The reason for this anxiety is to be partly found in Cochin's indebtedness to Descamps, who had advanced money to him which was to be paid out of the profits to be made after the completion and publication of the " Port de Rouen." He had stayed with Descamps at Rouen. '^ Probably a member of the Abbeville family to which Pierre Hecquet, the celebrated doctor, belonged. ^ See Appendix D. 51 Chevalier Cochin. Lc as " deux habiles gens dont I'un aime trop I'argent et I'autre trop Chevalier jg plaisir." oc in. Diderot seems to have been prejudiced from the first against the style in which the subjedls were reproduced, admirably fitted though it is to render the light facility of Vernet's work. The engravings are of unequal merit, but some are very happy. I never look, for example, at the " Vue de la Ville et de la Rade de Toulon " without the most lively admiration for the amusing groups of figures by which it is peopled, and without recalling Mariette's reference to Cochin's work on the " Ports de France": " il a arrete sur le cuivre le trait de toutes les figures qui y entrent ; c'est la seule part qu'il ait a ces planches parfaitement bien executees." Cochin's own letter to Desfriches in 1781 shows merely the regret that most men of fine intelligence feel when they have taken life too easily. " Beaucoup d'affaires, des maux d'yeux, des soupers en ville, on se couche tard, on ne se leve pas matin, des dessins a faire qui sont presses, ou Ton emploie les parties de la journee qu'on ne passe pas a table, car vous savez que qui veut se livrer a la societe de Paris ne manque pas d'occasion de gueule ; ainsi se passe la vie et apres cela on se plaint qu'elle paraisse courte." ^ The pleasures which Cochin loved had no ugly side. Brilliant talk and good company did no such injury to his art as was in- flifted by the pernicious classicisms and allegories which he brought back from Italy. They were more probably necessary to its per- feftion. In the myriad groups of pleasure-seekers who figure in Cochin's representations of royal ceremonies — dancers, sightseers, busy gamesters at the table of the Jeu du rot — we find a freedom, an ease, a style, a liveliness of air which show perfect familiarity with the ways and customs of those whose pomps and vanities were the subject of his pencil. It is this intimate acquaintance with the manners of good company, with the shades of bearing which differentiate the various elements which make a Court and which distinguish the aftors from the onlookers, that gives to Cochin's work such brilliant interest. It is probably this feature that impressed M. de Chennevieres when he asserted that Cochin had never been equalled, not even by Moreau, for " la liberte, la fine expression, I'aisance, le galant, I'esprit, la variabilite infinie des mouvements et des poses de ses petites figures." Their faces are inexpressive, but every gesture, every movement has been caught from life, and we feel that ' See letter cited, Portalis and B^raldi, t. i., p. 545. 52 wherever Cochin may have been — in Madame de Pompadour's Le closet, under the eye of royalty, escorting Marigny ^ or Clairon on Chevaher their visits to studios, making one of a party of confreres to dine with de Livry and visit the pidtures at Versailles,^ or fulfilling his official duties — he was equally alert and observant, no indica- tion of charader, or humour, or habits escaped him ; the changing pidtures of the life about him were food for his admirably sug- gestive art. Cochin's last years were darkened and embarrassed by the treacherous robbery of which he became the victim. " Ce qui m'a le plus poignarde," he says, " c'est I'horrible ingratitude de ce monstre," and he seems to be referring to a young cousin whom he had taken into his rooms out of charity. "Je I'amois, je cherchois a le former a tous egards. II estoit a ma table meme quand j'avois compagnie. N'en parlons plus, le sang me bout de rage, cependant je n'ay point porte plainte. Je ne veux point me preparer de nouveaux chagrins tels que ceux de M. Pierre lorsqu'il a fait pendre I'eleve qui I'avoit vole." For eight months the cousin had secretly conveyed from Cochin's lodgings in the Louvre everything that he could lay hands on. Eight to nine hundred proofs of the " Ports de France " — unlettered proofs worth 30 1. apiece — had been sold by the thief for 9 1. each ; a quantity of proofs of the " History of France," which Cochin was bringing out with Prevost, had also disap- peared ; and worst of all was the loss of all the proofs which, during an aftive professional life of forty years, had been pre- sented to Cochin by the engravers, his friends — " touttes choses," he writes piteously, " devenues rares et de prix." By a lucky chance, for which, he adds, " I cannot sufficiently thank God, he has touched nothing belonging to the King." "You know," he continues, "that I have in my care about a million drawings of the royal colleftions ; judge of my state, being eaten up with this anxiety, all the time that it took to make sure that nothing was missing. However, in this resped: I have lost nothing. It is true that I keep these things more stridlly than I do my own goods." The letter concludes with a wish that the ' See Chap. V., p. 79. Marigny seems to have always required the attendance of Cochin when making visits to studios. He probably looked to his companion for protection against the weakness of his own judgement. * This visit was possibly the result of Cochin's previous work for Massd's "Grande Galerie de Versailles," for we find in Wille's journal on July 29th, 1761, the following entry: "J'allai a Versailles avec M. Mass6, M. le chevalier Cochin, mes anciens amis, et Mme. Basseporte, du jardin du roi. C'^tait pour diner chez M. de Livry." 53 Le law were less severe, since if the pain of death were not the Chevalier penalty exacted for such misdeeds, it would be a duty to proceed '^^ '"' against the guilty in order to hinder them from injuring others: " mais toutte personne qui a de I'humanite ne peut supporter I'idee de faire pendre quelqu'un." ^ For four years after this terrible blow Cochin struggled on, uncertain now and again whether he could give bread to his dependent household. His pension from the King had been always in arrears ; his readiness to oblige had led him to take gratuitous work which absorbed a third of his time, and besides the charge of the cousin who had so ill requited his generosity, he had the care and maintenance of the sister who could do nothing for herself, as well as that of an aged housekeeper and other old servants — in all, it seems, some eight or ten persons looked to him for support. Out of his great loss he could recover nothing. His fine library alone remained to him, but in the troubled days of revolutionary ferment it was impossible to find a purchaser. In these hard circumstances he died.- On the I St of May, 1790, Wille enters in his journal : "J'allay a I'assemblee de notre Academic royale, ou il n'y eut rien de nouveau. Le secretaire inscrivit seulement sur les registres la mort de M. Cochin, chevalier de Saint Michel, dessinateur et graveur du roy, decede deux jours auparavant, age de soixante- quinze ans et quelques mois . . . notre connoissance datoit de 1738, par consequent il y a cinquante deux ans." The passing away of one who had for so long held so great a place made very little impression ; those who survived him were most deeply in- terested in the question as to who should succeed to his official post and to his lodgings in the Louvre. " I learned at the assembly," continues Wille, " that his lodgings, which were a double set, had been divided; that one half, with the post of 'garde des dessins,' had been obtained by M. Vincent, and the other allotted to M. Dumont,^ whom we have lately received as a member of the Academy and who does little minia- tures." Further than this Wille dares not go in disapproval of a favour bestowed in consequence of the adfive and ill-advised inter- vention of the Queen. " On leaving the Assembly," concludes Wille, " I went to our distrift." Our distrift was that of the Cordeliers, presided over by Danton, of whom we get a glimpse in the journal a day or two ' Letter to Descamps, July 12th, 1786, cited by Portalis and Bdraldi, t. i., p. 548. ' Mem. indd., p. 147 et seq. » Fran9ois Dumont de Luneville. R. May 31st, 1788. 54 earlier, when the deputies of other distridls presented themselves Le to give in their adherence to certain resolutions which laid dow^n Chevahcr that " le Chatelet ne devoit pas se meler de connoitre des crimes de lese-nation," and Wille remarks that the president had thanked them with "eloquence, fermete et politesse." ^ When there was such entertainment as this to be had, the death and ruin of brother Academicians was a matter of little moment. ' Mem., April 24th, 1790. ss CHAPTER IV THE DREVET AND JEAN-FRANCOIS DAULLE THE influence of the great amateurs, backed by the great publishers, could not fail seriously to affed: those who worked for them, but the contemporaries of de Caylus and Mariette had been nourished like themselves in great traditions. They were men who had learned their lessons in the school of Edelinck, of Nanteuil or of Gerard Audran, and the severity of their training made possible the achievements of a later day — the triumphs of Choffard's fairy-like point and the miniature excellence of Gaucher or of Ficquet. The variety of purpose which claimed the services of the engraver as the years went by demanded variety of method, but the training of the elder school gave to the elegances of later eighteenth-century work that irreproachable distind;ion which is not the least of its claims to consideration. That is why it is well here to mention the Audran, and although much of their work belongs in truth to the days of the " Grand Monarque," not to forget either Pierre Drevet or his even more gifted son. The masterly execution of Gerard Audran — the engraver of the " Batailles d'Alexandre " — calculated with admirable economy of resource, had given perfeft expression to the formal and rhetori- cal art of the *' great century."^ Gerard's nephew and pupil, Jean,^ shows also something of this skill in the engravings after Jou- venet,^ which he presented to the Academy in 1726, together with those of the graceful " Twelve Months," after his brother Claude, ' See "Art in the Modern State," pp. 180 and 182. ^ 1667-1756 (see P. v., June 26th, 1756). R. June 30th, 1708. ' Chal. du Louvre, Nos. 981 and 982. 56 the famous decorator for whom Watteau worked at the Luxem- The bourg. The same qualities are even more marked in the " Seven ^^""^Yean- Sacraments," after Poussin, by that third brother, Benoit/ who was Fran9oi3 also sent by his father to his uncle Gerard, at the age of seventeen; Daulle. but Benoit is better known as the engraver of the drawings attri- buted to the Regent in the " Daphnis and Chloe " of 1718, although in this much overrated book, as in his later work, he sinks almost to the level of his nephew, Benoit 11.^ — a very inferior artist. The teaching of Gerard Audran was better assimilated by his pupil, Pierre Drevet,^ than by any member of his own family. No better work of its kind exists than the superb series of portraits which Pierre Drevet engraved after Rigaud* and Largilliere. Beginning with that of Maximilien Titon and the young Duke de Lesdiguieres,^ we pass to those of Felibien des Avaux and of Colbert, archbishop of Rouen, which are even superior to the two celebrated portraits of Louis XIV. '^ or to that equally remarkable work, the portrait of Louis XV. The most complete account of the family of engravers to which Pierre Drevet belonged was given by M. Ambroise Firmin-Didot when he published the " Catalogue raisonne " of their work, which is still the best we have, although we owe fresh documents to M. Rolland, greffier de paix a Givors" — whose " arriere-grand'- mere " was the niece of Claude Drevet.^ " Vous remarquerez," writes M. Rolland, " d'apres les ades dont vous avez la copie, que la famille Drevet de Loire a ete de tous temps une des premieres families du pays." They were, he says, men who tilled their own land and were in possession of their little " tuilerie et a temps perdu, et surtout les jours de pluie, ils fabriquaient de la tuile."^ At Loire, Pierre Drevet was born, ' 1661-1721. R. July 27th, 1709. He lived in the Luxembourg with Claude. ' 1700-1772. He was the son of Jean Audran, who lived at the Gobelins. He began, like most young engravers, by doing portraits for Odieuvre, but we find his name on various prints after Watteau. See N. A., 1885, p. 18. ' 1663-1738. R. Aug. 27th, 1707. * When Rosalba was staying with Crozat, Rigaud gave her a colledion of por- traits engraved after him by Pierre Drevet, and sent the rest on to her at Venice (" Diario della Rosalba," p. 67). ° No. 242, Galerie Lacaze, Musee du Louvre. " In the inventaire of Oudry we find " une estampe repr^sentant Louis XIV. grav^e par Drevet d'apres Rigaud., sous une glace et dans une bordure de bois dore " (N. A., 1884, p. 207). The pidure itself is No. 475, Mus6e du Louvre. No. 96, Musee de Reims, is a duplicate. ' Arch, des Arts, 1890, pp. 186-193. See also Jal, usually a trustworthy source of information. ' " La terre de ce pays est trds propre a ce genre de fabrication et de tous temps SI I The The son of " honneste Estienne Drevest et de dame Catherine Drevet Charnou " was a delicate child, and we find that he received, on Francois the 1 6th August, 1663, the complement of the ceremonies of Daulle. Holy Baptism, having been christened " a la maison propter imminens mortis periculum" on the 20th of the preceding July. ^ A weakly constitution probably retarded the development of Pierre Drevet's remarkable powers. His training, which had be- gun under Germain Audran at Lyons,^ was completed in the school of the famous Gerard Audran in Paris, but he was forty when we first find his name on the books of the Academy. Up to that time his situation must have been rather uncertain, yet, amongst the engravings executed by him, under the protedlion of Gerard Audran, there are several that must rank with his best work.^ Portraits have always held a prominent place in French art. At the beginning of the century a special impulse was given to their production by their seleftion as the subject for the diploma works of engravers. " MM. les graveurs " had appealed against the varied tasks at first imposed upon them, and Drevet was one of the first to avail himself of the permission to engrave portraits only. He had presented himself on the 28th September, 1703, and was obliged to claim the proteftion of the Society, two years later,* against the vexations of the imprmeurs en taille douce, who were unwilling to recognize the freedom of an agree. In spite of this need for protection there was an immense delay before Pierre Drevet fulfilled his obligations. The portrait of Robert de Cotte, after Rigaud — proposed in 1703 — he undertook to engrave in 1707, but it was not delivered by him until fifteen years later. ^ Meanwhile he had left in pledge with the Academy the plate en- graved by Edelinck after Largilliere's portrait of Le Brun, together with one hundred proofs, but he was not allowed to withdraw the plate except on condition of pulling a second hundred proofs from it as a gift.^ il y eut des tuileries ; c'^tait la qu'^taient les tuileries des Remains de Vienna " (RoUand, "Arch, des Arts," 1890, p. 189). ' Rolland, "Arch, des Arts," 1890, p. 191. " There was a family connedlion with the Audran of Lyons {ibid., p. 193). Germain (i 631- 1700) was the son of Claude le pere and brother of Gerard, but an indifferent workman who never left Lyons (A. B. C. Dario, Mariette). ^ The portraits of the Duke de Lesdiguieres and of his mother, those of Keller, with the equestrian statue in the background, of Mme. Keller and of that delightfully insolent old lady " Marie par la grace de Dieu, Souveraine de Neuf-chatel et Vallangin, Duchesse de Nemours," all belong to this period. ' P. v., Jan. 31st, 1705. ' P. v., Feb. 28th, 1722. " P. v., July 30th and Aug. 27th, 1707; Feb. 28th, 1722. 58 Portrait of Bossuet. (Pierre-Imbert Drevet, after Rigaud.) The same obligations were imposed on Drevet le fils,^ when he The in his turn presented himself. On the 30th December, 1724, he ^^[^Yean was directed to reproduce the portraits of Rigaud and Barrois and, Frangois although his engraving of de Boullogne's picture of " The Puri- Daulle. fication " was accepted from him in June of 1726, he received a few months later, in company with Larmessin, reiterated instruc- tions respecting the two portraits still due as his diploma work.^ Pierre Drevet found in his son, Pierre-Imbert, his own rival. In the great series of their work it would be difficult to separate that of the father from that of the son, or that of either from that which they produced together, were it not for the evidence of dates and signatures. Throughout his life the father had had the command, as engraver, of all the most important work that was produced in France, His son had, therefore, before his eyes, from his earliest days, examples of a class calculated to stimulate his re- markable talent. As Mariette tells us, he received from his father daily lessons, not only in skill but in unwearying patience and conscientious devotion to his exad:ing art. If he could only attain his ends, he counted as nothing the time and the labour — often mere drudgery — which he had to give to his work. Pierre-Imbert, thus trained, distinguished himself at an age when others are but feeling their way. At twenty-six he had already produced his superb portrait of Bossuet,^ a work which shows all the quality of his father's admirable handling of the graver. There is the same brilliancy, the same economy of means, the same freedom and breadth in the treatment of the voluminous draperies — in which his model, Rigaud, delighted — and the same delicate precision in the rendering of head and hands. These admirable charaileristics distinguish h".s even more celebrated portrait of Adrienne Lecouvreur, executed in 1730. She had died on the 20th March in that year. On the 24th Mathieu Marais writes : " I keep for the last the death of Mademoiselle Lecouvreur, who was ill but three or four days, who died in the arms of the comte de Saxe, who loved her no more ; and not having had the time to renounce the stage, it was impossible to obtain a little earth to bury her." Coypel had painted her in the chara6ter of Cornelia, weeping over the urn in which she carried the ashes of Pompey and ' 1 697- 1 739. He was succeeded in his lodgings in the Louvre by his cousin Claude, who was an indifferent character and produced very little. He died in 1 78 1 (N. A., 1885, p. 129), having squandered almost the whole of the fortune amassed by his uncle and cousin ("Arch, des Arts," 1890, p. 190). ' P. v., Dec. 30th, 1724; June 13th and Nov. 9th, 1726; March 6th, 1728. ' This portrait of Bossuet by Rigaud is in the Musee du Louvre, No. 477. 59 The it was decided to engrave this portrait as a tribute to her memory. Drevet Hud it been a less remarkable work, the pathetic nature of the Francois circumstances under which it was produced would no doubt have Daulle. given to this engraving a great popular value : even now one can only dare to suggest that it is — and perhaps properly so — less virile and splendid than the Bossuet, which remains one of the finest, if not the finest work of Pierre-Imbert Drevet ; it is, indeed, finer even than his magnificent reproduction of Rigaud's portrait of Samuel Bernard.^ No happier phrase can be found to describe the peculiar quality and charm of the Bossuet than that used by Mariette, who had made a colleftion of everything executed by these two engravers. " Son burin," he writes of Pierre-Imbert, " est d'une couleur extremement douce et brillante et Ton ne peut regarder sans etonnement les recherches dans lesquelles il est entre, et avec quelle legerete, quelle precision, il a execute chaque objet suivant le caraftere qui lui convenoit."^ Something of the wonderful success of the Bossuet engraving must be credited to the extraordinary pains taken by Rigaud to ensure the perfeft reproduction of this portrait. One usually expedls to find that the engraver has himself made the drawing from which he has worked, but, in this instance, the painter per- formed this task, and performed it as Rigaud alone was capable of doing. Wille, the engraver, who was known to Rigaud, and who is certain to have understood what he was writing about, tells us that on the 2nd of January, 1762, he is exhibiting at his own house the original drawing made by Rigaud " pour la gravure du beau portrait de Bossuet, eveque de Meaux, chef-d'oeuvre de gravure de M. Drevet, le fils. J'ay fait I'acquisition," he says, " de ce magnifique dessein en vente publique, provenant de la suc- cession de M. Rigaud," and adds that his purchase was keenly contested ; that he had been offered 300 It. for it, but that he would not take double the money, because of the pleasure it gives him. The portrait of Adrienne Lecouvreur was the last important work of Pierre-Imbert Drevet. As far as the dates can be pieced together, it was in 1726 that he suffered the sunstroke, during a fete at Versailles, which for a time deprived him of reason and from which he never completely recovered. If this is corredt, then this fine portrait must have been executed, with the help possibly of his father, during an interval of suffering. His madness was not, we are told, " une folie complete, mais ' Described as by Pierre Drevet sometimes, but it is signed " Pierre-Imbert Drevet." ' A. B. C. Dario, Mariette. 60 bien line imbecillite intermittente," and when at Loire he would The often have himself rowed out to the middle of the Rhone. There, ^^''^Yean- with a glass, he drank water dipped from the midstream, believing Francois that it would bring him back his wits.^ If, as they say, he was Daulle. but twenty-nine when this happened, we have to count thirteen terrible years of conscious suffering before Pierre-Imbert was released by death. With him the last representative of what one may call the fixity of style which was a mark of the school of Gerard Audran passed away, nor can one speak of any who succeeded him as showing the same faith in and perfedt intelligence of the resources of pure line. Fran9ois Chereau,- the best of Pierre Drevet's pupils, died nine years before his master. The learned and decisive execution of his fine series of portraits after Rigaud — amongst which the masterly " Nicolas de Launay " may be cited as an example — give him a serious claim to notice, for they show admirable dexterity in handling the burin, and this dexterity, like his drawing, is devoted to the exaft rendering of his subjedt. His brother Jacques^ sustained the traditions of his training by his fine engraving of Van Loo's portrait of Marie Leckzinska, but the third pupil of the Drevet, Simon Vallee, was carried away by the attractions of the etching needle. Simon Vallee was not the only one in whom at this date a certain impatience of the long labour imposed by work in pure line declared itself. The use of the process of etching for the preparation of the plate had had the authority of Gerard Audran, but gradually the temper of the day sought out more adventurous methods. The Academy even discussed the possibility of imitating with the graver the pidluresque values and lively character proper to an etching. Nicolas Dupuis** took up the challenge and engraved " Enee sauvant son pere," after Carle Van Loo — which ' "Arch, des Arts," 1890, p. 189. See also Didot, " Lcs Drevet," pp. xviii, xix. ^ 1680-1729. R. March 26th, i 718, on the engraved portrait of "de Boullongne le jeune": he died witliout having executed the second, which should have been that of Alexandre, after Louis de BouUogne (A. de I'A. fr., t. ii., p. 363). ' 1688- 1 776. He does not seem to have been received by the Academy, having left France for England, where he joined Dubosc, Beauvais and Bernard Lepicic. He assisted to engrave the cartoons of Raphael at Hampton Court ; his name appears also on a print of George I., after Kneller, which was probably executed by him during his stay in London. ' 1696-1771. R. June 28th, 1754. Curious details of his agreement to engrave the Louis XV. monument by J. B. Lemoyne at Rennes are given in A. de I'A. fr., t. vi., pp. 113, 123, 124-126, 131. He exhibited this engraving, together with his portrait of de Tournehem in 1755, and in 1759 sent to the Salon another after Le- moyne's " Statue equestre du Roi, elevee dans la Place de Bordeaux." 61 The he exhibited in 1 751 — on this fashion, and his friend Gaucher' ^"■^Y* assures us that, " although this engraving is wholly executed by Francois '^he graver, one can recognize the wit, lightness and happy Daulle. audacity of a skilled needle." Other work by Dupuis is not unattractive — if one does not ask too much — as, for example, " Le Glorieux," after Lancret, which he sent to the Salon of 1741 with " Le Philosophe Marie," en- graved by his brother Charles. In the small portraits, such as that of Wouvermans — piftor Batavus — which he framed in ornamental borders, his work is often slight but always intelligent, and the remarkable engraving of " Le Roi gouverne par lui-meme," which bears his name in the "Grande galerie de Versailles," justified Masse in urging Dupuis to present himself at the Academy, where he was received on the portrait of de Tournehem after Tocque, which is one of his best works. This fine print, dignified and sound in execution, has yet a somewhat commonplace aspe6l if one sets it beside the work of either of the Drevet. It is amazing to learn that Rigaud, who had been so brilliantly interpreted by the father and son, should have cooled towards them in his later years. He imagined, it is said, that they ceased to pay him as much respedt and to serve him with as much zeal. Whilst he was in this state of irritation, it so happened that a proof of the engraving by Jean Daulle^ of Mignard's portrait of his beautiful daughter, the Countess de Feuquieres, fell into his hands. He was enchanted by the facility and brilliancy of Daulle's execution, and at once decided to put his work for the future into his hands and make him his engraver.^ Daulle had arrived from Abbeville, that nursery of great engravers, fairly skilled in his art. Hecquet,* who was his countryman, gave him food and lodging, and set him to engrave large "planches de theses." Under his diredlion Daulle acquired extraordinary pradtical facility and Hecquet, it would seem, both procured him the portrait of Mme. de Feuquieres to engrave and arranged that it should be seen by Rigaud, of whose coolness towards the Drevet he was probably aware. ' i740-i8o2(?). R.A. Lond. A pupil of Le Bas. See Renouvier, "Hist.de I'art pendant la Revolution," t. ii., p. 328. He was not only a remarkable engraver, but knew a great deal about his art. He contributed to the " Diftionnaire des Artistes " of the abb6 de Fontenai, from which the above passage is cited, and exhibited at the Salon of 1793 " Portraits graves," " Portraits dessines" and " Estampes d'aprcs difFerens maitres." ^ 1703-1763. R. June 30th, 1742. Mariette gives date of birth 1711 ; Portalis and Beraldi, May i8th, 1703. See Jal. ' Mariette, A. B. C. Dario. ' Ibid, See also p. 51, note 2. 62 Adrienne Lecouvreur as Cornelia. (PlERRE-I.MBERT DrEVET, AFTER CoVPEL.) The " Comtesse de Feuquieres " bears date 1735 and was The therefore executed about four years before the death of the younger ^^^Yean- Drevet, who had engraved Rigaud's fine Bossuet ; his father must Francois have witnessed the preference given to Daulle and seen his first Daulle. success with the portrait of Gendron, the oculist, which he com- pleted, after Rigaud, in 1737.^ In the execution of this fine work, as in others produced during Rigaud's lifetime, Daulle no doubt enjoyed the enormous advantage of the painter's diredl and skilled supervision. " Sous la conduite," says Mariette, " d'un peintre si intelligent, Daulle fit plusieurs chefs d'ceuvre, qui lui meriterent une place dans I'Academie royale de peinture et de sculpture."^ The work which Daulle engraved for his reception is well known. No more taking subjeft could have been found than that in which Rigaud has represented himself painting the portrait of his wife, Elisabeth de Gouy.^ It is not, however, without some surprise that we find that the painter who had been so fascinated by Daulle's talent was adtually employing Wille, at the same time, to also reproduce this pidure.* As Rigaud died in 1743, it is prob- able that he never saw the plate engraved by his special protege, and the work has a certain lack of accent in the treatment of the heads — especially in that of Rigaud — which compares unfavour- ably with the handling of the portrait of Gendron. That is perhaps the best of Daulle's portraits, if we except his charming " Comtesse de Caylus," ^ though even in that we find some weak- ness in the character of the head, which is not the best part of the work. De Caylus himself had probably commissioned the engraving of this portrait of his mother at not too high a price, and it enjoyed a success which again may have owed something to the attradlions of the original. It contributed to cause that press of work which obliged Daulle to seek for outside help in order to fulfil his engagements. Fortunately, he found in Jean-Georges Wille, the famous engraver of the " Satin Gown," an assistant whose style of execution bore the closest likeness to his own. Wille, who had not been long in Paris, was leading the usual student's life, getting his daily bread from Odieuvre,^ who, he says, did not pay much, but did pay. In his own time he worked on the engraving — from which he hoped to build up ' Ex. Salon, 1742, together with " Mme. de Feuquieres" and "Rigaud et son Spouse." ' A. B.C. Dario, Mariette. ' Chal. du Louvre, No. 2271. ' N. A., 1884, p. 57; "French Painters, etc.," p. I4r. " See pp. 4 and 5. " See Chapter V, 63 The Drevet and Jean- Fran9ois Daulle. his own future — of the portrait of the Duke de Belle-Isle, which had been entrusted to him by Rigaud. In this conjunfture Daulle, says Wille, came to see him and entreated him to come to his rescue by helping to engrave the portraits of " the Pretender and his brother the Duke of York." Wille was to do everything but the heads, and he seems to have felt aggrieved at the arrangement. "Je dois observer ici," he adds, " que M. Daulle s'etoit reserve la gravure des tetes de ces princes; et les ayant finies, il mit son nom sur des planches ainsi fagotees, et dont je pouvois etre jaloux." ^ His irritation did not, however, prevent him from again accepting the same sort of work from Daulle, at a later date, on the portrait of Maupertuis, in which we have another example of the usual defeft of his portraits, even when executed wholly by himself, for the furs and other accessories strike the eye more forcibly than the head of the man who wears them.^ It is clear from the way in which Daulle divided labour with Wille that no want of confidence in his own powers led him to abandon his work on portraits and to take up the engraving of subjefts. " He was yet," says Mariette, " in the prime of life when he became disgusted with the style of portraits, which appeared to him to require a slavish constraint." He began with some prettily arranged subjefts after Boucher, such as " Les Amours en gayete," dated 1750,^ and one of a couple referred to by Mariette as having been engraved by Daulle from drawings by Jeaurat, after Poussin, is to be identified with the " Nymph and Love asleep, surprised by Satyrs," which belongs to the National Gallery. These are not works which can add to Daulle's reputation. Many show an incredible carelessness, and even the best, such as the subjedts which he engraved for the " Galerie de Dresde,"* be- tray something of his lack of that science du dessin without which no man, however skilfully he may " cut the copper," can become ' The two portraits in question appear to be the pair, Nos. 112 and 113, Portalis and B^raldi. Daulle had previously executed one of the " Pretender " on a larger scale. No. iii, ibid. ^ Maupertuis, on his return from his journey to the Ardtic regions, had his portrait painted in the costume which he had worn in Lapland. Ex. Salon, 1743. ^ There are also the " Elements," which appear to have been executed about the same time. They are dedicated to the Count de Briihl. "Les Amours en gayete" appeared at the Salon of 1750, together with the " Naissance et triomphe de V^nus d'apres I'esquisse de M. Boucher." ' This magnificent collection of engravings after the finest works in the Gallery was undertaken at his own expense by Heinecken, the secretary to Count de Briihl, after he was made, in 1746, Director of the Gallery at Dresden. He would have been ruined had not the King (Augustus IIL of Poland) come to the rescue. 64 a great engraver. The portraits — of which not all the best were The produced under the keen eye of Rigaud — will always be the better ^^[^Y^an part of Daulle's title to remembrance. Fran9ois " Daulle, Gaillard, Tardieu," suggests Wille in 1759, when Daulle. refusing to himself engrave, for the second time, the portrait of the Duke de Belle-Isle : ^ and although there was an unfortunate episode in 1761 regarding the portrait by Roslin of " S. A. S. Mme. Anastasie, landgravine de Hesse-Hombourg, nee princesse Troubetskoy," ^ it can hardly have put an end to Daulle, as Ma- riette affirms — " c'est par ou il a fini sa triste carriere " — since his fine portrait of La Peyronie was executed two years later. Mariette is, most likely, rather hard on Daulle, who had reason to complain of the terms for the engraving of the portrait of " Anastasie." These had been the subject of one of those arrangements by his friend de Caylus which excited the wrath of Cochin and the indignation of those who were trapped into accepting them. The circumstances of Daulle's bad bargain were so disastrous that Cochin selects it as an example " entre plusieurs marches dont j'ay eu connoissance de la fa9on de M. de Caylus." The work was first offered to Wille,^ but as Cochin puts it, " M. Ville dont la vue . . . finissoit, ne vouloit point se charger de grands ouvrages, a moins que ce fut pour lui des coups de fortune. . . . M. Ville done demanda d'abord un prix exhorbitant, trente mille livres ; mais enfin il se restraignit a seize " ; but this price was still too high for General Betsky,* at whose cost the work was to be done. Cochin describes M. de Caylus as furious, as abusing Wille, and as seeming to think that the purse of the Russian ought to be spared even at the expense of French artists. Then, says Cochin, de Caylus went off to Daulle and bullied him until he managed to get from him a written undertaking to engrave the pi<Sure for 4,000 It. When the work approached its termination, nobody was satis- fied. Daulle had soon discovered that, even working as hastily and as slightly as he could, it was impossible not to be a loser. • See Chap. V. ° This princess was the friend of the Empress Elizabeth, whom she accompanied on the night of her attack on the Emperor Ivan. See " French Architedts and Sculptors, etc.," p. 125. ' He had already refused to engrave work for Roslin himself. On June 27th, 1759, he writes : " M. Roslin, peintre de notre academic, me proposa deux portraits a graver ; mais je fus oblig^ de les refuser, ayant trop d'occupation." ' The Dire(5tor-General Betsky. See for his treatment of Falconnet " French Architedts and Sculptors, etc.," p. no. His portrait by Roslin was engraved by Nicolas Dupuis. 65 K The He therefore demanded some sort of compensation. The General, ^"h^^* supported by de Caylus, appealed to the terms of the agreement. Francois Finally Mariette was put between the two to see if it were not Daulle. possible to arrange the matter. The print was brought to Madame Geoffrin's, where, as Cochin says, sat " le bureau d'amateurs." Even then it was not easy to find a way of conciliation amidst so many conflifting interests. Betsky, who had doubtless intended to pay his court to the Empress Elizabeth by a flattering image of her friend, found fault especially with the head of the figure, whereupon Cochin, ever ready to oblige, offered to retouch the proofs, hoping probably that if Betsky and the bureau of amateurs were content, Daulle might obtain some satisfaction. On this point Cochin found Caylus deaf to all entreaties. He insisted on holding Daulle to the original agreement, although, as Daulle said, it had been extorted from him. In vain Cochin proved to him that thirty years earlier the price of such work would not have been less than 6,000 1., and that the " prix de I'in- dustrie devoit etre augmente " in proportion to the rise in the price of every article of food. " I was met," he says, " by that contempt which, I know only too well, is felt by men of birth, in spite of their fine seeming politeness, for all who are, like artists, but of the bourgeoisie."^ Whether or no Daulle obtained any " gratification " such as he well deserved Cochin cannot say, but he reports that Betsky, though a good sort of man, did not seem inclined to be generous, and he conjeftures that when Daulle died, in the spring of 1763, he was still pleading in vain for the payment of such a sum as might indemnify him for the loss of his time on the plate." He died of a putrid fever which carried him off on the ninth day of his illness, and left his family but ill-provided for ; and on May 20th Wille tells us that the sale began, " chez madame Daulle, des effets delaisses par feu son mari, qui etoit mon ami, I'ayant deja frequente, il y a plus de vingt-quatre ans,^ dans ma grande jeunesse, et lequel est mort il y a environ un mois. Sa mort ^ Cochin wound up with : " Si vous voules que Daull^ ne mange que des harangs sores, j'y consens, mais au moins songes que, lorsqu'on payoit deux mille ecus, ils nc valoient que deux Hards et qu'a present ils valent au moins dix-huit deniers." - M6m. in6d., pp. 75-78. ' There is only one allusion — with the exception of that referring to the portrait of the Duke de Belle-Isle — in Wille's journal to his relations with Daulle. It is on January 3rd, 1762. The Academies had paid their New Year's visit to the Marquis de Marigny. " Au sortir de la," writes Wille, " M. Daulle, graveur, MM. Challe, I'un peintre, I'autre sculpteur, vinrent avec moi, et nous din.ames chez Lendel, rue de Bussi." 66 Portrait of Cochin le fils. (Jean Daulle, after Cochin le fils.) m'a veritablement attriste, et je plains la veuve et ses deux filles, The d'autant plus qu'elles ne sont pas bien a leur aise." ^ndTean- Wille, whose own talent was of a character analogous to that Francois of Daulle, had a high opinion of his powers, which is worth DauUe. citing because it gives us the measure of his ability from a purely technical point of view. He notes admiringly that Daulle was never ill and was an extremely rapid worker; then adds that his work reckons nearly three hundred pieces, amongst which are many of great reputation, well-executed and much sought after. " C'est dommage," he concludes, " que sa grande facilitc dans I'execution I'ait quelquefois emporte a n'etre pas assez difficile," but he goes on to say that Daulle must, in justice, be reckoned in the number of good engravers in his day, and to cite the portraits of Gendron and of the Countess de Feuquieres, together with the " Quos Ego," ^ the " Magdalen " ^ and the " Children of Rubens " — the last three for the " Galerie de Dresde " — as works which must carry Daulle's name down to posterity. I know that it is usually said that Daulle's point is cold and brilliant. I recognize the force of this criticism as applied to a certain class of his work, such for example as the " Berger Na- politain " engraved after Boucher, impressions of which, when as fine as that in the Print Room of the British Museum, may well deserve the epithet brilliant. When, however, one turns to Daulle's portraits — and one must remember that it was the promise of his portraits that took Rigaud's fancy — one would be inclined to describe their air as rather soft than brilliant, and their execution seems to show a tiresome tendency to mechanically dexterous re- petitions of line, and in the display of this elegant dexterity the engraver seems to have found a more lively interest than in the forms which his line should express. Let us take " Hiacinthe Rigaud, Ecuyer, Chevalier de I'ordre de S. Michel, ancien Direfteur, et Redleur de I'Academie Royale de Peinture et de Sculpture, avec son Epouse, peint par lui-meme," and set this celebrated print beside the " Samiiel Bernard, Chevalier de rOrdre de Saint-Michel," engraved by Pierre-Imbert Drevet, or the " Nicolas de Launay," by Franfois Chereau. The impression we receive from the engraving " Rigaud painting his wife " is that of grace and skill, and even loving finish. Daulle cannot be accused in this instance of haste, or of having scamped his work in order to get the better of a bad bargain, but the moment we look at the ' Ex. Salon, 1753, "'Depart de Marie de M^dicis,' appeld communement le ' Quos Ego' ; d'apres Rubens." ' Ex. Salon, 1753. 67 The man's head, and compare it with that of Samuel Bernard, or of de ^*^hT* Launay, we recognize the science and power which have enabled Francois Drevet and Chereau to seize on the very heart of their subje6ts and Daulle. put into their features a vitality that grips us as if with the real presence of the men. Nicolas Dupuis had something of the secret, as we may see in his lordly " Lenormant de Tournehem," but Wille puts no such insistent force of life into his portraits. Nor, indeed, are any later works of this class, on the same scale, worthy to be compared with those of the Drevet and Francois Chereau. We must come to the marvellous miniatures of Ficquet, such as the amazing La Fontaine and equally amazing Eisen of the " Contes," before we find their equal. Under the magnifying glass we see that the method of execu- tion in these microscopic chefs-d'oeuvre is identically the same as that employed by the great masters of line. The heads of the portraits in the " Contes " are modelled by the simple sweep of curved lines divided by other broken lines running between them. That is exaftly how Drevet has rendered the superb character and expression of his Samuel Bernard : in like manner Francois Chereau has treated his de Launay and Cardinal Fleury, and Nicolas Dupuis, even in his slighter works, does not lay his lines otherwise. Daulle works differently. He is, as it were, preoccupied by his own skill ; his lines succeed each other with marvellous mechanical regularity, and his calculated excellence of craft is so obvious that one might almost suppose that this alone detracts from the importance of the head in all his portraits, even in those done under the diredlion of Rigaud. For the true reason of Daulle's inferiority we must, however, look beyond any mere question of execution ; " il pechoit," says Mariette, "par le dessin." That is to say that Daulle's training was defedtive on the most important side. The painter may possibly appeal to us by colour, but no amount oi metier can justify the etcher or engraver who is wanting in what has been described as " la probite de Fart." This charge of something like want of honesty may also be extended to another point. Daulle and men of his type took no exaft account of the difficulties they encountered. Should a fold of drapery demand an inconvenient exercise of skill it was " fudged " without scruple. The pure sincerity of their great predecessors was unknown to them. 68 Frontispice : "Fables de la Fontaine," 1755-1759. (Nicolas Dupuis, after Oudry and Cochin le kils.) |||||||| | | | |!|lip|l| | ||l||||ll|l|l|f i l|1l^^ CHAPTER V WILLE AND HIS PUPILS JEAN-GEORGES WILLE ^ was a lad of fifteen when Pierre Drevet engraved his Adrienne Lecouvreur. A Hessian by- birth, he came to Paris — as did his friend Georges-Frederic Schmidt '^ — so young that his training was practically French, and, having assimilated all that the school could then teach, he exercised in turn an extraordinary influence over his teachers, becoming the master of the masters of the modern school. In early years, the inconstancy of his interests, the vivacity with which he pursued diverse occupations, gave no promise of that serious devotion to a profession which he afterwards displayed. A series of ventures, in which he exhibited great intelligence and an even greater love of change, culminated in his departure for Paris, where he amused himself with delighted curiosity until he found that he had wholly exhausted his resources. To his appeals for help his father turned a deaf ear. " Enfin mon fils," he replied, " tu es done sorti de ta patrie sans me consulter et meme sans m'en avertir, je dois done croire que tu te trouves en etat de te soutenir sans mon intervention, et si j'avois la foiblesse de t'envoyer de I'argent, je ferois une faute capitale ; je connois ton inclination de briller partout, je veux et je dois t'empecher de faire des depenses sans necessite et sans utilite. . . . Au reste, mon fils, n'abandonne jamais le chemin de la vertu que je t'ai enseigne, . . . fais voir en toute occasion que tu es le fils d'un honnete homme."^ ' 1715-1808. R. July 24th, 1761, on portrait of Marigny arter Tocquc, No. 2236, Chal. du Louvre. ' 1 712-1775. R. July 30th, 1744, on portrait of P. Mignard after Rigaud, No. 2245, Chal. du Louvre. ' M6m. Wille, t. i., p. 63. 69 Wille The letter took effe6l as old Wille knew it would. His son, and his finding that his father would give him nothing but rebukes and ^P^ ^- advice, promptly raised money from a " bon juif" on some very fine silver medals which he had brought with him from Germany.^ Reassured by the possession of funds, with which " I'inclination de briller partout " at once reappeared, the young Wille dressed himself in his best and boldly presented himself at the magnificent hotel of Largilliere, to whom he explained that his desire to see one so celebrated was the only justification for such a step. Largilliere, adroitly flattered, lent him a pidlure to copy, and after its return would have lent him another, only Wille, fore- seeing that he must shortly do some remunerative work, in- geniously declined the offer on the ground that he meant to give up all the winter season to drawing — a pretext which, of course, elicited from Largilliere the strongest approbation.- Not, how- ever, until winter drew on, and all the resources obtained from the " bon juif" were exhausted, does Wille seem to have decided that he must work. A friend, to whom he had brought a letter on his arrival in Paris, and who knew that he had, as a youth, been employed in the engraving of ornament on guns, found him a place in the shop of an arqiichiisier on the Pont Marie. That quarter was, however, too dull for a young gentleman who went constantly to the Comedie Franfaise, where Wille knew several aftors who had given him his entrees gratis. Another move was accordingly made to the shop of M. Blet- terie, in the same street as the theatre. Even then Wille does not seem to have been quite decided as to his occupation. " Une idee," he says, " mal con9ue, plus mal digeree, m'ecartoit pendant quelque temps de la route que je metois tracee, preuve de ma legerete ou de mon inconstance. Enfin,je desirois travailler dans I'horlogerie." It seems that he had supposed that a watch from the beginning to the end of its construction, including the chasing and engraving of the case, was the work of a single man ; so after having spent weeks doing nothing but turn pieces of steel of the thickness of a hair, he gave up his new trade in disgust. At this point the real career of Wille begins. " I went back," he says, " to my little room, where I drew a fictitious portrait. This I engraved on a small plate, and had printed. I showed a proof of this to a printseller, who had a great deal of work done and paid very little ; he was called Odieuvre, and lived on the quai de I'Ecole, opposite to the Samaritaine of the Pont Neuf." Odieuvre instantly recognized the value of Wille's work. ' Mdm. Wille, t. i., p. 64. ' Ibid., p. 66. 70 " (^a n'est pas mauvais," he said, and added the offer of employ- Wille ment — at the rate of twenty francs a plate — on the series of p"^ .^'^ profiles of the Kings of France which he was then in the course of publishing. The payment was not liberal and the reception by Odieuvre of those he employed far less so. Wille has described how, when he brought in his first commissions, Odieuvre — not having enough money in his drawer to make up the required sum — called to his wife, who, old, bent and deaf, was sweeping the kitchen: '"Ma poule, n'as-tu pas quelque argent dans les poches de ton tablier, car je veux payer ce jeune homme qui travaille pour la boutique.' ' Oui, mon ange,' repondit-elle, et mit sur le comptoir ce qu'elle avoit, dont il me paya en gemissant et disant toujours : ' Helas ! que I'argent s'en va promptement! ' " It took Wille nearly three weeks, he tells us, to engrave a couple of these heads, with which Odieuvre kept him incessantly supplied. The work was too intolerably wearisome, so that when he found some copies of portraits by Largilliere, in the room which Schmidt had invited him to occupy on Eckhardt's^ departure for England, he at once began to engrave that of Largilliere himself, and also, on a larger scale, that of his daughter.^ These he pre- sented to Largilliere, and at his suggestion offered to his son a proof of his sister's portrait in a gilt frame, a civility which was rewarded by the gift of " quatre louis d'or." ^ Wille's next step was to get Schmidt — who was engraving Rigaud's portrait of the Count d'Evreux^ — to present him to that famous painter. He had never lost sight of Schmidt, to whom he had attached himself at Strasburg on his way to Paris, and had frequently visited him when he was working for Larmessin on the 1738 illustrations of the Contes de la Fontaine.^ With that naked ' (?)-i779. Jean-Georges Eclchardt was born at Darmstadt, but settled in England, where he acquired a considerable reputation as a portrait-painter. " This engraving is dated 1738. Another portrait of Marguerite-Elisabeth painted with those of her mother and himself is one of Largillicre's best known works. See "French Painters, etc.," p. 145. ' M6m., t. i., pp. 70, 71. ' Second son of the Duke de Bouillon and Colonel general de la Cavalerie. He married Mile. Crozat. See " French Decoration and Furniture, etc.," pp. 29, 30. ^ ' Mem., t. i., pp. 51, 62. Larmessin had undertaken to engrave as a uniform colleftion various subjefts from the " Contes," painted by Boucher, Lancret, Pater, Vleughels and others. Larmessin reserved for himself those by Lancret, and on these he was helped by Schmidt. Crayen in his Catalogue of Schmidt's work goes farther, and gives to Schmidt " Nicaise," " Le Faucon " and "A femme avare, galant escroc," the lover in which last is said to be a portrait of Schmidt, the husband that of Lancret's brother. Wille frankness which makes Wille's " Memoires et Journal " such and his amusing reading, he would probably have said of Schmidt as he "^' ' did of his own father, " son amitie m'etoit precieuse et necessaire," for he certainly had a liking for his friend, fortified though it was by a strong alloy of self-interest. With his engravings after Largilliere in his hand and backed by the kindly Schmidt, who was four years his senior, Wille came before Rigaud, who, after a prolonged examination of his work, remarked : " Vous meritez bien, monsieur, a etre encourage " ! Wille seized his chance, and at once declared that he would be only too happy were he permitted to engrave a single portrait after one of Rigaud's paintings, even if it were at his own expense, Rigaud was completely conquered ; he held out his hand to Wille with a royal compliment. "Je veux vous etre utile," he continued ; " voicy le portrait du due de Belle-Isle sur ce chevalet, auquelje dois retoucher quelque chose; 9a sera bientot fait, venez me voir au bout de huit jours, en attendant je tacherai d'obtenir de M, le due la permission de vous remettre son portrait, afin que vous I'executiez soigneusement en gravure ; et ce seigneur ne doit-il pas en etre flatte ? " In my brief account of Rigaud,^ I have already referred to the exaft record of scenes and even words given in Wille's "Memoir." He takes us back with him again to learn from Rigaud that the desired permission is obtained ; we see him seize on the pid:ure, desiring to carry it off on the instant ; we hear Rigaud remonstrate, " Doucement, la vivacite est bonne, mais un peu de patience Test aussi quelquefois ; voicy mon valet de chambre qui apporte le cafe, nous le prendrons ensemble, si vous le voulez bien " ; and the breakfast hour passed with such certain assurance of protedlion that Wille — though his pockets were empty — returned to his own rooms in perfed: confidence as to the successful accomplishment of the task he had undertaken. It must be understood that the execution of an important engraving such as that of the portrait which Wille proposed to reproduce was — if we consider only the time which it required — a very costly matter. When Schmidt came to him as to the portrait of the Count d'Evreux, Rigaud's first thought was to inquire whether he had " les moyens d'entreprendre un ouvrage de longue haleine." Wille, who had no regular employment, was obliged to make money at once by selling to Odieuvre, for a humble sum, the plate of the portrait which he had engraved after ' "French Painters, etc.," pp. 138-142. 72 00 a: z. o a H o u a o w Pi Largilliere, and could only obtain that by undertaking to execute Wille two others — Cromwell and the Prince of Dessau — at the same and his price. He received, however, some moneys from his father, to whom he had sent a proof of his portrait of Largilliere in that expeflation, but they were soon spent. A portion went on the purchase of fine medals, but the most was squandered by Wille on eating and drinking and smart clothes, including the purchase of a silver hilt to his sword. He was incited to the possession of this last elegance possibly by rivalry with Schmidt, who was the proud owner of the uniform of a Prussian bombardier. The two friends, who had for some time occupied the same lodgings, now parted company. The success obtained by Schmidt's " Comte d'Evreux " led to his admission — though a Protestant — into the Academy by royal command.^ This was in May, 1742, and he at once told Wille that he must have rooms suited to his new dignity, in which he could fitly receive his fellow academicians." This date gives us the exadl time at which Diderot was, as he tells us, living in an attic with Preisler^ and Wille. ^ The move made by Schmidt had disturbed Wille, who went about look- ing for other lodgings, and presently he was joined by Preisler and another friend in a house of the rue de I'Observance, where lived " un jeune homme fort affable qui, dans la conversation, m'apprit qu'il cherchoit a devenir bon litterateur et encore meilleur philosophe s'il etoit possible . . . ce jeune homme," adds Wille, " etoit M. Diderot, devenu celebre par la suite." ^ The date, 1740, given by Wille (p. 90) for this encounter is obviously wrong, for the circumstances by which it was preceded were a consequence of Schmidt's " agrement " by the Academy in May, 1742. It has some importance, because it enables us to fix the year in which Wille was employed by Daulle, who came to him in the rue de I'Observance with the proposal that he should prepare his portraits of the " pretendant et le due d'York, son frere." ^ It shows us too why Wille, though disliking it, decided to take the work. He was still dependent on Odieuvre, and obliged to accept anything he could get in order to maintain him- ' See the letter from Orry of May 3rd, 1742. P. V., May 5th, 1742. ' M^m., t. i., p. 82. ' 1715-1794. Born at Nuremberg; came to Paris, 1739; called to Denmark in 1744. One of his best works is the engraving of the equestrian statue of Frederick V. erected at Copenhagen by Saly. See "French Architects and Sculp- tors, etc.," pp. 112, 114, 196. * Diderot. Salon, 1765. ' Mem., t. i., p. 91. ^ Ibid.^ pp. 98, 99. See Chap. IV. 73 ^ Wille self whilst he engraved the portrait lent to him by Rigaud. Not and his until a third change, to the rue de la Harpe, had lodged him absolutely to his liking did Wille begin to work. •' tres-serieuse- ment " and feel sure enough of himself to insist on being better paid. The story of his struggle with Odieuvre, who would have had his engraving of Antoine Pesne's portrait of Frederick II. of Prussia at the same price — 24 It. — as that of Professor Wolf of Marburg; the sale of the plate behind Odieuvre's back to Petit; ^ Odieuvre 's comical rage on discovering that he had overreached himself — all these things are written down by Wille in his "Memoir," and so we arrive at the year 1743 and the comple- tion at last, to Rigaud's full satisfaftion, of the portrait of the Duke de Belle-Isle. " A few days after," writes Wille, " when all was ready, he gave me a letter to M. Duplessis, officier-general and friend of the said seigneur. Thus fully equipped with all I required for this expedition, I went with the portrait in a gilt frame to this officier- general^ who received me with civility, read M. Rigaud's letter, saying that this great artist had been long his friend, and finally introduced me to the duke, who received me with the most encouraging politeness, and whilst holding his portrait in his hands he talked familiarly with me, making me compliments on my talent taking into consideration my youth. Finally he said : ' You have paid me a compliment with which I am enchanted, it is fair that I should pay you one in my turn, in showing you my gratitude ! Go, my dear Wille, to my treasurer, who will be delighted to see you and will treat you well.' " When Wille arrived with Duplessis at the apartment of M. de la Monce, the treasurer, he saw in the anteroom a crowd of people, " dont les uns demandoient de I'argent pour telle et telle fourniture, et d'autres pour des travaux executes par ordre et livres exadlement. M. de la Monce les ecoutoit avec bonte et les prioit de patienter encore quelque temps, et que le tout seroit acquitte avec justice ; mais non ; ils s'ecrierent presque a la fois : ' Ce ne sont pas des paroles, mais de I'argent que nous demandons.' Des pretensions aussi brusques et aussi peu mesurees etourdissoient M. de la Monce, si bien qu'il ne trouvoit rien de plus efficace ' Gilles-Edme Petit, the brother-in-law of Jacques Ch^reau, under whose direc- tion he engraved several prints. He has signed several portraits and reproduftions of work by Lancret and Boucher. " Le Soir" or "La Dame allant au Bal," one of the "Quatre parties du jour " after Boucher, is a good example of Petit's popular work. 74 dans sa sagesse que de donner a tous des conges si absolus et si bien Wille articules, qu'ils decamperent les uns aprcs les autres." and his This painful exhibition impressed Wille only with fear for himself, and his relief was great when de la Monce, carrying him off to his own room, opened his coffers and counted out 600 It., saying, " Prenez, Monsieur, cette petite somme. . . . Helas ! si nous n'avions pas ete obliges de faire des depenses si enormes a Francfort pendant I'eleftion de Charles VII a I'empire germanique, vous auriez ete bien plus magnifiquement recompense." ^ To the 600 It. de la Monce added other 300 It. in payment of one hundred proofs of the portrait which Wille, who went off with his bag of money under his arm, delivered the same day. His visit to Rigaud was paid the following morning, and the "Memoir" prefixed to the pages of Wille's journal here breaks off on the words " il m'embrassa en me disant qu'il seroit content. . . ." I conjecture that the unwritten words concerned Rigaud's in- tention to secure the reception of his protege by the Academy at an early date. Wille certainly expected this distinftion to follow on the completion of his " Marechal due de Belle-Isle," seeing that Rigaud had procured the admission of Schmidt as soon as he had successfully terminated his " Comte d'Evreux." Any schemes for the achievement of this envied honour by means of Rigaud's good offices were, however, cut short by the death of the kindly painter, and Wille found himself once more without a protestor. He was probably stimulated by his loss to more aftive exertions, but we know nothing — at any rate from himself — of the steps by which he attained the remarkable position which he succeeded in filling with much authority till the close of the century. When Schmidt left Paris for Berlin, in 1744, his decision was perhaps affected by the growing consequence of Wille. He had refused the offers made to him by von Knobelsdorf in 1740, but it was then possible to hold Wille — who was four years his junior — cheap, and his own situation, supported by the favour of Rigaud, was one of singular promise. To his fine portrait of the "Comte d'Evreux " had succeeded an equally fine and even more popular portrait of Saint-Albin, Archbishop of Cambrai,'- the appearance ' On this occasion Voltaire says that " Le marechal de Belle-Isle . . . semblait ctre plutot un des premiers eledleurs qu'un ambassadeur de France. II avait menage toutes les voix, et dirigd toutes les negociations ; il recevait les honncurs dus au repre- sentant d'un roi qui donnait la couronne imp^riale. L'eledleur de Mayence, qui prdside a l'61edtion, lui donnait la main dans son palais, et I'ambassadeur ne donnait la main chez lui qu'aux seuls elefteurs, et prenait le pas sur tous les autres princes " ("Precis du Siecle de Louis XV," ed. 1808, p. 57). ' Saint-Albin was the son of the Regent by Florence, an aftress. His nomination 7S Pupils. Wille of which no doubt also contributed to bring this clever German and his engraver the exceptional favour which he seems to have enjoyed with those in power. Neither of these portraits is equal to the remarkable reproduc- tion of the portrait of Mignard, by Rigaud, which Schmidt executed as his diploma work.^ It was presented by him on the 30th July, 1744. Two months later, in spite of all the efforts made to retain him, he had left France for Berlin. Wille's " Memoire," from which one would expeft some light on this decision, breaks off, as we have seen, in the middle of his last interview with Rigaud and — as a volume has been lost — the "Journal" does not begin till the 31st May, 1759. We are, therefore, left with a gap of sixteen years, during which all we know of Wille's life is to be reckoned by the dates on his engravings. It is, however, certain that his friendly relations with Schmidt had not been disturbed, for Schmidt's name appears on one of the earliest pages, ^ and recurs again and again till we come (March 26th, 1775) to the entry of the letters written by Wille in reply to correspondents who have announced the death of his " ancien ami."^ Schmidt, on his side, had preserved a grateful memory of his days in Paris, " car il avoit de I'esprit et surtout le gout fin." Crayen, the Leipzig dealer, to whom we owe the record of his work, tells us that Schmidt died of apoplexy at the moment when " il songeoit a faire son testament en faveur de plusieurs de ses anciens amis, et dans I'intention de Icguer tous les objets qui concernent les arts a I'Academie royale de peinture de Paris." His life in Berlin had not been so full of satisfactions that it could efface the impressions of that joyous youth of which Wille says: " Nous etions tous de jeunes artistes, peu sujets aux inquietudes, quoique souvent sans pecune, mais toujours prets a nous rejouir honnetement, selon les circonstances, et sans que nos etudes en souffrissent." * Common studies had brought about a close resemblance in the work of the two friends, both as to their merits and defeats. to the see of Cambrai was one of the scandals of the day (Mem. Mathieu Marais, t. ii., pp. 50, 51, 139; t. iii., p. 36). ' Chal. du Louvre, No. 2245. ^ This entry on January 4th, 1760, shows that Wille was selling Schmidt's en- gravings for him: "j'ay les 'Amours des Dieux,' par Schmidt, a quatre-vingt-dix livres." ^ These were " C.-L. Troschel, conseiller du roy de Prusse et avocat a Berlin," and " B. Rode, peintre du roy de Prusse a Berlin." * Mem., t. i., p. 79. 76 Pure line, with nire exceptions, is employed by both, and b(;th Wille show the same treacherous dexterity. In his best work — and I and his take it that we may reckon as such his superb " Maurice de Saxe " after Rigaud, his "Prince de Galles " after Tocquc, his "J. B. Masse " and his " Marigny " ' — Wille achieves a marvellous brilliancy. Schmidt, on the other hand, has better feeling for colour, and he draws, I think, better.^ Yet, just as Wille uses the graver as a witness of skill rather than as a means of expres- sion, and gets sometimes a metallic effeft for which not even his brilliancy can atone, even so Schmidt makes free with his sub- je6ts, treating them as a means for the display of his command over his tools, and the glitter of his work is to me often very unpleasant. We may leave on one side the poor vignettes which this great engraver — carried away by the fancy of the day — produced in his last years,^ but his etchings, some of which are of value, cannot be passed over. They show, nevertheless, that Schmidt was hampered in their execution by the mechanical excellence of his habitual practice. There is not the slightest trace of the hand which engraved Lancret's " Nicaise " in the " Contes " with such splendid brilliance. Long after Schmidt had left for Prussia, Wille notes that a friend, M. Esperendieu, coming from Berlin, had brought him two engravings from M. Schmidt de sa fapn, the one a portrait of a St. Petersburg do6tor,* which was good, the other " le buste d'une vierge dedie au comte d'Esterhasy, mais qui n'est pas bien . . . selon moi," ^ and if we look at this print we see that Wille probably recognized in another that failure to reproduce with simplicity the aspeft of his subject that was his own besetting sin. " C'est I'air brusque et dur de Wille," says Diderot of the famous portrait by Greuze, now in the colleftion of Madame Andre, " c'est sa riche encolure, c'est son ceil petit, ardent, efFare." *' This roughness, harshness and ardour are reflected in his work, and gave him an immense influence over his numerous pupils. ' Ex. 1761. - Many of his engravings are from his own drawings, as, for example, his portrait of the abbe Prevost, " dessine a Paris d'apres nature, et grave a Berlin, par Schmidt." ^ The Jieurons and cub de lampe of the " M^moires de Brandebourg, Berlin, 1767," are by Schmidt. * Probably drawn on his visit to Saint Petersburg, where Schmidt was called by the Empress Elizabeth in 1757. ' M^m. Wille, Sept. loth and Nov. loth, 1764. This work represents the Sassoferrato of the Esterhazy Gallery. ' Salon, 1765. This portrait was exhibited at Paris in 1888. n Wille and his Pupils. He had the great force of unreasoning convidlion and the best men went to him. Jean Massard/ one of the best interpreters of Greuze, the engraver of " La Cruche cassee," " La Dame bien- faisante," " La Mere bien-aimee," owed his training to Wille ; so did Pierre-Alexandre Tardieu,^ whose " Marie-Antoinette, archi- duchesse d'Autriche, reine de France," begun, after Dumont, in 1792, was finished in 1815.^ To him is due, also, the partially completed engraving of David's " Lepelletier de Saint-Fargeau mort," which is the sole record of a work which, it is conjedtured, was hidden or destroyed by the family, to whom the story of Lepelletier's career was a cause of shame. Avril,* " fervent adepte du genre ennuyeux," and Berwic,^ the acknowledged master of the men of our own time, went forth from the work- shop of Wille. With Berwic, as with nearly all his pupils, Wille maintained relations of the most friendly intimacy. We find in his journal, under the date of February 24th, 1788, note of a dinner given in honour of Berwic's marriage. " Ce jour j'ay donne," writes Wille, " un repas a M. Bervic et a sa jeune et aimable epouse. Je I'ay fait avec plaisir, d'autant plus que M. Bervic est un de ceux de mes eleves qui m'ont fait le plus d'honneur, et qu'il est d'un caraftere franc et sans detour. II est instruit et son esprit est solide." Berwic — whose real name was Charles-Clement Balvay — was, in faft, the most important pupil taught by Wille. He worked with Le Prince, the inventor of the gravure au lavis, but after much study of Nanteuil devoted himself unreservedly to pure line, and his "Louis XVL," after Callet, exhibited in 1791, is as brilliant and certainly as interesting as anything done by his master. Wille himself had at first given to the engraving of portraits ' 1 740-1 822. He worked also on the "CEuvres de Voltaire" (1768); " Les Graces " (1769); Anacreon (1773); Ovid (1767-1771). He engraved "Le Lever," after Baudouin, in 1771. " 1756-1844. His "Lord Arundel," after Vandyck, is a fine piece of interpre- tation. ' Chal. du Louvre, No. 2232. It represents Marie-Antoinette costumed as a vestal virgin, standing by an altar and holding a branch of lilies in her hand. The heavy Austrian type of the features is accentuated by these inappropriate surroundings. ^ 1756?-! 823. " 1 756-1 822. A., 1784. His "Clfopatre," after Netscher, closely follows the style of Wille in the satin of the gown ("Corres. litt.," t. i., p. 246). He exhibited only in 1785, 1791 and 1798. The "grand prix de gravure en taille-douce " was founded by him. See his letter to Rosaspina (N. A., 1877, p. 365, and "Not. hist.," t. i., p. 254). He engraved " Le Serment," after Fragonard, with feeling as well as skill. 78 La SiEUR DE LA BONNE FeMME DE NoKMANTHE, DITK "La Femme a la Tulipe": 1773. (Jean-CiEOrces Wille, aiter \Ville fils.) the most important place in his work. In 1755, as we have seen, Wille he executed one of his best, that of Jean-Baptiste Masse, after and his Louis Tocque, and he engraved later — for his reception by the Academy — that of Marigny, after the same painter.^ Shortly after this date, Wille decided to devote himself to what he called historical engraving. In June, 1759 — although he was then probably at work on the Marigny portrait — he sends M. le Cat, of Rouen, to Ficquet, declaring that he himself cannot possibly do a portrait. He next tells us that he has been requested to engrave that of a great personage of Holland, but "je me suis excuse en recommandant M. Tardieu " ; and finally he refuses even crowned heads. " Replied," he notes on Oftober 20th, 1761 — only six months later than the visit of Marigny — " to M. Ziesenis, painter to his Britannic Majesty in Hanover, who offers me the portrait of the Queen of England. ... I have said that I do no more portraits, but will get it done, and he can, if he likes, send me the pidfure." Even Mile. Clairon, who came, escorted by Cochin, to solicit Wille in person,^ was firmly refused. " lis firent," he says, " tous deux, tout ce qui est possible pour m'engager a faire le portrait de cette fameuse adlrice dans la grande planche que grave M. Cars,^ d'apres M. Vanloo, ou elle est representee en Medee,** et dont la tete a deja ete effacee quatre fois. Je me suis defendu longtemps, malgre les discours seduisants et les eloges de I'un et I'autre. La planche resta chez moi, mais le lendemain j'allai chez M. Cochin lui representer qu'il m'etoit impossible de faire la tete, a cause de ma vue trop courte, pour pouvoir atteindre au haut de cette planche, et le resultat fut que je lui envoyai la planche au retour de chez moi." The excuse made by Wille to free himself from the impor- tunity of Mademoiselle Clairon and her friends may have had some foundation, but it is just as likely to have been a pretext, though Cochin seems to have believed that Wille's sight was really at fault. At the same time we must remember that other work was more lucrative. The publication of " La Liseuse "^ from the painting by Gerard Dou, which had been lent to Wille by de Julienne, had an enormous success. He had executed it as a companion to " La Devideuse," engraved many years before, and ' These two engravings are Nos. 2236 and 2239, Chal. du Louvre. Wille was in close relations both with Tocqut- and Mass6, See his journal, July 7th, 1759, and July 29th, 1 761. See also Chap. III., p. 53, note i. ' February 2nd, 1763. " See Chap. VI. * See "French Painters, etc.," p. 46. ' Ex. 1763. 79 Wille he notes that more than three hundred proofs had been taken up and his q,^ (■}-,£ same day.' This success encouraged him to devote himself exclusively to a class of work in which he was without a rival. The vogue which his interpretations of popular masters enjoyed in Paris was outstripped abroad. Schmuzer,- a young engraver coming from Vienna — sent, in fa6t, by Kaunitz that he might study under Wille — informed him that prints of " La Tricoteuse " and " La Dcvi- deuse," '^ which were sold by him in Paris for 3 It., were fetching 15 It. apiece in Vienna; that " Le petit Physicien " * and "La Menagere " — sold in Paris for 2 It. — reached as much as i 3 It. 10 sols., and finally that Kaunitz himself had paid seven louis d'or for a proof of Wille's portrait of Saint-Florentin — a fine early work.^ To a suggestion from Kaunitz, received a few years later, we owe the fine print after Terburg, " L'Instru6tion paternelle " ^ — sometimes called " The Satin Gown " ' — which Wille dedicated by his dirediions to the Dowager Empress of Austria, from whom he received in acknowledgement a superb diamond ring.^ It became the rule for all " patrons of the arts " and " people of taste" to call on Wille when they visited Paris. The Duke de Deux-Ponts — in German, as Wille reminds us, " Zwey-Briicken " — not only visits him but joins a party for sketching in the country ; he is presented to the Prince of Monaco by the abbe de Grimaldi, who is a frequent visitor ; the sons of Kaunitz, Count and Countess Harrach, arrive from Vienna ; Prince Poniatowski and Prince Czartoriski represent Poland ; Count Moltke, Den- mark ; Prince Galitzin, Russia; the names of Gluck and Goldini jostle those of the unfortunate Struensee, of the Prince d'Ysembourg, Count Reuss XLIIL, the Princess Kinski, the Prince of Saxe- Weimar and the Margrave and Margravine of Baden-Durlauch. ' Mem., July 1 6th, 1762. ''■ Wille writes, November 19th, 1762: " Aborda chez moi, vers le soir, M. Schmuzer, graveur de Vienne ... II me fit en entrant bien des reverences gothiques, me voulant baiser le bas de ma robe de chambre, me nommant tantot Votre Excel- lence, tantot Ihre Gnaden. J'etois honteux de toutes ses civilites." ^ These two prints were exhibited, together with "La M(5nagere," in 1757. * Ex. 1761. ' Mem., Nov. 19th, 1762. This portrait was engraved in 1749, and after thirteen years the plate — so injured by verdigris that it had to be reworked — was brought to Wille, in order that he might pull 160 prints from it for the town of Marseille {Ibid.^ March 15th, 1763). " Ex. 1767. See Mem. Wille, March 14th and April 27th, 1766. ' "J'ai rendu justice au burin de M. Wil et a sa maniere unique de rendre les etoffes " (" Lettre de M. Raphael," Salon, 1769, "CEuvres de Cochin," t. ii., p. 308). ' Mem., July 27th, 1766. 80 The honours paid to Wille by all these exalted personages and Wiile their frequent visits did not make his intercourse with his brother and his 1 JPUDllS. craftsmen less close or constant. Not only did he live on the best terms with the chief men of the French school, but his journal shows his friendly relations with strangers and especially with the English. He was present when Robert Strange, " ne dans I'lsle de Pomone, I'une des Orcades," was agrtr by the Academy. Strange — by whom he sends letters to Winckelman and Mengs ^ — is described by Wille as " an old friend and a brave worthy man." After Strange comes Woollet, "excellent graveur," '^ Vivares,'' Ryland and Smith ^ are his friends, and Byrne became his pupil.^ Of Ryland ® — " graveur du roi d'Angleterre " — who was afterwards hanged for forgery, Wille tells us that he had a commission to buy for the King " mes pieces historiques ; mais des premieres et magnifiques epreuves, et je les ay fournies comme pour un roi." In 1787 Basan calls on him with Alderman Boydell, who brings with him his daughter and his niece. The daughter, Mrs. Nicol, is married to a bookseller, and when Wille dines, on the 20th September, with the party, he notes : " C'est dommage que Mme. Nicol ne sut pas le fran^ois, cela n'empecha pas qu'elle ne me fit mille caresses." Dealers, in every town, were his regular correspondents, and he bought and sold for them. Sometimes their commissions were embarrassing. M. Gier de Bordeaux, he notes, " has sent me some gouaches by Mile. Dietsch, to sell, but ..." The l>ut is ex- pressive, and one is not surprised to find that Wille — after some hesitation — excused himself, telling Gier that " les petits tableaux de I'espece qu'il m'a envoyes ne sont pas rares a Paris." He even bought for these correspondents at sales as well as for himself. No great sale, such as that of an amateur like de Caylus, or de Julienne, or of brother artists such as Surugue,' took place with- ' August 31st, 1760, and December 31st, 1764. Strange (i 723-1 792), who was then a student with Cooper in Edinburgh, followed Charles-Edward in 1745, took refuge in Paris after Culloden and became a pupil of Le Bas. ^ November 6th, 1769 (1735-1785). ' June 27th, 1763; November i8th, 1763; July 4th, 1776(1712-1782). ' September ist, 1787. ' Odlober loth, 1769. " April 1 8th and May gth, 1765. Wille dines Ryland and says that he is "fort a son aise. II a cinq mille livres de pension de son roi, qui lui paye non seulement g(^ndreusement les ouvrages qu'il lui commande, mais lui fait aussi present de I'ouvrage mSme, lorsqu'il est fini. Chose sans exemple ! " ' 1686-1762. R. July 30th, 1735, on the portraits of Christophe and Boullogne p^re. Exhibited at the Salon from 1737 to 1761. He had spent some time working for Bernard Picart at Amsterdam, but married and returned to Paris in 17 15, and 8j M Wille out his attendance. Of the latter he writes : " I have spent all and his j-,-)y tjme lately at the sale of prints belonging to the late M. de "^' ^* Surugues [sic] in the house of his son. I have bought many for myself pour ma curiosite.'' Minor occasions, however, were not neglefted, and Wille could spare an hour even to visit the sale of the pictures in the collection of the " Comtesse de Farvaques," though he regretfully remarks : "Je n'en ay pas achete un seal, car je n'aime pas les croutes." It is to be wished that his taste had always shown itself equally severe, for Wille, whom his friends delighted to hail as the greatest buriniste de I' Europe, often applied his skill to the repro- du(5lion of work not of the first class, such as that produced by his friend Dietrich of Dresden,^ or — betrayed by paternal affeftion — those equally unworthy subjedls which were furnished by the work of his son Pierre-Alexandre.'^ In spite of the long life in Paris, in spite of his French marriage and surroundings, Wille always remained intensely German. His atelier, his household, his manners retained this stamp — " I'honnete logis," say the de Goncourt, " I'aimable ecole d'art, la bonne franc-mafonnerie alle- mande que le n° 29 du quai des Augustins,"^ but there is a reverse to the medal. When Wille arrived in Paris he accepted French direftion, French teaching, French influence, but, as he built up his own position, his self-confidence returned, and when he became the acknowledged head of his profession his choice of subjeft sufi^ered from it. His journal, whilst it shows that his talent had placed him in contact with all that was most distinguished and most interesting in Paris, shows also how incapable the writer was of profiting by his unrivalled opportunities, how limited was his scope of interest, how narrow his field of vision. Wille is absorbed in his commis- sions, his purchases, his dinners, his excursions and the details of his family affairs. The engagement of Basan's old cook, Therese, cramp in the calf of the leg and the consequent inconvenience of falling asleep on the edge of the bed, whilst holding on to the established a printselling business. He died at Grand- Vaux, near Savigny-sur-Orge. His son was Pierre-Louis Surugue, 1716-1772. R. July 29th, 1747, on the portraits of Guillain and Frdmin. Some of his best work is after Chardin, and he was the engraver of the enchanting " Mme. de * * * en habit de Bal," after Coypel, in 1746 (Scell6, N. A., 1885, p. 36). He exhibited at the Salon from 1742 to 1761. ' Chritien-Guillaume Dietrich or Dietericy, 1712-1774. He was protedted by Count V. Briihl and was painter to Augustus, King of Poland. ' i748-(?). A., June 25th, 1774. His simple studies, such as that known as "La Femme a la Tulipe" (see illustration), engraved by his father in 1774, are best, ^ In a note by Wille he gives the number of his house as 35. 82 offending member, these are matters to be set down minutely, Wille undisturbed by any public calamity or private sorrow. He notes, ^"d his • • 1-^iiv^ -^i-i-T^-ri Pupils. It IS true, on the loth May, 1772, the arrival m raris or the news that the " comtes de Struensce et Brandt avoient etc executes a mort a Copenhague," but he immediately adds, "Je marque cecy icy parce que j'ay connu personellement le comte de Struensee." For his excellent wife, Marie Deforge, the old engraver seems to have had something like real affection. " Ce jour, 29 d'odlobre 1785," he writes, " a etc le jour le plus fatal et le plus malheureux de ma vie. — Ma femme, la plus excellente femme possible, s'est endormie avec la ferme confiance en la bonte de son Createur. — Dieu ! que de larmes me coute cette separation ! " His attachment to her seems, however, to have caused him some surprise. In February, 1787, he notes: " Depuis le mois de decembre 1785, je n'ay presque rien ecrit dans ce Journal, ayant toujours eu la tristesse dans le coeur a cause de la perte de ma tres-chere femme, qui je ne saurois jamais oublier. Et nous voila au moi de mars de 1787." But even as one reads these words one remembers that he had told us on an earlier page how deeply he loved his brother, yet when the widow wrote to say her husband was dead (June 24th, 1769) Wille allowed nearly seven weeks to elapse before he acknowledged the announcement. Of his own sister he says — when dating a letter to the cousin with whom he usually cor- responded — that she is the only one of his relations whom he remembers, adding: "Je prie mon cousin de dire a cette sceur que ses lettres n'ont nul agrement pour moi, et qu'elle feroit bien d'employer son papier et sa peine a autre chose." ^ After this, the reader is prepared to find that the most tragic events of the Revolution cast no shadow on the pages of this " phlegmatique buriniste allemand." On the 21st January, 1793, he writes : "Toujours incommode, je ne suis pas sorti de chez moi, mais je voyois passer . . . devant ma maison les bataillons des diverses se6tions pour se rendre a la place de la Revolution (cy- devant de Louis XV), ou Louis XVI fut execute avant midy." Nine months later he was so busy making a list of his "patents" as member of a dozen Academies, all of which were to be sacrificed as contrary to principles of true civic virtue, that he forgets even to note the death of the Queen. ' May 27th, 1790. 83 CHAPTER VI LAURENT CARS, BEAUVARLET, FLIPART AND LE BAS LAURENT CARS^ has left work which places him in the same relation to the " gravure d'histoire " as that in which the Drevet, father and son, stand to the " gravure de por- trait." Bachaumont says of him, " il a presque abandonne la gravure pour faire le commerce des estampes." Cars — who was born at Lyons in 1699 — had, however, inherited his print- selling business from his father, who, two years after the birth of his son Laurent, transferred his establishment from Lyons to Paris. ^ Cars pere had engraved portraits — local celebrities — before leaving Lyons ; Paris encouraged him to higher flights, and his best work is represented by his Cardinal Polignac, after Rigaud. He did not depend for his living on the engraving of portraits ; his real business is shown by a " Catalogue de sujets de theses," which were his stock-in-trade.^ In their preparation the help of numerous assistants was required, whose services naturally passed with the business from father to son. Amongst those whom he ' 1 699-1 771. R. Dec. 31st, 1733, °" ^^^ portrait of Michel Anguier, after Gabriel Revel, and that of Sebastien Bourdon, after Rigaud. Nos. 2099, 21 17, Chal. du Louvre. " The declaration of the nephews of Laurent Cars, in 1771, to the efFeft that their uncle had then died aged about seventy-two, and the inscription on a portrait of Louis XIV., signed and dated as engraved at Lyons, and sold at Paris by Cars pere in 1701, are the basis for these statements. See Portalis and Beraldi, t. i., p. 301. ^ These were bought at the death of Laurent Cars by Babuty, the father of Mme. Greuze. There appeared also prior to this date a " Catalogue in 4° des Estampes formant le fonds de Laurent Cars." See Scell^ de Laurent Cars, N. A., 1885, p. 4. 84 Le MaLADE IMAGINAIRE : MoLIKRE, I 734- (Laurent Cars, after Boucher.) /■.//• J^ati. t .z^.- employed Laurent Cars found more than one brilliant pupil,' but Laurent the school under his direction never attained the general influence Cars, or commercial importance of that which was condudfed by Lc Bas. varlet, The aptitudes of a great artist do not often lend themselves to the Flipart formation of a school, and Laurent Cars was a great artist. ^"^ ^^^ " L'un de nos meilleurs graveurs," writes Mai'iette, and his commendation is justified by the intelligence with which Laurent Cars interpreted the spirit and manner of those whose work he reproduced. Mariette's encomium is amplified and specialized by another contemporary who says, " un trcs bon graveur et notre meilleur pour I'histoire." Yet his best work can hardly be classed as " historical." Striking as one must find that series of remark- able engravings after Le Moine, which opens with " Hercule et Omphale," reveals a youthful freshness and charm in " Iris entrant au bain," and displays equal spirit and force in " Persce delivrant Andromede," not one of these — not even the proud " Louis XV donnant la paix a I'Europe " ^ — seems to me equally distinguished with his brilliant and original rendering of " Les Fetes Veni- tiennes," by Watteau, and the '* Camargo dansant," after Lancret. Next to the " Fetes Venitiennes " must stand the fine series engraved by Cars after Boucher in illustration of the plays of Moliere. I never turn them over without admiring afresh the expressive character of the drawing and the masterly intention with which — as in the " Malade imaginaire " — the suggestion of the whole situation is given by the movement of the hands. We see the fruits of those severe studies in the Academy of St. Luke, to which Gaucher calls our attention in the article on Laurent Cars contributed by him to the " Di<Stionnaire " of the abbe de Fontenai. " Every time," writes Gaucher, " that there was a medal com- petition, he competed and carried off the first : but several years having elapsed without any being distributed, the Academy, having too many crowns to award, decided that all those who had gained a first prize should compete together, and one only ' The conditions of an engagement between the engraver and his assistants or pupils are indicated in the " Contrat (1759, 11 Septembre) entre ie graveur Laurent Cars et Pierre-Francois Martenasie, par lequel celui-ci s'engage a travailler pour le premier pendant toute sa vie, a certaines conditions" (see N. A., 1885, p. 315). Martenasie was a pupil of Le Bas (see p. 93). He engraved the illustrations of Eisen for the " Eloge de la Folic " and those of Gravelot for the " Boccacio " (sic) of 1757- " Chal. du Louvre, Nos. 1153, 1155 to ^^^3- Laurent Cars engraved a com- position by Le Moine for the tlieological thesis sustained by Armand, prince de Rohan- Ventadour. See also P. V., March ist, 1738, and Nov. 4th, 1752. 85 Laurent Cars, Beau- varlet, Flipart and Le Bas. should be the winner. Cars returned to the lists and triumphed over all his rivals." The execution of both Laurent Cars and Le Bas recalls in some measure the picturesque touch and manner of their master, Tardieu pere,^ as seen in his delightful engraving of Watteau's " Embarquement pour Cythere." Each seems to have accentuated the qualities akin to his own temperament. Le Bas developed, through extreme facility, a licence of execution which often obscures his real intelligence and talent; Cars, on the other hand, drew to himself all the science with which Tardieu mingled his ingenious use of the point with the graver — a science which, transmitted by Cars to his pupil Beauvarlet,- was by him abused. The co-operation of Beauvarlet with his master in the cele- brated portrait of Mile. Clairon as Medea — engraved by royal command from the pi6lure given to Clairon by the Princess Galitzin — established his reputation. As soon as the print was published, it became the rage. Bachaumont says : " Tout le monde court apres la nouvelle estampe de mademoiselle Clairon ; ... on sait qu'elle est representee en Medee."^ Then, when the first excite- ment wore off, criticism was heard. " L'estampe de mademoiselle Clairon representant Medee," writes Grimm, " est publique depuis quelques jours. A mon gre, cela n'est rien moins que beau ! . . . d'ailleurs, c'est Beauvarlet qui a grave la figure de Mademoiselle Clairon et Cars le reste du tableau et la difference des deux burins jette dans toute I'execution une discordance qui fait mal aux yeux. Partant, nous condamnons cette estampe a passer la these d'un bachelier." * The last words " passer la these " refer to the practice of decorating " theses " with engravings, and have the specially spiteful intention of belittling the work of an engraver whose family business was that of executing the ornamental subjefts used as headings to these exercises. As to the whole statement, if there is some truth in it, there is more exaggeration. The only criticism which I should venture to make is that the plate has ' 1674-1749. R. Nov. 29th, 1720. He exhibited at the Salons of 1738, 1741, 1742, 1743, 1745, 1747 and 1 74^' Amongst his most important work is a series of the " History of Constantine," after Rubens. ■ 1731-1797. R. May 25th, 1776, on the portrait of Edme Bouchardon, after Drouais, No. 21 1 1, Chal. du Louvre. Beauvarlet came of the Abbeville school. He worked in Paris first with Hecquet, then with Charles Dupuis, the inferior brother of Nicolas Dupuis, then with Laurent Cars. See "Le graveur Beauvarlet et I'Ecole Abbevilleoise au XVIH. Siecle." ' Aug. 19th, 1764. ' Sept., 1764. 86 77- />.\.-nu:'r'- Madame Dubarrv en habit de chasse. (Jacques-Francois Beauvari.et, after Drouais/ probably been overworked at the last in the effort to bring the Laurent whole together and reconcile " la difference des deux burins." Cars, Beauvarlet had but recently been agree by the Academy,^ varlet, showing, probably, the four engravings after Jordaens, which he Flipart exhibited in 1763. These do not give us as favourable an impres- Le B^g sion of his ability as his work after contemporary masters such as " La Toilette " and " Le Retour du Bal," after de Troy,^ or " La Lec- ture " and " La Conversation Espagnole," after Van Loo," though even in these we may note the tendency to make too free transla- tions in a popular sense from the masters whom he professed to reproduce, which was a weakness of the least unworthy pupil of a considerable master. Not defeats of skill but defefts of temper seem to have delayed his reception by the Academy. Wille records that on May 25th, 1776, he attended the eleftion of Beauvarlet, by his own request. Beauvarlet was received, but he had no less than seven black beans. The portrait of Bouchardon which he then presented he had been ordered to carry out on July 24th, 1772. This portrait, if not as attractive as his popular Madame Dubarry in hunting dress, or as famous as that of Mademoiselle Clairon, is a good specimen of the class of work by the execution of which he seems to have amassed the fortune to the possession of which his three marriages ^ probably contributed, and the inventory taken at his death bears witness. In addition to Beauvarlet, Augustin de Saint-Aubin^ and other pupils, such as Chedel,*' Jardinier ' and Pasquier,^ excellent artists but of less note, there is one who was formed by Laurent Cars and whose talent responded brilliantly to the diredtion of the master. Whether he were translating the " Tempetes " of Vernet, the ' P. v., May 29th, 1762. '^ These were reproduced in the "Gazette des Beaux Arts," April, 1899. Beau- varlet also engraved after de Troy various scenes of the " Story of Esther," of which the best is the " Evanouissement d'Esther." See Salons of 1775, 1777, 1781, 1783, ^793- ^ The drawings for these were exhibited in 1765, the engravings in 1769 and 1773. He also engraved after Van Loo "La Confidente" and "La Sultane" (see Salon of 1775), the latter of which M. de Marigny pronounced to be the best portrait of his sister. ' From the notice prefixed by Regnault-Delalande to the catalogue of Beauvarlet's sale, we learn that on the death of his first wife, the stepdaughter of Madame Langlois, he married his stepmother-in-law. His most distinguished pupil was Por- porati, who also went to Wille, but MalcEuvre, the two Voyez, Elluin, Dugourc, Hubert and Audouin may be added to the list. A pupil named Jogan placed with him by Mariette (see "Afte de partage," Appendix C), when Beauvarlet was his tenant in the Maison de la Croix d'or, seems to have made no mark. ' See Chap. IX. " 1705-1763. ' 1726-1774. " 1718-1785. 87 Laurent " Chasse au Tigre " or the " Chasse a I'Ours " of Boucher and Cars, Van Loo, or the masterpieces of Greuze, Jean-Jacques Flipart ^ vaHet showed remarkable powers of assimilation which are the more Flipart astonishing when we recollect that he is said to have developed ?"'^„ very slowly. He was no longer a youth when he became the Le Bas. •'-, r x ^ o i • -i r i l i pupil of Laurent Cars ^ and it was not until arter he had spent some months under this master that his talent became evident. Cars himself, we are told, had failed to recognize the ability of Flipart. Cochin, on the other hand, detefted the signs of power and induced Michel-Ange Slodtz to entrust him with the en- graving of one of the frontispieces of the " Description des Fetes donnees pour le second mariage du Dauphin." Flipart was then about twenty-eight ; ^ he carried out the commission alone and it brought him the unmixed satisfaction of the assertion by Cars that, of all his pupils, he alone had understood his lessons. The notice of Flipart written by Gaucher expresses, in each turn of phrase, the deep feeling of admiration with which the art of this engraver inspired every competent judge. The vagrant Perronneau from the first set high value on his powers and these, coupled with his high character, adtually gave him some influence in the Academy. Greuze was no doubt sincerely attached to Flipart, who returned his friendship, with the result of that great series of admirable renderings of all his sentimental subjects, such as " L'Accordee de Village," which has done enormous service to the popularity of the painter. Flipart's first Salon (1755) had consisted only of work for the " Gallerie de Dresde," six " little bits " after Boucher and Cochin, and an " Adam and Eve " after Natoire. In 1757 he exhibited two engravings after Chardin, one of which was the "Jeune Dessinateur," and, seeing this perfect interpretation of a perfedt master, one cannot but regret that Flipart abandoned Chardin so soon for his friend Greuze. Except for the two fine " Tempests " after Vernet, exhibited in 1765 and 1773, and a necessary civility paid to Vien in 1765 — when he engraves "La Vertueuse ' 1719-1782. A., June "th, 1755. He was the master of the two Ingouf. The elder (1746-1800) displeased Wille. The younger, Francois-Robert, was the better artist. See his portrait of Crebillon after La Tour, "CEuvres Complettes," 1785. - He went to Cars from the house of Nicolas Tardieu. Mariette, under that master's name, mentions " La S' Vierge assise, apprenant a lire a I'enfant J^sus, ce qui excite I'attention de S' Joseph, qui, appuye sur un baton, est assis sur la droite de la Vierge. Grav6 d'apres Maratti, par Flipart, chez N. Tardieu, dans le terns qu'il apprenoit de ce maitre la gravure." ' The age " thirty-two " given by MM. Portalis and Beraldi is evidently a mistake as the date of his birth is correftlv given as 1719. 88 Q 14 -I < > O as Q u Z < a ,, -J ■J s C/5 -5 o •• z J <: o >■ H < (/5 u M U z {li E>) D PL. Q "p H en P o u W Q 5/ w u o X -I a D c u D O o z o Athenienne" and her companion "La Jeune Corinthienne " ' — Laurent Flipart devotes himself wholly to Greuze. The " Gateau des gg^^J_ Rois " ends in 1777 the series which began in 1763 with " Une varlet, jeune fille qui pelotte du coton, d'apres M. Greuze." Flipart I had almost forgot to recall by mention here a work to which l" Bas. I have already referred — the famous " Chasse au Tigre," that powerful version of " le tableau de F. Boucher du Cabinet du roi," It is difficult to remember that Flipart, fresh from re- producing " L'Accordee de Village " with all the softness and brilliancy which the heart of Greuze could desire, handled the violence of the " Chasse au Tigre " with a restraint in which Laurent Cars, had he been still alive, would have found a final proof that Flipart had indeed mastered his lessons. But Cars was dead and all the young men were crowding to the studio of Le Bas.2 If Basan made no pupils, we may say, with some slight exaggeration, that Le Bas — who had set Basan the example of combining his art with business — made nothing else. The charm of his chara6ler lives in every page of the MS. notice of his life which is prefixed to the volumes which contain his work, in the Cabinet des Estampes, and as one reads one feels the attradlion which drew to him so many of the younger men of his day and made his workshop the most brilliant school in Paris. Here, when he could escape from the disciplinary engraving of sacred subjefts after Bolswert,'' Cochin took refuge and found himself in that pleasant company, of which Le Bas — by eight years only senior to Cochin — was the leading spirit. "II eut des pensionnaires, des externes et beaucoup d'eleves qu'il logeoit, nourrissoit et instruisit gratuitement . . . le persiflage etoit I'arme la plus aceree dont il se servit," writes Joullain fils,* the author of the MS. notice, which bears every sign of having been diftated by Le Bas himself. Before he arrived at this brilliant situation, Le Bas passed through narrow straits. His mother taught him to read and, at at the age of fourteen, having placed him with Herisset, an archited^ural engraver, left him to his own resources. It is not to ' This print, which was dedicated to Prince Christian of Denmark, seems to have inspired the travesty by Dumont of Marie-Antoinette "en Vestale." See p. 78. " 1707-1783. A., 0(S. 29th, 1735. See P. V., Dec. 30th, 1741 ; Jan. 5th, Jan. 27th, 1742. R. Feb. 23rd, 1743. ' See Chap. III., p. 42, note 3. * His father (1697-1779) is described by Mariette as a "disciple de Gillot "; he ceased to engrave and began to sell about 1 730-1 733. The son gave himself up specially to work as an expert. 89 N Laurent Cars, Beau- varlet, Flipart and Le Bas. he supposed that a lad as happily endowed as Le Bas would be long in finding his way to better teaching. This he obtained from Nicolas Tardieu and his work soon brought him the generous encouragements of Crozat.^ Before he was eight and twenty, he married the beautiful, quick-tempered Elizabeth Duret, and the account of his wedding as given by him to Joullain is not the least interesting page of his story. " When I was married," said he, " I played the young man. I gave laces, diamonds and fine clothes. The next day I had no money. That made me serious. Without saying a word I took the diamonds and the laces in the top of my hat ; I sold everything. On returning home, I showed all my money to my wife, saying to her : ' Ma bonne amie, I have sold your ornaments, but I have got some silver and I am going to buy some copper. Be patient ; keep up my courage ; I only ask of you the time necessary to engrave a few plates and publish them, and I will promise to give you back with interest that of which I deprive you to-day.' 1 kept my word. I shut myself up. y'ai pioche le cuivre [these, says Joullain, were his words]. Mme. Le Bas helped my zeal by her economy. She was her own servant and swept her own stairs. In a short time I was able not only to give her back all that I had taken from her before she had enjoyed it, but to have her waited on and to procure for her all those comforts which are proper to decent income." The story shows us all the kindliness, the ready ability, the brave and flippant humour which, seconded by the genial house- keeping of his wife, made the atelier of Le Bas so great a centre, and it gives also indications of that careless getting and spending which entailed bitterness on the last days of this generous, brilliant and hardworking man. As soon as his means permitted Le Bas to organize his atelier it rapidly filled, and the attraction was such that the provoking treatment received at his hands by incompetent or self-satisfied pupils was no check to his popularity. "Should a young man," says Joullain, " much in love with his own work, as is often the case, offer Le Bas a drawing or an engraving which he thought less good than ought to have been done by this pupil : ' You deserve,' he would say, ' that I should embrace you,' and rising in the most matter-of-course manner, he would aftually embrace him. The youth who received the first kiss of the sort went back to the atelier much pleased with himself. His fellows disabused him and ' "Le Midi" and "L'Apres-din6 " were engraved by Le Bas after Berghem, dedicated to M. le Baron de Thiers and exhibited in 1742. 90 Portrait ok Lk Bas. (Louis-Jacques Cathelin, after Cochin le fils.) /)i\'\jiru- pur I " iV. i l\~/ii/i i '/r' J,- / i^rj/v Ju A'.r . i: /_ .' C.ilhJui. .h .,v,-iiJ- Mi K.^;,ci .<:-n Eicr.- t-^Z soon fear of being laughed at . . . induced him to redoubled Laurent exertions in order to avoid the embraces of the master." r^'"^' By handling them with this mixture of jovial familiarity and varlet, mockery Le Bas obtained boundless popularity with the pupils Flipart who passed through his workshop. Their number and the l" Bas. consequent enormous output of Le Bas cannot be rivalled by any other master, certainly not by Laurent Cars. It is said that Cars was checked in the exercise of his profession by his devotion to business. There may have been other reasons. The splendid qualities of his work were not the qualities then coming into vogue. The breadth and freedom, the large and luminous vitality which distinguish the great pages in which he took the compositions of Le Moine for his theme are common charafteristics with the famous engravers of a previous century. The splendid virility of his translations from Boucher in the Moliere series may have seemed an inconvenient force to those who were co-operating in the pro- dudlion of the delicate vignettes required for the popular work of the day. Le Bas, on the other hand, was not only disposed to follow passing currents but adapted himself to them without losing any of his pleasant skill. Through his numerous pupils and his own sympathies he was closely in touch, throughout the great span of his life — which coincided with the most essential period of the century — with all the various developments of his art, from the " estampe galante " to the most delicate caprices of the vignette. Cochin, Ficquet, Eisen, Le Mire, Aliamet, Choffard, de Longueil, Nee, Cathelin, Martini, Gaucher, Moreau le jeune and Masquelier, Godefroy and Malbeste are all to be reckoned as having profited by his teaching. Foreigners such as Ryland and Strange were drawn by the reputation of the house, and Rehn,^ the young protege of Tessin, quitted his "regiment de Royal-Suedois " to work under Le Bas. Rehn, however, on returning to Sweden abandoned the praftice of engraving, not without much opposition from Le Bas, who saw in this decision not only the loss of the credit to be expeded from a promising pupil but of a fresh opening for those commercial relations of which he never lost sight. In January, 1746, he admonished his late pupil to see whether it would not be possible ' The grandson of Rehn, the Baron de Hochschild, communicated to M. de Chennevieres some interesting details as to the life of this Swedish draughtsman and architect, who died in 1793, having for some time filled the post of " surintendant des batiments de la couronne" ("A. de I'A. fr.," t. iii., p. 118 et seq.). These details are accompanied by passages from two of four letters from Le Bas to Rehn. 91 Laurent Cars, Beau- varlet, Flipart and Le Bas. to set up a shop in Sweden for the sale of prints : " Cela donneray beaucoup de gout au vulgaire, ay vous auray cette obligation et nous procureray du commerce.' A hint of the easy family relations which marked the life of the household is given in the message sent to Rehn by Mme. Le Bas. " Mon epouse," writes her husband, " vous remercie de vos politesse, et monsieur Darcy,^ en atendant ces manchon de vostre gout que vous ave promis a ces dames." The muffs were, however, forgotten, and winter went by. Le Bas was bidden to remonstrate and begins his letter: " Mon epouse a eu bien froid cette hiver, le manchon n'a pas parue que vous luy aviez promis de vous mesme ; cest ce quis letonne ; elles vous fait mil compliment et parle de toutes nos partie de campagne sans cesse disant que vous etiez un charmant garfon et quel desireray bien vous voir; cela merite quelqun de vostre souvenir, vous luy avc promis ce n'est pas ma raute. "^ To stir the memory of the young Swede for whom he had so much affection, Le Bas was, it seems, in the habit of sending him sketches of the domestic scenes with which he had once been familiar. The letter of the loth January, 1746, contains a reference to a previous one of which " le dessins et la diftion " had not been such as Le Bas would willingly have had shown by Rehn to the Count de Tessin.^ He therefore implores his correspondent, to whom he sends the drawing of a " segonde feste," not again to betray him : " Epargnez-moi," he writes, " de montre cela." The drawing, however, seems to have been a light and graceful pencil sketch, worthy of all admiration. It takes us, we are told, into the salon, where, the day's work done, pupils and friends are dancing — Le Bas himself opposite to his wife ! The sketches were not, indeed, always in this key, for that which accompanies the letter in which Rehn is reminded by Darcis and Mme. Le Bas of his failure to send the promised muffs is in a vein of pure caricature. " On one line," says M. de Chennevieres, " getting larger and ' Darcis was the engraver of various prints stippled after the manner of Bartolozzi, amongst which may be mentioned " L'Accident imprevu " and "La Sentinelle en defaut " after Lavreince. " II en fit de moins s^rieuses," writes Renouvier, " et qui ne pouvaient, malgre le relachement du temps, affronter le Salon." His chief successes were, however, obtained in work after Carle Vernet such as " Les Incroyables " (Renouvier, "Hist, de I'Art pendant la Revolution," t. i., p. 222). '' "A. del'A. fr.," t. iii., p. 123. ' Le Bas was known to Tessin, when he was ambassador in Paris. " Le Sanglier forc^," engraved after Wouvermans by Le Bas and exhibited in 1741, was dedicated to " M. le Comte de Tessin." 92 ■A Z C id PP a o as. larger, from left to right are the caricatures of Chenue ^ — Pitre^ — Laurent Bachelay ^ with his slippers — Lemire Normant — Tailler Halle- ^^^s- mant. And in the background the long visage, stiff and thin, of varlet, Mademoiselle Manon Manchelard, probably his servant." ' Flipart Le Bas himself, although every little engraving on which we ^g b find his signature testifies to his wonderful skill in delineating physiognomy, could do no portraits. It is on record that in 1741, when, after much difficulty, he managed to produce those of Cazes and Le Lorrain, which had been imposed on him for his diploma work, they were, on their presentation to the Academy, " rejettes pour vice de mediocrite a la grande pluralite des voix," nor was it until two years later that he obtained the official consecration of his talent by the " Conversation galante " which he had engraved after Lancret.^ The bright and sparkling effisft of this work, coupled with a certain air of distinftion, justifies those who urged Le Bas to devote himself wholly to engraving. Bachaumont says, somewhat curtly, "II neglige beaucoup la gravure pour le commerce." •" The very character of his exceptional natural gifts, the wit and intelligence which he brings to bear upon a page of " Manon Lescaut," the wonderful y?«t'j-j-f with which he has rendered the head of Don Juan in the Moliere illustrated by Moreau, his excellent interpretations of Lancret'^ indisposed the public to accept that sacrifice of his professional distindlion to his commercial interests which was did:ated as much by the necessities of his family as by his love of free expenditure. The " shop," at least, did not stand in the way of full pro- fessional honours, for Le Bas was yet a young man when received by the Academy ; he became " graveur du Cabinet du roi " in 1744, and in 1771 was not only eledted " conseiller " but succeeded to the pension of 500 It. which had been previously enjoyed by Laurent Cars.^ Le Bas, to whom Diderot assigned the unenviable distinction of having given the death-blow to " la bonne gravure," ^ was driven to the employment of expeditious methods in order to deal with the enormous quantity of work that he undertook at a low price. ' 1730-1800 (?). - Pitre, Martenasie, 17 . .-1770 (?). ' 1712-1781. * A. de I'A. fr., t. iii., p. 123. ' No. 986, Chal. du Louvre. P. V., Feb. 23rd, 1743. It was exhibited in the same year, together with two subjedts after Teniers and the " Courrier de Flandres " after Bott. ^ M6m. Wille, Appendix, and note, t. ii., pp. 22, 23. ' " Le Maitre galant," " Le jeu de pied de BcEuf." ■* P. v., April 27th, 1771. " Salon, 1765. 93 and Le Bas. Laurent In 1758 we find de Caylus using the most persuasive eloquence to Cars, induce Le Bas to engrave " pour la moitie moins qu'elles ne varlet, valoient " the plates of Le Roy's two volumes on " Les Ruines des Flipart plus beaux Monuments de la Grece." The terms were accepted on the understanding that further payment would be made should the book sell well. It did sell well, but no further payment was received — " Aussi M. Le Bas, qui S9ait tres bien compter, et qui n'est pas mal attache a ses interests, s'en est-il toujours plaint." ^ Love of money was the crime imputed to Le Bas by Diderot when criticising the " Ports de Mer " of the Salon of 1767,^ but, if he were keen to get, Le Bas was equally keen to spend. There is a sharp distinction to be drawn between the love of gain which feeds a magnificent generosity and that which only satisfies the miserable cravings of a selfish avarice. By this distinction Le Bas has a right to profit. His worst crime would seem to have been that, generous and free-handed, he lived careless of the next day. If not " apre au gain," it is certain that Le Bas was extra- ordinarily quick to seize on any chance of making money. He unveiled or professed to unveil the mysteries of Freemasonry in a curious set of engravings — one of which, representing " L'Entree du recipiendaire dans la Loge," I have here reproduced — and, whilst courting the profitable advertisement of a little scandal, discreetly sheltered himself behind the apocryphal statements, " Dessine par Madame la Marquise de . . ." and " Grave par Mademoiselle de . . ." The condu6t which, in later years, aroused the anger of Le Prince went, however, beyond the bounds of pleasantry. The continued vogue of the Russian subjeCts which he treated after his return to France in 1763 inspired Le Bas with the desire to profit by the occasion. It is only necessary to look over the list of his contributions to the Salon to see that all the great collections were open to him.^ He had, therefore, no difiiculty in finding what he wanted and, in 1777, exhibited his engraving of a " View of the Port and Citadel of St. Petersburg on the Neva, . . . after the ^ Cochin, Mem. in6d., p. 79. These engravings were exhibited in 1759, and dedicated to Marigny. " See Chap. III., pp. 50-52. In this connexion it may be noted that in 1769 Cochin, in the characSier of " M. Raphael, Peintre, de I'Academie de Saint Luc," writes of" la pr&ision de M. le Bas," exaftly the quality which was denied by Diderot at preceding Salons ("CTuv. Cochin," t. ii., p. 308). " Amongst the names of those who permitted Le Bas to engrave the pictures belonging to them we find those of the Eleftor of Saxony (King of Poland), the Dukes de Choiseul, de Cosse, de Praslin and de Nivernois, the Prince de Conde, the Count Baudouin and the Marquis de Brunoy. 94 o z <: a Id a z 'J 5 5' o < o !d /^ painting by M. Le Prince belonging to Mme. la Marquise de Laurent i'Hopital," adding the announcement, " elle doit etre dedice a Sa Cars, Majeste I'lmpcratrice de toutes les Russies." When Le Prince, varlet, whose permission had never been asked, not unnaturally declined Flipart to be satisfied with the present of " a proof and an explanation," Le ^^ g^^ Bas chose to consider himself the injured person. Yet his breach with Madame de Pompadour proves that Le Bas, in his own case, would brook no breach of etiquette or want of courtesy, even on the part of those to whom he looked for patronage. He had dedicated to the all-powerful lady the first of a series of " Fetes Flamandes," ^ engraved after works by Teniers in the colledtion of her faithful and attached friend, the Duke de Choiseul. She was at her toilet, Joullain tells us, surrounded by men of the Court, when Le Bas came to her and presented his engraving. She received him well and praised his work with judgement, but either from absence of mind or because she did not know exadily what to do, she waited until he had left her rooms before asking him for his bill. " Dites a Mme.," replied Le Bas, " que je ne suis point apothicaire, queje ne donne jamais de memoire, qu'elle pourroit trouver trop fort celui que je lui fournirois et que je ne connois personne en droit de le regler " — a reply which cost him not only the present reward of his labour, but all hope of any future recompense. The spirit which Le Bas displayed over this incident in the days of his prosperity never forsook him. He lost his wife, he had to leave the house which had sheltered him and his for more than forty years. His resources were drained by the cost of those " Figures de I'histoire de France ; Ouvrage propose par souscrip- tion," from which he had hoped to make great profit, being fully justified in this expecflation by the success attending the issue of the " Ports de France " engraved by him after Vernet " en societe avec M. Cochin." The first fourteen of the " Ports de France " had appeared in rapid succession and were received with enthusiasm ; then came a check, which permitted Le Bas to produce his engravings of sixteen " Conquetes ou Ceremonies Chinoises," after the drawings of the Jesuit father Castillon for the Emperor of China.- It was not until twelve years later, when Le Bas had a6tually undertaken ' The first was exhibited in 1750, four others appeared at the Salon of 177 1. '■' See Salons of 1769 and 1771. Grimm says in his "Correspondance litt(5raire" that the engraving of the drawings cost over a hundred thousand crowns, and adds that in these battles not one of the Chinese is killed or wounded, the draughtsman having had express orders to that efFedt. 95 Laurent Cars, Beau- varlet, Flipart and Le Bas. his " Histoire de France," that Vernet furnished his fifteenth subject, the " Port de Dieppe." It was the last received from him. Cochin — as we have seen — attempted to complete the set, but he and Le Bas had both passed away before the engraving of his second drawing was finished. On the 2nd February, 1783, Le Bas took to his bed, having been at work as usual on the preceding day. To the last he retained his unfailing flow of spirits and malicious gaiety. He played tricks on those who watched him, on the priest whom his old servants had called to his bedside, and died after a short illness as bravely as he had lived. " Voici," he cried, on the morning of April 14th, " voici, I'edifice qui s'ecroule ! " 1 The fate of Le Bas' last enterprise, as far as he himself was concerned, had been little short of disastrous. After the exhibition, in 1779, of the first set of drawings, he called Moreau le jeune to his aid and two years later thirty-five " sujets de figures " drawn by Moreau were exhibited, with the intimation that six books had already appeared, each containing eighteen engravings, and that the seventh was actually on sale. He also sent to the Salon a frame enclosing several others, " gravees sous la direction de M. Le Bas a qui ils appartiennent." It is said that Moreau, highly paid for these drawings by Le Bas, played with the work until the old man died and then — having given out that no more drawings for the series would be executed by him — succeeded in obtaining the proofs, together with the plates already engraved, for a nominal sum at Le Bas' sale. The next step was to replace the early designs of Lepicie and Monnet by drawings of his own and complete the work. This done, the publication was started by Moreau on his own account, the motive alleged for so much double-dealing being that he desired to reap the credit due to the carrying through of a great " historical " performance.- Whether this were so, or whether Moreau were adluated by the purely sordid objedl of gain, there seems no doubt that his condudl was responsible tor much of the distress and misery in which the last years of the unfortunate Le Bas were brought to a close. As we shall see, however, when we come to write of this matter in connexion with the career of Moreau himself, his treacherous scheme brought him neither the profit nor the credit which he may have expedted to reap from it. " MS. notice by Joullain, Cabinet des Estampes. ° "M. Moreau jeune, Graveur, Agre6 de I'Academie . . . suplie rAcademie d'ac- cepter le 13" iivraison des figures de rHistoire de France, ouvrage qu'il continue depuis le d^ces de M. Le Bas" (P. V., Dec. 4th, 1784). 96 < o 7, o z fu z ^ o u z H^ < tr- 5 !d ^ 5^ " Q z *~^ O c CHAPTER VII THE PUPILS OF LE BAS AND THE ENGRAVERS OF THE VIGNETTE ALMOST all the best-known engravers of " estampes galantes " and of illustrations for books were pupils of Le Bas or of men who had worked for him. The ^ " graveurs de livres " are almost a class apart. When we come to them, we quit the groups to whom we owe the execution of magnificent enterprises such as the " Galerie de Dresde," ^ the " Galerie de Florence," the " Galerie de Dusseldorf," '^ the " Galerie de Versailles " ^ or the imposing achievements of '• historical engraving " and find ourselves amongst other men and other intentions. There is, of course, no hard and fast line between the two sets. Nicolas de Larmessin ^ executed portraits and worked after Raphael for the " Recueil " published by Crozat, but he engraved also after Watteau, gave us fine versions of the Four Seasons and the Four Ages after Lancret and will always be remembered by his masterly renderings of designs by Lancret, Boucher and others in the " Contes de la Fontaine" of 1738. The engraver of the great print also turned — as did Laurent Cars — now and again to the ' See p. 64, note 4. ' The " Galerie de Dusseldorf " was a venture of Christian de Mechel, of Bdle. He made offers to young engravers, who mostly, like Carl Guttenberg (i 744-1790) came back to Paris weary of the work and its editor. Guttenberg was much em- ployed by Wiile. His brother Henri engraved "La petite laitiere," after Baudouin. ' See Chap. HI., p. 46. * 1684-1755. R. July 29th, 1730. He was a pupil of his father, who was sent to the Bastille for caricaturing Louis XIV. and Madame de Maintenon. Schmidt on arriving in Paris became his assistant. See p. 71, note 5. 97 The pages of the book, but there is a distin6lion to be traced and the Pupils of same distindlion may be seen governing the size and shape of the and the book itself. The folio practically becomes extindl ; even the quarto Engravers loses favour. The o6lavo reigns supreme, but the supremacy of the Vienette o<^^vo is itself disputed by the seductive attradlions of the duo- decimo. The volume in the pages of which the " traitant " should read himself to sleep had need be light and easy to the hand. In the print engraved by Lucas after Dumeril and published by Basan we are shown that this was indeed the use of the book to the man of money. At the guichet seen through the open door, his commis faces the anxious questioning crowd ; the traitant himself, stretched on his couch, begins to slumber and his book — perhaps the famous edition of "Manon Lescaut " which bears date 1753 ^ — is slipping from his relaxing fingers. It would of course be absurd to pretend that the easily-handled little illustrated book was a creation of the eighteenth century, but it had so fallen out of fashion that the " Gil Bias" of 1735,^ the Moliere of 1739^ and the " Contes de ma mere I'Oye " of 1742 appeared as novelties, which remind us of the pocket editions of Ovid, of iEsop, of Petrarch and Boccaccio which the engravers of Lyons, in the sixteenth century, decorated with microscopic woodcuts for Rovillio or Jan de Tournes. What is really the point to note is that whereas, during the earlier part of the century, credit and reputation were won by the bringing out of works of great size, fashion, during the latter half, carried the little book to the front. It no longer waited modestly behind the ponderous volumes which had been the publishers' glory, but took the first place, just as the estampe galante of the same date shouldered out of sight historical engraving. The illustrations of all the most remarkable of the small books of the second half of the century were engraved almost without exception by men from the school of Le Bas. If we examine their work closely we shall find how admirably his method was fitted to ensure their success in this direction, provided they had the intelligence to seize on the intention of his teaching. Its influence penetrated even beyond the circle of those who actually worked with or under him. We can trace it even in the work of ' " Histoire du Chevalier des Grieux et de Manon Lescaut. Amsterdam (Paris), MDCCLIII." ^ The frontispiece and eight vignettes in this volume, published by Jacques Des- bordes at Amsterdam, are by Fokke, who engraved after Coypel " La poltronnerie de Sancho a la chasse" in the "Don Quichotte" of 1746. '' See "Qiuvres de Moliere. Nouvelle Edition. A Paris. Chez Huart I'aine, a I'entree de la rue Saint Jacques, a la Justice. M.D.CCXXXIX." 98 a man such as Louis-Simon Lempereur,^ an engraver who was, I The believe, no pupil of Le Bas, but who formed in Delaunay,^ the ?"^g ^ °^ master of the estampe galante^ a talent as conspicuously brilliant as and the any of those who issued from the school of Le Bas himself. Engravers The change in method, for which, I imagine, Le Bas was vignette, mainly responsible, becomes evident if we compare work — such as the "Henriade" of 1728,^ or even the "Don Quichotte " of 1746* — done before his school became efficient with that which was executed at a later date by the men whom he had trained. Take, for example, the famous edition of the " Fables de la Fon- taine," the illustrations of which were prepared by Cochin from Oudry's drawings. The four volumes of this fine work, published by Jombert in 1755, 1756 and 1759, mark, after a certain fashion, the parting of the ways. Whether we take the illustrations actually engraved by Le Bas himself, by his numerous assistants or by his imitators, it is impossible not to be struck by the absence, on the whole, of any attempt to give a complete pidlorial rendering of the subjects, such as we find in the " Don Quichotte," to the engraving of which Picart was so large a contributor. The engravers, if we except Cars and Flipart, seem, for the most part, to have intentionally indicated the story to be told by ' 1725-1796 (Biog. Univ., 1728-1808). R. March 2nd, 1776. See Nos. 2196 and 985, Chal. du Louvre. He is to be specially remembered as the master of Nicolas Delaunay. Huber classes him as a better engraver, or rather as engraving in better taste, than his master, Pierre Aveline. If we compare the work of the two we shall find the distindlion unfounded. Take, for example, " Les Plaideurs," engraved by Lempereur in the de Seve Racine, and set it beside "Le Chameau et les Batons flottans," engraved by Aveline in the Oudry La Fontaine — the difference is in favour of Aveline. ' 1 739-1 792. R. August 28th, 1789. In addition to his fine work on the Moliere (1773) and ^^ Rousseau (i 774) should be named his admirable interpreta- tions of Fragonard, " Les Hasards heureux de I'Escarpolette," " La bonne Mere," " Dites done s'il vous plait," " Cachette d6couverte," " L'heureuse F(5condite." He engraved several frontispieces for the publications of Cazin, who employed Delvaux and made a speciality of prohibited literature, for which he was twice " destitu6 de la qualit^ de libraire." ' The illustrations after de Troy, Le Moine and Wleughels are reproduced by C. N. Cochin, Louis Surugue, Tardieu, Jeaurat, Charles and Nicolas Dupuis. The vignettes which head each canto, with two exceptions, are designed by Micheux and engraved by Desplaces, de Poilly and L^picid ; the exceptions, one of which is the " Queen Elizabeth " intended for the English subscribers, were given to Henry Fletcher. * The engravers of this volume, to the illustration of which Coypel, Boucher, Tremolieres, Le Bas and Cochin fils contributed, are, if we except Bernard Picart (1673-1733) as of French origin, all E)utch. Picart, born in Paris, lived in Holland, where he settled as engraver and printseller at Amsterdam. He is best known in England by his fine edition of Boileau (17 18), which is accompanied by a remarkable portrait of Queen Caroline after Kneller. 99 The a little firm work on the figures of the foreground, and this telling Pupils of of the story once secured, they put in just as much on the etched and the background as was necessary to help the general efFeft. Le Mire, Engravers then at the height of his powers, a fine draughtsman and endowed Vienette "^i^'^ ^ most delicate sense of values, gets a harmonious result with these slight means, but others less skilful — such, for example, as Lempereur and his wife, Elisabeth Cousinet — fail to give us more than the suggestion of the situation : they tell the story as might the illustrator of a comic paper, taking no account of any other elements in the scene. Before Noel Le Mire^ joined, with his young brother, the group working on the " Fables de la Fontaine," he had made his mark by engraving the vignettes with which Eisen had illustrated in 175 1 the " Eloge de la Folic." In that year Le Bas wrote to Rehn, " notre normant Le Mire gagne par jour ses dix-huit livres. II a pour une petite figure debout qu'il fait en six jour cent livre. Le temps a bien change depuis que vous etiez a Paris." ^ The "Fables" were a6tually in course of publication when Noel Le Mire was called to take an overwhelming share ^ in the engraving of the illustrations of the famous Boccaccio,* with which the name of Gravelot is especially associated, although Boucher, Cochin and Eisen also count amongst those who de- signed the subjects which ignorance of Italian has distributed with a puzzling want of reference to the text. If Gravelot's name must stand almost alone as the author of these illustrations, so should that of Le Mire as their engraver, not only because of the quantity due to him, but because of the peculiar excellence of his interpretation of the drawings. Flipart touching these miniature scenes becomes too heavy, Lempereur is confused, Pasquier ^ commonplace, but Le Mire — always alert, always delicate, always intent on getting the full piilorial value of his subjeft — prepares us for the final development of his brilliant and personal talent. The wit and certainty with which he handles ' 1724-1801. He only exhibited once at the Salon — 1799, " L'Annonciation, d'apres Solimen," and " Le gouverneur du s6rail, choissisant des femmes." ° Jpud Portalis and Beraldi, t. ii., p. 620. ' See Jules Hedou, "Noel Le Mire et son CEuvre." * "II decamerone di Giovanni Boccacio." Londra (Paris), 1757. Five vols, in 8vo. ' 1718-1785. He engraved "Les Graces" after Van Loo and various other prints, but was concerned chiefly with the vignette. MM. Portalis and Beraldi state that the eight illustrations of the " Manon Lescaut " of 1753 are "gravies par Le Bas " after Gravelot and Pasquier. Only two are contributed by Gravelot, those two only are engraved by Le Bas ; the six others bear "]■-]• Pasquier In v. et sc." 100 Jy^u^^ j,-uA' En tete de la "Thebaide." CuL DE Lampe, "3""' Acte d'Alexandre " : Racine, 1760. (Jean-Charlks BAyuov, after J. de Seve.) the fairy-like groups of Loves and children by which Gravelot The has commented the text of the "Decameron" at the close of every fup'ls of chapter, and the distinction with which he endows their baby ^n^j ^^e forms, show the same remarkable gift for fine treatment of the Engravers •nude which Le Mire displayed when, in 1762, he produced his Yjgnette most important work and engraved the ten designs of Eisen for the "Temple de Guide." ^ The influence of the brilliant vignettes by which the " De- cameron " was enlivened is immediately apparent in the pages of the de Seve Racine,'^ which appeared in 1760. Each play has its heading and its tailpiece, in which children mimic the passions of tragedy. Two of these compositions are here reproduced, and it will be seen that they have a less enticing air of originality than that which distinguished the groups designed by Gravelot for the text of Boccaccio, but they are engraved by Charles Baquoy ^ with the same spirit and delicate emphasis as he shows when working by the side of Le Mire. Whether Baquoy had any special training outside his father's atelier seems doubtful, but he worked often with Le Mire and he has something of his manner and execution. We find him signing " Les Cordeliers de Catalogne " in the Fermiers Generaux edition of the " Contes de la Fontaine " ^ — it is, I think, the only plate on which we read, together with the engraver's name, " Eisen inv." To this magnificent work Le Mire — who in a sense may be said to have especially attached himself to the inter- pretation of Eisen — contributed an enormous proportion of the whole. Amongst the earliest in date of execution are the "Richard Minutolo " and " Mazet," on both of which we read the figures 1759. The most celebrated, the " Rossignol," is dated, as is " Les Qmproquo," 1761 — the year in which Le Mire was engraving Gravelot's designs for the " Nouvelle Heloise." ^ On the preparation of all his work for the " Contes de la ' MM. Portalis and Beraldi describe amongst the riches of the coiieflion made by M. de Lignerolles a copy of which they say that it contains " en face des iumineuses eaux-fortes de Le Mire qui les traduisent, les suaves mines de plomb d'Eisen." See t. ii., p. 622. ' "CEuvres de Racine," Paris, 1760. 3 vols. Nothing is at present known about de Seve except his work, but he is supposed to have belonged to a family of the same name connefted with the Gobelins. ' 1721-1777. He engraved chiefly after Eisen, but also after Gravelot, in the "Contes Moraux " and "CEuvres de Corneille." * "Contes et nouvelles en vers par M. de La Fontaine." Amsterdam, 1762. 2 vols. " Lettres de deux amans habitans d'une petite ville au pied des Alpes." Amster- dam, 1762. lOI The Fontaine" Le Mire employed Le Veau,^ also a pupil of Le Bas, Pupils of who had a great power of seizing signs of charadter and ex- and the pression which are evidenced in his " Alix malade " and "La Engravers Confidente sans le savoir," on which we find his signature; but °/.^^^ , the man whose contribution to the two volumes stands next in Vignette. , ^t n*^- • t i j t -i 9 importance to that of Le Mire is Joseph de Longueil/ If he does not reach the delicate brilliancy of Le Mire — and even that is hard to say in the face of a good proof of " Le roi Candaule " or " Le Marl Confesseur" — he maybe compared to his advantage with Delafosse, the engraver of " Le Faucon " and " La Coupe enchantee," and he loses little if we set his work beside the more vigorous graver of Flipart in the "Juge de Mesle " or " Les Troqueurs." This famous book has owed much of its renown to qualities other than those which make its real beauty and value. The suggestions which are pointed out as furnishing matter for scandal are not there for their own sake, but as an aid to free story-telling in which morality and immorality are illustrated with equal jesting indifference. What we have to look at in these volumes is the perfection of the art with which they are carried out : the ex- quisite beauty of the page, the harmony between the letterpress and the illustration calculated so that text and pifture balance each other with nice exaftness and, moreover, the admirable harmony of the illustration in itself. M. Bouchot has well put it : " Sincerement, et en depit de cette note un peu aphrodisiaque et banale, les Contes edites par les fermiers generaux meritent leur celebrite. C'est un tout merveilleux ou Ton ne sait quoi admirer le plus, ou des figures hors texte, ou des fleurons, ou meme de la typographie superieure." In the de Seve Racine the ornamental designs are more delicate than the rather commonplace subjedls of the engravings ; in the Moliere illustrated by Moreau, heavy woodcuts — such as might have adorned the leaves of a volume in the previous century " — face the most delicate work of the " vignettiste." ' 1 729-1785. Born at Rouen in circumstances of terrible poverty and suffering, he owed his start in life to Descamps. Amongst the prints engraved by him are ten "marines" after Vernet and " Le Juge ou la cruche cass^e" after Debucourt. ^ 1730-1792. He seems to have done his best work on the "Contes." On July 1 8th, 1792, Wille notes: "Cejour, M. de Longueil, graveur, principalement pour la vignette, fut enterre. II avoit ete mon elcve il y a quarante-deux ans ou environ. Sa disposition pour la gravure etoit egale a celle qu'il avoit pour la d^bauche." The romance which gathered about his sudden death, which was attributed to fright at a hostile denunciation, has been dispelled by the publication of authentic documents in Panhard's "Joseph de Longueil : sa vie et son oeuvre." ' The little blocks in the Moliere are of this character, though signed and 102 However good such blocks may be in themselves, however fine The in style, the attempt to incorporate them in work of a totally Pupjls of different character is to be condemned. They remain out of and the relation — as in the " Baisers " of Dorat and the " Graces " of du Engravers Querlon — with the rest of the work and the eye which has been w'^^^tt resting on the delicate lines of Le Mire or Delaunay is hurt by the transition to ruder virtues. The necessity — for the produ<5tion of the perfedl book — of a close alliance between the ornament and the illustration had been a cardinal point with all the great publishers of the sixteenth century ; we recognize its force in those editions of the seven- teenth in which the red and black title-page is composed with a lost art ; then a moment comes in which taste seems less sure. Finally the perfeifl type of the eighteenth-century "livre de luxe " is produced in the two small volumes of the " Contes," in which not the least of the honours claimed are due to the ornament by Choffard.^ " Monseigneur le prince de Nassau-Saarbriick," writes Wille on March 2nd, 1761, " has asked me to engrave his arms. I laughed and excused myself by giving him M. Choffard." ^ The prince no doubt gained by the substitution. We are, though, scarcely prepared for Choffard's truly marvellous execution in the " Contes " by his exercises on the " Fables de la Fontaine " or by the frontis- piece engraved by him for the Gravelot " Decameron." The brilliant " culs de lampe " of the " Contes " are most justly famous, and above all the others must stand that marvel of beauty and delicacy which serves, at the close of the " Rossignol," as the frame of his own portrait. The bird in his cage, the flowers of the wreaths and ornament on either side are indicated with a spirit and precision which take nothing from the exquisite light- ness of the work ; every detail contributes to the luminous effedl of the head in the centre, which is treated as a gem might be set by the hands of a skilful goldsmith. dated " Papillon, 1770." The best work of Jean-Michel Papillon (1698-1776) is in the tailpieces of the " Fables de la Fontaine." There is a large colledlion, in four volumes, of his work and that of his family in the Cabinet des Estampes. ' 1 730-1 809. He appears only at the Salons of 1785 and 1793. At the first his portrait of Barathier, Marquis de Saint-Auban, Lieutenant-G6ncral des Armdes du roi, etc., was engraved by Miger ; at the second his name figures with that of Le Bas in connexion with the engravings of the two views of Rouen prepared by Cochin to replace those not completed by Vernet for the " Ports de France." He was the pupil in the first instance of Babel. ■ A specimen of this class of work by ChofFard is in the Print Room of the British Museum (1861, 8, 10, 72, 73), armorial bearings and supporters executed in pen and wash. There is also a good sketch by Choffard in red and white chalk of a man on his knees to a girl, seated, in a gallant undress (1865, 10, 14, 370). 103 The The originality of Choffard's wonderful work is rendered the Pupils of niore apparent if we turn the pages and examine the portraits of and the ^.a Fontaine and Eisen by Etienne Ficquet,^ after Rigaud and Engravers Vispre, in the same volumes. These are engraved with as much V tt care, as much minute detail as if they were on a great scale. Nothing is suggested, everything is set down with a precision and veracity which speak of the sure hand which enabled him to work diredtly on the copper from his subjedl without preparation, and remind us that before he went to Le Bas, Ficquet had been trained under Wille's friend, Schmidt. Thanks probably to this originally severe training Ficquet, in spite of his irregularity in work and fantastic humour, surpassed all those — not excepting Grateloup " — who devoted themselves to the task of engraving in miniature. His strong, definite, un- swerving graver, tempered to a miraculous exadlness of touch, expresses qualities exaftly opposed to those which we see in Choffard's brilliant little portrait. If Ficquet gives the very letter of his text, Choffard breathes its very spirit. The original beauty of this work seems to have had some influence on the execution, in 1767, of the wonderful miniature of Marie Leczinska, engraved by Etienne Gaucher after Nattier, for the dedication to that Queen by President Renault of his "Abrege de I'Histoire de France." This portrait, framed by Choffard in a garland of lilies and roses, is unsurpassed by any of Gaucher's later achievements and is barely equalled by his charm- ing " Madame Dubarry " ( 1 770) or by the "Joseph II." and " Marie- Antoinette," which he engraved after Moreau for the " Annales du Regne de Marie-Thcrese." Gaucher is, however, most popu- larly known by a later work, for he is the engraver of the sensa- tional " Couronnement du buste de Voltaire sur le Theatre Fran9ais," the drawing for which by Moreau le jeune is now in the collection of Lord Carnarvon.^ ' 1 7 19-1794. He at first worked for Odieuvre, under the diredtion of Schmidt, and whilst with Le Bas became a close friend of Eisen. If we may judge from a postscript written by Ficquet on a letter from Le Bas to Rehn (de Chennevieres, "Port. ined. des Artistes Fran^ais," 3rd pt.), they amused themselves with more energy than they worked. Many of his portraits (thirty-four) for Odieuvre are good, as are also some of those executed for the " Vies des peintres Flamands " by Descamps. See Faucheux, " Catalogue raisonne de toutes les estampes qui forment les oeuvres graves d'Etienne Ficquet, de J.-B. de Grateloup, etc." ^ 1 735-1 8 17. His work consists of nine portraits, all engraved before his sight was injured by catara6l at the age of thirty-five. Of these his "Bossuet," after Rigaud, is a remarkable work. See Faucheux, " Cat. rais., etc." ^ Formerly in the possession of M. Henry Lacroix. Reproduced in " Les Moreau," p. 93. 104 M 3 ■y o q 5 5! O ' — s X d X ri X U ^ ^ r^ u. *i«I *^ u* ^a tT I a :.: a 3 <" ? ' Z z --^ ^K 3: w H H < 5 " ?; X 0! M C_ a u ^ H y 5 a < 3 „ -u; w a; u w z i; '- < u ^ X 3 , &:-( '^ ^ a a ^^ Z Z Z H - ? < "" tf z ^ < X (J ^; M W X < I His close friendship with Flipart and his collaboration with The Choffard lead us to expert the name of Gaucher amongst those Pupi's of who illustrated the most famous edition of the " Contes," but and the though he produced one or two bits of ornamental work after Engravers Marillier^ and Monnet which take very high rank, his preferences vienette. seem to have led him to devote himself to small portraits. Names from the brilliant group by whom the " Contes de la Fontaine" were illustrated are to be found, in 1765, signing the reproductions of Gravelot's delightful illustrations to the " Contes Moraux " of Marmontel. Le Mire and his assistant Le Veau reverse their positions, for Le Veau — preparing with exquisite care his little plates — takes a principal share in the work. Nearly all those which give us pictures of the social movement of the day under its most engaging aspeft are signed by him. If only the text were anything like as good as the art for which it serves as a pretext, these three volumes, further enriched by a graceful frontispiece engraved by C. Boily ^ and a pleasant portrait by Augustin de Saint-Aubin after Cochin, would be entitled to take an even higher place than they now claim on the shelves of the bibliophile. This is the weak spot in many of the most lovely books of the day — their text is not in any sense literature. It is a relief to find publishers who have been ready to venture on a classic, even a classic as familiar as Ovid. It is, however, true that no other presents a store of fables equally rich in pidlorial incident and inexhaustible because capable of the most various interpretation. The translation of the abbe Banier, though both chill and formal, was in itself a classic, having first appeared at Amsterdam in 1732 accompanied by the engravings of Bernard Picart. Other editions followed, and their success was such as to inspire Le Mire and Basan with the projefl realized in the four quarto volumes published at Paris in 1 767-1 771. ChofFard signs the title-page,^ but this work is somewhat ' 1740-1808. He engraves not too well in the Banier Ovid but etched "La Famille du Fermier," after Fragonard, pleasantly. It was " terming au burin " by Romanet, a pupil of Wille (Mem., t. i., p. 350). The five frontispieces to the " Hdloi'se " published in 1788 are designed by Marillier and accompany the reductions engraved by Vignet from Moreau's illustrations in the quarto edition. His most important work is to be found in the "Fables de Dorat." '' 1736- . . . ? He was a pupil of Lempereur. ' The full title is " Les Metamorphoses d'Ovide. Gravees sur les dessins des meilleurs Peintres Fran^ais par les soins des S'^ Le Mire et Basan. A Paris chez Basan. rue du Foin S. Jacques. Le Mire rue S. Etienne des Gres." The dedication to the Duke de Chartres, engraved by ChofFard, is signed by Basan and Le Mire and dated 1767. 105 P The heavy in aspedl and cannot be compared in rivalry with the Pupils of fairy-like decoration which he lavished on the pages of the and the " Contes " of La Fontaine. Wreaths and garlands have lost the Engravers fragility which is the secret of much of their charm. The illus- v*^^tt tration, as a whole, is of unequal merit; it opens well with half- a-dozen pretty subjecits by Eisen, daintily rendered by Le Mire, de Longueil and Le Veau, whose vignette of " Le Printemps " is a masterpiece. Some pages such as " Apollo and the Python," by Le Veau after Gravelot, " Europa," by Augustin de Saint-Aubin after Boucher, " Thetis and Proteus," by Le Mire after Monnet,^ and " Dejanira," by Le Veau after Moreau, realize to perfedion the qualities most desirable in this class of work. They are not only delicate engravings of graceful compositions, but they lie well on the page, taking the eye pleasantly without over- weighting the text. In this respeft others are less happy : the skill of Masquelier,- Nee,^ Ponce,* Baquoy and Delaunay maintains a high average, but the two contributions made by Basan himself after Monnet are not remarkable achievements, whilst with Binet,^ Louis Legrand '' and Rousseau^ we reach a lower level of excellence, superior, nevertheless, to the dull per- formance of Miger ^ in the " Philemon and Baucis " after St. Gois. Admirable as is all their work in these volumes, Le Mire, De- launay and Le Veau never seem to reach their highest level in the execution of allegorical and classical designs, although Le Mire, in virtue of his splendid drawing of the nude, is often triumphantly excellent. Ponce and Simonet,'' on the other hand, seem, in this diredtion, to do their very best. The " Leucothea and Apollo " by Simonet, after Monnet, is, in good proofs, as ' 1732-1816. A., July 22iid, 1765. ■ 1741-1811. His most important work is in the " Galerie de Florence," 1789. ' I/35-1B18. Worked for the "Galerie de Florence," but, like Masquelier, was above all a " vignettiste." * 1746-1831. Exhibited 1791, 1793, 1796 and 1799. Pupil of Delaunay. His work on the Ovid is unequal, on the "Fables de Dorat " invariably good. Of his larger prints the place of honour must be given to the " Enlevement nocturne" after Baudouin, but "La Toilette" with a frame by Cochin, is also a pretty thing. His learned tastes sometimes led him to engrave duller subje6ls. ' i744-i8oo(?). ° 1730- • • • ■ ' 1740- . • • ? " See Chap. 111., p. 47. " 1742-18 . . ? His brilliant work on the Ovid is equalled by his execution of " Le Triomphe des Graces" after Boucher, and " Les Graces Vengces " (see illustration) after Moreau in illustration of du Querlon's " Les Graces " (Laurent Prault, libraire, quai des Augustins, a la source des Sciences : et Bailly, meme quai, a I'Occasion, 1 769). His engravings after Baudouin of" Le Modcle honnete," " Le Couch6 de la Marine," " Le Danger du Tete-a-Tete " and "La Soiree des Thuileries " are famous, but Moreau is said to have been chiefly responsible for the " Couchc de la Mariee." 106 Les Graces vengees : " Les Graces," Querlon, 1769. (JeAN-BaPTISTE SlMONET, AFTER MoREAU LE JEUNE.) r }[ fl ^ J } iuiu^ittt u^ bright and happy in expression as any of the subjefts rendered by The Le Mire after Eisen, the draup;htsman whom he seems to have P"P''s of specially reserved to himself. In comparing the work of this and the brilliant and original engraver with that of those whom he Engravers selefted as his associates, the most noticeable thing is the immense vignette advance made by his pupil, Le Veau. This fa6t was evidently appreciated by Le Mire when he confided to Le Veau one of the series by Eisen with which the work opens. In dealing with these Le Veau first makes proof of that peculiarly incisive point which distinguishes his reprodu61:ions after Gravelot and Moreau and continues to differentiate his work to some extent from that of his master. From this time forward he stands in the front rank of the most accomplished of all the " graveurs de livres." The admirable execution by Le Veau of many of the little scenes in the " Contes Moraux " is unsurpassed even by his famous contributions to the Moliere, illustrated from the drawings of Moreau le jeune in 1773.^ In the " Fourberies de Scapin " and the *' Georges Dandin," Le Veau has interpreted Moreau's con- ception of the situations with a lightness and delicacy which take nothing from the play and vivacity of the expression. Not even the masterly engraving of the " Festin de Pierre," by which Le Bas himself takes his place at the head of the group engaged on these volumes, can claim conspicuous precedence. The company includes de Ghendt^ — the pupil of Le Bas' pupil, Aliamet^ — who shows much of the brilliance of Le Mire in his treatment of " Les Facheux " ; Helman,^ who in " Le Malade imaginaire " gives us an excellent example of the discreet use of the "pointille"; Masquelier, who takes " L'Ecole des Maris," whilst Nee, with whom his name is constantly associated, en- graves no less than six subjefts, and, of those less direftly connedled with Le Bas, Baquoy, Simonet, Duclos^ and Delaunay. Of the six engraved by Nee, two — " Le Mariage force " and ' "CEuvres de Moliire. A Paris. Par la Compagnie des Libraires Associ^s. •773-" ^ 174 . ?-i8i5. A set of figures after Eisen for the " Pygmalion " ot Rousseau bear the signature of de Ghendt with " Aliamet direxit." Except for the " Quatre Parties du Jour " which he engraved after Baudouin, he confined himself entirely to book-illustration : his name appears on the plates in du Rosoi's " Les Sens " (" Les Sens. Poeme en six chants. A Londres. 1766."), Baculard d'Arnaud's " Epreuves du Sentiment" (see p. 127) and on a title-page of the second volume of Poin^ot's edition of the " Nouvelle H^Ioise" (1788), etc., etc. ' 1 726-1 788. ' 1 743-1 806. ' 1742- . . , ? He was an excellent engraver of vignettes and best in reproducing work by Augustin de Saint-Aubin. He exhibited at the Salon of 1795 " Deux tetes dYtudes " and " Deux gravures." 107 The " L'Avare " — are specially noticeable for a silvery delicacy of Pupils of effeft, but the style of the delicate work is injured in the second and the example by the coarse effeft of the woodcut heading on the Engravers opposite page. Baquoy treats " L'Amour Mcdecin " with bril- v*^^tt hance and " M. de Pourceaugnac " with power ; Simonet, unlike most of his fellows, is at his best when handling allegorical fan- tasies such as " Psiche." He plays with them, showing a freedom and elegance which he does not exhibit in " Le Tartuffe " or " L'Etourdi," Duclos is mannered and overemphasizes the features of his a<5tors. I have left to the last the " Comtesse d'Escarbagnas " and "Le Cocu imaginaire," both of which were engraved by Delaunay. " Le Cocu imaginaire" especially, which he has signed and dated 1772, is in many respe6ts supremely excellent. In point of ex- pression, grace, piquancy and admirable unity of general effect it appears to me to be simply perfedlion. One is indeed loth to criticise any point in the aspe6t of an edition which is illustrated by so much beautiful work, amongst which must also be reckoned the famous engraving by Cathelin ^ of the head of Moliere. This brilliant portrait exemplifies to admiration that wonderful skill in giving dainty details of lace and watered patterns of silk ^ which Cathelin brought to perfedtion under the eye of Le Bas and which contrasts in his work with the decision and firmness shown in handling flesh — the quality which, in his rendering of Cochin's " Louis XV.," after Van Loo, justified the choice made of him to complete the work which Tardieu had left unfinished.^ In the same year that saw the publication of this edition of Moliere appeared the " Fables de Dorat." The text has but the slightest claim to be classed even in the lower degrees of literature, but the illustration — engraved chiefly by de Ghendt, who wins his greatest triumphs in translating Marillier — is of the most brilliant quality. All de Ghendt's little pieces in this volume are miracles of microscopic delicacy. With de Ghendt were joined Masque- lier and his associate Nee, who were not far behind him in delicate art. Delaunay left the task on which he was engaged for the works of Rousseau to engrave the full-page subjedt of " Time and Truth," which figures in the first volume of the " Fables " ; Arrivet, Le Beau,* Baquoy, Lingee,^ Le Veau, Gode- ' 1736-1804. R. April 26th, 1777. ' This is even more remarkable in his " Abb^ Terray," after Roslin. ^ See the letter written by Cochin, cited by Portalis and B^raldi (t. !., p. 326) as given by Dumesnii, " Hist, des plus c^U-bres amateurs fran^ais." * 1744.-18 . . ? See Basan, " Did. des Graveurs." ' I75'(3 ')' ••••'' 1 08 Le Mariai;k, ou la Sortie de l'Opera : " L'HiSTOiKE DEs Modes et du Costume," 1776. ((Ikorges Maliseste, after Morfau le jeune.) froy^ and Le Grand each contributed subje<fls, Le Gouaz^ — The for whom the plumage and movement of birds had a special Pup'ls of charm — was entrusted with several, in one of which, " L'aiglonne and the et les paons," he shows us how much less of an artist he is than Engravers Nee, who treats the same royal bird in the tailpiece to the " Silphe vjgnette et le pigmee." To the co-operation of Masquelier and Nee we owe not only in large measure the beauty of the " Fables de Dorat " and the creation of many other illustrated books of a different type, but the continuation of the famous " Chansons de la Borde." ^ The last three volumes are as inferior to the first as the designs of Moreau le jeune are superior to those by Le Bouteux, Saint- Quentin and Le Barbier, who were employed as cheaper substi- tutes to carry out the work which he had begun, but the perfect art of the engraver has succeeded in enabling the continuation to pass muster. Whilst Nee and Masquelier were completing the abandoned work, a great group of artists were employed by Prault in repro- ducing the famous designs made by his brilliant son-in-law, Moreau, for the " History of Costume." * This costly and splendid publica- tion is not only the most vitally real, but, in certain aspedts, also the most dignified representation of the days of Louis XVL If Triere^ shows himself somewhat inferior to his task, we can find no more magnificent example of the work of others engaged than the " Declaration de la grossesse " by Martini,^ the " C'est un fils, Monsieur," by Baquoy, and the " Mariage " or " Sortie de rOpera" by Malbeste.^ The last named in a fine state is, I think, the gem of the series. The brilliant art of these men rises to a splendid excellence in these remarkable pages which make us turn impatiently from the ' 1743(8 ?)-i8i9. He was a pupil of Descamps and Le Bas, and was the engraver of Moreau's drawing, "Trait d'humanit^ de M"'' la Dauphine." '' J742(?)-i8i6. ' " Choix de chansons mises en Musique par M. De La Borde. Orn^es d'Estampes par J. M. Moreau. D(5di^es a Madame la Dauphine." Paris, de Lormel, 1773. * " Seconde et troisiime Suites d'Estampes pour servir a I'Histoire des Modes et du Costume en France dans le XVIII. sidcle. Ann^e 1776. A Paris, de I'lmprimerie de Prault, imprimeur du Roy, i 777-1783." See Bocher, p. 487. ' 1756-18 . . ? For his work in this publication see p. 142, notes i and 2. He also engraved " Le Lever de la Marii^e," after Dugourc, and many vignettes for illus- trated works; amongst others for the Kehl Voltaire, the " Gerusalemme liberata" of Cochin, "Les Liaisons dangereuses," the Cr^billon (after Mariliier) of 1785. ° 1 739-1 800. He worked much for Le Bas in the preparation of his plates. His four engravings in the above series constitute his most important claim to notice. ' 1754- . . ? The above is his most important work. See also p. 140, note 2. 109 Vignette. The slighter and more exquisite graces of volumes more popularly Pupils of representative of the press of the day. The light needle which and^he Fran9ois-Antoine Aveline^ brings to sketch in Eisen's headings Engravers to the " Satires " of Boileau ; the even more fairy-like grace with vianpttp which Prevost^ handles the slender fancies spun by Cochin's early genius about the fable of that " Pastor Fido " dear to the heart of Wilhelm Meister ; the delicate work spent on the foolish "Origine des Graces " ; ^ all these, triumphs of art in their way, we may weary of, but the " Monument de Costume " remains a work to which one turns with never-ceasing delight. ' I7i8-i762(?). " See p. 49, note 5. Benoit-Louis Prd-vost {c. 1735-18 . .) was a pupil of Le Bas' pupil, Ouvrier. We find his name on many vignettes, amongst otliL-rs, on those designed by Cochin for the Terence of 1770, which he engraved together with ChofFard and Saint-Aubin. ' See Chap. III., p. 49, note 3. I 10 En tete and Cul de Lampe of " L'Abeille justifiee": Fables de Dor at, 1773. (EmiManuel de Ghendt, after Pierre-Clement Marillilr.) CHAPTER VIII GRAVELOT AND EISEN SO far we have been dwelling on the influences which went to the shaping of the art of the century and on the achievements of men who for the most part reproduced the works of others : the portraits of Drevet, of Daulle, of Wille ; the great colleftions published by men such as Basan ; the engravings of Laurent Cars after Le Moine, those by Beau- varlet after Van Loo; and the great enterprises of Le Bas. With Hubert-Francois Bourguignon dit Gravelot ^ we leave the en- gravers proper and come to the designers for illustrated books. The execution of cuts that should enliven the text of books ot dimensions such as could be easily held in the hand was quite a different matter from the illustration of great folio volumes, which meant the execution of engravings that would show as well or better on the walls of a cabinet. There was also another and noteworthy point marking difference and change which is diredlly connefted with the genius of Gravelot. It is the treat- ment of matter furnished by the life of the day in the pages accompanying the text of the novel or romance. The modern novel is, in fadl, the creation of the eighteenth century and Grave- lot was, perhaps, the first to show what might be done in the way of illustrating the subjedls treated in its pages. Cochin, it is true, gave designs for hundreds of small books and showed — in his famous drawings of the great Versailles Fetes — ' 1699-1773. He belonged to no Academy. His "eloge" is to be found in the necrologe for 1773. It was, says Mariette, carefully compiled from notes fur- nished by his brother d'Anville, the famous geographer. Walpole, in his "Anecdotes of Painting," has a short article on "Henry Gravelot." This error is replaced by another in the footnote, where he figures as "Francois-Hubert D'Anville." I II Gravelot an Immense power of making records of the passing day, but his ^^'^ tendencies towards a veracious accuracy in that dire<5tion were strangled by the foolish passion for allegory which attacked him in the most exaggerated form after his Italian tour. If compared with the work of other designers of illustrations that of Hubert Gravelot takes the most honourable place. " Not much known as an engraver," writes Walpole, "but was an excellent draughtsman." Not even Moreau le jeune can surpass the tadt and skill, the firm and admirable draughtsmanship of Gravelot. " Des ses plus tendres annees, il montra," it is said, " un gout decide pour le dessein,"' but his early training owed little to that steady diredtion by which his contemporaries were drilled in their craft and was further disturbed by a long absence from France. The promise of excellence shown by him when the pupil of Restout^ encouraged his father — who, a tailor by trade, nourished high ambitions for his sons — to send him to Rome, but the projeft did not succeed, and finally Gravelot was despatched to St. Domingo with the Chevalier du Roche-Alard^ and " y fit sous Frezier les fonftions d'ingenieur," which reminds us of Dugourc's employment when he went with M. de Gribeauval to Nancy.* Before long Gravelot returned to France, but although he received encouragement from Boucher, he left Paris ^ for London, having had an invitation from Dubosc,^ who employed him on the English edition of Picart's " Ceremonies religieuses de tous les peuples" (1732-1737). Whilst in England he spent, says Walpole, "some time ... in Gloucestershire, drawing churches and anti- quities." Gravelot was, he adds, " a faithful copyist of ancient buildings, tombs and prospers, for which he was constantly em- ployed by the artists in London. He also drew the monuments of kings for Vertue, and gave the designs, where invention was necessary, for Pine's plates of the tapestry in the House of Lords," ^ ' Mariette, A. B. C. Dario. ^ See " Supplement au diftionnaire des graveurs," F. Basan. " Walpole says : " He had been in Canada [?] as Secretary to the Governor, but the climate disagreeing with him, he returned to France." ' "French Furniture and Decoration in the XVIIIth Century," p. 74. ' It is supposed that his " Cahiers d'Images pour les enfants," "Scenes Enfan- tines," " Fables de la Fontaine," " Les Sciences," etc., etc., should be placed during this stay in Paris. ^ Claude Dubosc, who was employed by Sir Nicolas Dorigny to engrave the cartoons at Hampton Court, began upon his own account a set of the Duke of Marlborough's battles — suggested probably by that which appeared in Holland in 1728. He took a shop and sold prints, sending for Gravelot and Scotin to work for him ("Walpole's Anecdotes," ed. 1862, t. iii., pp. 965, 968). ' This volume, entitled " Tapestry hangings of the House of Lords," consists of I 12 Vioi.A AND Olivia : " Twelfth Night," Shakespeare (Oxford, 1744). (HUBERT-pRANrOIS OrAVELOT, AFTER HaYMAN.) but all this work, by which he got his bread, gave him no oppor- Gravelot tunity of distindion and is to us small source of pleasure. E^sen In England Gravelot remained about thirteen years, engraving and painting and making an immense quantity of drawings for other engravers. His work at that date shows the greatest variety of style: absurd designs in the genre rocaille iox goldsmiths,^ trade- cards for shops,'-^ sketches for the headings of ballad sheets;^ but, above all, series of illustrations for books. The twelve at first executed for " L'Astrce " in 1733 do not show much originality, but the frontispiece to the Kit-Cat Club (1735) is not without char- adler and the headings to the " Songs in the Opera of Flora " are excellent. So are most of those to the edition of Gay's Fables published by Knapton in 1738. In connection with these last Gravelot probably made some of the drawings in pen and sepia, such as the " Dog and Fox," " The Man with the Dog and Cat" and the " Girl feeding a Turkey," which, together with others of a different character, are to be found in the Print Room of the British Museum.^ In 1743 Gravelot made a few designs for Godwin's " De Prassulibus Anglis," and at about the same date we begin to see in the pages of Rapin de Thoyras' " History of England"^ the formation of a personal way of looking at life. The Blue-coat boys, in one of these volumes, who cap the portrait of Edward VI. are seen with an absolute detachment from any preconceived ideal of what a boy should look like, that makes them very amusing. The same freedom marks Gravelot's sketch of the members of the House of Commons "in 174-g^," probably executed when he a series of sixteen large double folio plates tinted blue. They represent engagements between the British and Spanish fleets at the time of the Armada, and are surrounded by borders, with medallion portraits of the various commanders. (London, 1739.) ' One of these described by MM. Portalis and Bcraldi shows designs for the case of an //«/', for the case of a watch, figures, etc., on the same sheet. ^ In the seventh volume of the collecStion of Gravelot's work in the Cabinet des Estampes there is a vignette of a man buying and sniffing at the tobacco balanced in the scales before him by a young apprentice. It is accompanied by the announce- ment : "French manufacture of Rappee snufF by John Lhuillier. Removed from the corner of Little Newport St. to Great Newport St., Leicester Fields . . . also makes and sells Wholesale and Retail all sorts of Scotch Snuff, Smoaking Tobacco, Shag, Pigtail of all sizes." ' The popular "Adieu to Susan" and many others of a similar class were thus embellished by Gravelot. They were " printed for John Bowles, at the Black Horse in Cornhill. According to A6t of Parliament, 1744." ' The set in sepia are eight in number, but others representing subjedts such as the "Interior of a Theatre," "A Gravedigger," etc., etc., can have no connexion with the " Fables." ' London, i 743-1747. 113 «L Gravelot was going to the Houses of Parliament on his work in connedtion and with Pine's publication of th^; "Tapestries of the House of Lords." In the pretty cuts to the 1742 edition of " Pamela" we get some of the first of Gravelot's book-illustrations, and although it is commonly supposed that those for Sir Thomas Hanmer's edition of Shakespeare^ were all drawn by Hayman, we find from Walpole that many were designed by Gravelot and all were " of his graving." It is, however, in the pages of " Tom Jones " that one finds some of the most significant work executed by Gravelot during his stay in London, at the sign of the Gold Cup, King Street, Covent Garden. Of these illustrations of Fielding's great story, we may repeat Mariette's words : " II y montroit du genie, et entroit assez bien dans le caraftere des sujets qu'il avoit a traiter. Aussi etoit-il recherche, et il y trouvoit plus de profit que le meilleur peintre n'auroit fait en produisant de grands ouvrages." It seems difficult to say exaftly when Gravelot left England. He cannot have arrived earlier than 1732, when the first numbers of the " Religious Ceremonies " began to appear weekly. If he went back to Paris thirteen years later, in 1745, he must have returned to London shortly after, unless indeed he continued to furnish from Paris the illustrations of various editions brought out in London.- Mariette, in the first article which he wrote on him, says that Gravelot made two visits there and that he spent in all fifteen years in England ; this article he, however, afterwards declared to be " fautif," adding: " II m'avoit etc administre par des gens mal informes ; il faut s'en tenir a ce qui est marque ici," that is to say, the statements made in the second article are alone authentic.^ Whether he stayed for fifteen or for thirteen years, the country and the people made a profound impression on Gravelot. Again and again we find in his works pages in which the English air and aspedt are depifted with that vividness of impression that is granted only to a stranger's eye. " A Conversation with a Romish Priest" could take place nowhere but in England and in the England of that day. Our women would scarcely need to look so furtive at the present moment. The young lady, too, in " Le Ledteur," of ' Oxford, 1744. " Palissot de Montenoy, "Theatre, etc.," London, 1763; "M6moires de Sully," London, 1767. ' These details are perhaps necessary, as M. Portalis, in the very full and interesting article on Gravelot in the first volume of his " Dessinateurs d'lllustrations au XVIII""^ Siccle," keeps to the date repudiated by Mariette : " Gravelot sejourna quinzc ans en Angleterre" (p. 273). 114 Pkomknade a ueux, (nRAWING BV GraVEI.OT.) /;/ the tvUcctiaii of M. [acqncs Doncef. and Eisen. which we are told " Gravelot pinxit — Gaillard sciilpsit," does not Gravelot require the verses inscribed on the engraving to tell us to what nation she belongs. " Oui, cette jeune Anglaise a droit de te charmer. Et tu lui lis d'atnour sans doute I'art d'aimer, . . ." To look at Gravelot's painting of " Le Led:eur" — which came into Mr. Heseltine's collection from that of Mr. Wornum — must convince us that when M. Portalis writes, "Gravelot a fait aussi de la peinture, mais assez mauvaise, quoi qu'en disc Boucher," he can hardly have seen any authentic work. Gravelot paints, as he drew, with ingenuous simplicity, without pretension or emphasis, and with a most remarkable feeling for the right surroundings of his subje<5ts. It is not alone in work diredfly representing the men and women of London that we can trace signs of the way in which Gravelot's sight became impregnated with the essence of English life. We recognize them markedly in his designs for plays and romances: in the figures of the " Galerie du Palais" — engraved by Le Mire in the illustrations to Corneille ^ and named in the English version " The Unlucky Glance " ; in those for Lasalle's " Histoire de Sophie de Francourt," published in 1763 ; in the four which accompany " L'Histoire de Miss Jenny," by Mme. Riccoboni,^ which appeared the following year ; and in the "Fabricant de Londres," by Fenouillot de Falbaire,'' published only two years before Gravelot's death. On the other hand, it is impossible to find anything more sincerely French than a design such as that for the " Ecole du Jardinier-Fleuriste," by Freart de Castel, executed in 1764, or the brilliant series illustrating the " Contes Moraux " of Marmontel, ' This edition was that the sale of which was intended to furnish the dower of Mademoiselle Corneille. Bachaumont writes (July 5th, 1762): "On rt-pand dans le public un prospe£ius de la nouvelle Edition de Corneille, entreprise par M. de Voltaire. Get ouvrage sera de dix a douze volumes. II sera orni de trente-trois estampes, dessin^es par M. Gravelot." ^ Mme. Riccoboni writes (May 15th, 1765): "Monsieur Becket, . . . s'est ruin6 avec Miss Jenny . . . Monsieur Hume . . . s'avisa de donner cette malheureuse Jenny a Monsieur Becket, qui en a fait un garde boutique, un fond de magasin pour ses arri^re neveux " (" Correspondence of David Garrick," v. ii., p. 436). ' See Chap. III., p. 50, note i. Fenouillot was a personal friend of Gravelot. In an undated letter to Garrick he says : "Je profite, Monsieur, avec le plus grand plaisir, de I'occasion que M. de Fenoiiillot me procure de vous renouveller les senti- ments de la plus vive amiti^ . , . J'y joins mes respects a Madame Garrick dont le souvenir me sera toujours cher . . ." (" Corres.," v. ii., p. 533). Gravelot had illustrated "L'honnete Criminel," an earlier drama by Fenouillot, in 1767, the plates in which were engraved by Delaunay. "5 Gravclot and Eisen. which were published in the following year.^ It is true that Gravelot loses grip and diredlness if he has to treat classic or romantic themes : when he attempts to render sentimental rustic idylls — " Laurette " or the " Bergcre des Alpes " — his illus- trations become as unreal as the stories they accompany. His great strength is in dealing with scenes of contemporary life. In " Le Mari Sylphe," " Annette et Lubin," " Le Connoisseur," " Tout ou rien," " L'heureux Divorce " and the admirable " Femme comme il y en a peu " the art of Gravelot touches a high point. Of the delicate and peculiar character of these designs, M. Portalis, to whom students of the art of the eighteenth century owe so much, has written an admirable criticism. " Qu'ils soient," he says, " sous la tonnelle des jardins ou sur les sophas des salons, ses personnages, dans les costumes les plus gracieux,y sont toujours elegamment groupes ; quant aux situations dans lesquelles il a a les peindre, celles qu'il prefere de beaucoup sont les scenes d'amour et les motifs de galanterie, et personne n'entend mieux que lui les reticences du crayon, et I'art de ne laisser pas voir ce que le ledleur devinera sans peine." ^ It is in this class of work especially that we see Gravelot's powers at their full strength. There is not a figure nor a group in the "Exercices de I'lnfanterie et des diverses positions du soldat "which is not drawn with masterly vigour, but his drawing does not help him except in handling that which he has ad:ually in sight. ^ If we take up the illustrations to Voltaire's works we find that those of the Plays alone in which, as in " Narcisse," he had close touch of the aspefts of everyday life are very good. When he attacks the classics,* there is shown a distinft inferiority of every quality except that of composition. His admirable powers of design never forsake him and furnish indeed the saving grace of his weakest and latest work. They give excellence to the fine " fleurons " of the Terence of 1753 and inspire the quality of his best designs for the Boccaccio of 1757.^ Even the miserable ' Three vols., Merlin, 1765. The twenty-four drawings for the "Contes Moraux " were exhibited by M. Germain Bapst in 1888 (" Exposition de I'Art fr. sous Louis XIV et sous Louis XV "). ^ Portalis, "Les Dessinateurs," t. i., p. 285. ' From the "Eloge" of Gravelot written by his brother d'Anville we learn that he had had made in London three little lay figures carefully padded and jointed. They were about fifteen inches high and were provided with a considerable ward- robe, so that they could be dressed according to the characters they had to represent. * Lucain, two vols., 1766; Tacite, 1768; Horace (Baskerville), 1770 ; Lucr^ce, 1768, etc., etc. ' See Chap. VIL, pp. 100, loi. The publisher requested Gravelot to add to the illustration subjects containing "des figures libres." M. Portalis quotes (t. i., 116 X C3 f- o X p c z z o u X X o u < w a, O X ■si a: p ^ O z Oi <: w a: ^ w' X < ■A 2: S 13 illustration of the Tasso of 1771 is saved from disgrace by a faint Gravelot echo of the taste and skill of earlier years. ^^ The delightful pieces in the " Decameron," the baby groups who mimic every shade of human conduct should be compared with the tiny etching of " Les enfants imitateurs" or the endless procession of childish figures that starts with the"Almanach utile et agreable de la loterie de I'Ecole royale militaire pour I'annee 1760." La Honteuse, La Bien Elevee, La Rieuse, La Petite Maitresse, L'Affairee and others present themselves each with an infant couplet : " Que Lise parait occup^e L'ambitieux et le s^avant, A peine le sont ils autant, Mais chacun Test de sa poupde." Extracts from some letters which have been published by M. Portalis^ are the most valuable source of our information concerning the facts of Gravelot's private life. They are specially interesting because they throw light on features in his character which explain the character of his work. He loved his art and lived by it, but was without the ambition which might have prompted him to make it his only occupation. He wrote, he wrote verses, he read much and he contrived to live in Paris and to carry on his profession without obtaining the sancStion of any Academy, nor does he seem to have suffered in consequence the usual persecutions and summons be;^ore legal tribunals. Hisvery existence seems to have sought hidden ways ; he visited no one, not even his brother ; he married twice, but " par fantaisie et a I'insu de ses proches." Yet one of these letters, in which he has written of his early hopes, long delayed for want of means, contains a passage of great tenderness : " Nous allons done etre heureux, tons deux," he says, when the day draws near, " par notre amour, par une honnete mediocrite, des desirs modestes, un petit menage decent, mon crayon, mes burins, mes livres, quelques amis, et, plaise a Dieu ! une bonne sante surtout." The " quelques amis " reminds us that Gravelot, like his distinguished but less eccentric brother, d'Anville, the geographer, reckoned amongst his friends men of the greatest distinction. p. 276) from the letter written by Gravelot in reply the following passage : " Ce que vous me demand^s se peut faire, mais, pour rendre les choses suivant votre idee, cela exige de votre part une explication plus d&id^e et que je susse bien jusqu'a quel point je dois pousser la gaillardise; car, quoique dans ces sortes de compositions la gentiilesse soit pr^ftrable a la grossieret^, il y a des gens, comme vous s^avez, a qui il faut des perdrix et d'autres qui aiment mieux la pi^ce de boucherie." ' " Les Dessinateurs," t. i., p. 289. 117 Gravelot The position which he had acquired in London was quite different ^'^ from that which would have been accorded to an obscure young foreigner doing hack-work for pubHshers and brother artists. Amongst his friends were no less personages than Garrick and his wife. That his relations to them were of the closest intimacy is indicated by every line of the letters published in the " Private Correspondence of David Garrick." Their style, also, gives evidence of the unusual chara6ter of the education which both he and his brother had received. It is surely not necessary to suppose that the two young men disguised their origin by assuming names other than their own because that of Bourguignon figured over a tailor's shop. "Je ne puis croire," says Mariette, "que ce fut par un motif de vanite, car le pere non-seulement etoit en reputation d'un honnete homme, mais, ce qui auroit du les toucher davantage, il prit un soin tout particulier de leur education." The most likely explanation would seem to be that prudence imposed some such precaution when the father sent his boys to a "college" chiefly frequented by their " betters." Gravelot's friendship with the Garricks did not cease with his departure from England. In the " Memoires secrets " of Bachau- mont we find the entry, under the date of January 15th, 1765: " On annonce un fameux medaillon que Garrick a fait frapper pour Mademoiselle Clairon." The medallion, as we learn from the fuller details given later, was struck from a drawing ordered of Gravelot by Garrick.^ " Les enthousiastes de mademoiselle Clairon," adds Bachaumont, " ont saisi avec avidite cette occasion de la celebrer : on a institue I'ordre du Medaillon, et Ton a frappe des medailles representant ce portrait, dont ils se sont decores." ^ This incident, which so opportunely soothed Clairon's wounded pride at the time of her struggle with Freron, passes without comment in the letters to Garrick, but there are two letters of the year 1766 which are full of allusions to Gravelot's work. "I have," he writes on the 8th March, " — in order to meet the impatience of ' "Mademoiselle Clairon," says Bachaumont, "est representee avec tous les attributs de la trag^die. Un de ses bras s'appuie sur une pile de livres: on y lit: Corneille, Racine, Crebillon, Voltaire ; et Melpomene est a cot^, qui la couronne." The words " Proph^tie accomplie" at the top of the drawing referred to Garrick's prophecy of Clairon's future when he had seen her fourteen years previously. ' M<5m. sec, Feb. loth, 1765. This is probably a joke. The drawing was engraved. Monnet writes to Garrick, June 15th, 1765 : " Le dessin que vous avez donn6 a Mademoiselle Clairon est grav^. On le vend et M. de Cr^billon est trds- fach6 de ce qu'on a mis son pire apr^s Voltaire, c'est a dire au-dessous du dernier des volumes sur lesquelles Mademoiselle Clairon est appuy^. J'ai jett^ la faute sur M. Gravelot " (" Correspondence of David Garrick," v. ii., p. 442). 118 A Conversation with a Romish Priest. (Gravelot.) M. de Grimaldi ^ halfway — hastily put together with this year's Gravelot little almanack- some specimens of my work. There are some ^'?^ ^ proofs of the plates for an Italian edition of the ' Secchia Rapita,' ^ as well as some prints for M. Marmontel's prose translation of Lucan/ which I am sure will give you much pleasure. , . . These two works are finished as far as I am concerned, and almost as far as regards the engravers. I promise myself some day to send you the two series complete. I am actually attempting Tasso,'' and at last, I believe, they are going to engrave the Voltaire,*' which if they do me justice will I hope do me some credit. I have added to the specimens in question good proofs of the comedy of ' La Partie de Chasse de Henri IV,'' by M. Colle — a piece with which you are by this time probably acquainted, as it is a fortnight since it was published in print." Concerning the illustrations to the Voltaire, by which Gravelot hoped to do himself honour, the publisher Cramer wrote to him, as early as 1760, that the author, delighted with his drawings for the Plays, made over to him all responsibility for the engraving of the subjefts and the choice of the engravers.^ Voltaire was possibly glad to free himself from all anxiety as to the " vain et miserable ornement des estampes," which had, however, become an absolutely necessary addition to every work of letters. Gravelot himself refers to this passion for illustrations in terms equally vigorous when he excuses his unwillingness to look after some vignettes for Colman's Terence.'-' " Nos graveurs," he says, "... sont si occupes, la manie des estampes etant ac^tuellement ' The "abbe de Grimaldi, de la maison des princes de Monaco," is frequently mentioned by Wille as a great " amateur." ^ The " Almanach iconologique " was begun by Gravelot in 1765 with the co- operation of Cochin and kept up for seventeen years. ' Published by Prault, 1766. ' " L'Epitre aux poetes sur les charmes de I'etude " (1760), in which Marmontel specially exalts Lucan, at the expense of Virgil, was a prelude to the publication of this translation. ' This work did not appear till 1771 : the illustrations are worthless. " The beauty of Gravelot's illustrations for his Plays, for the "Nouvelle Hcloise" (1 761) and for the " CEuvres de Pierre Corneille" (1764) inspired Voltaire with the desire to employ him only on the great edition of his works which was completed in 1768. ^ M. Portalis places the execution of these drawings between 1762 and 1765 (" Les Dessinateurs," t. i., p. 284). " Ibid., p. 280. ' I suppose this to be George Colman (1733-1794), best known as a dramatic author and owner of the Haymarket Theatre. He collaborated with Garrick on "The Clandestine Marriage" (see letter of December 14th, 1766, from him to Garrick, " Correspondence of David Garrick," v. ii., p. 209). He was the author of a translation in verse of the " Ars Poetica." 119 and Eisen. Gravelot celle de la typographic, que je n'ose me mettre entr'eux et la personne qui voudroit me charger de pareilles entreprises." In the same letter, which is written to Garrick, Gravelot refers also to a " Tclemaque," the engravings for which might be put into the hands of a pupil of his — " Grignon,^ qui a cte mon eleve, s'il n'a pas degenere, a du gout et du merite " — and returns to the subject of the Voltaire. " On grave aftuellement," he says, " mes dessins du Voltaire, qui sont payes cent ecus piece aux graveurs, ceux du Corneille etoient payes sept louis chacun." The phrase with which this letter ends is also worth citing, if only in proof of the strong feeling which bound Gravelot to the Garricks : "A present, laissons I'essor aux mouvemens de I'amitie. Vos lettres me seront toujours une bonne fortune, et le souvenir de votre chere epouse a true blessing.'" ^ As we read these words, written in 1766, it must be confessed that some doubt arises as to the truth of the legend which repre- sents Gravelot as fleeing from England before the offensive attitude assumed by those about him after the loss of the battle of Fontenoy. The brilliant success of Marshal Saxe — then at death's door, but so courageous that he had met Voltaire's remonstrance before his departure from Paris with " II ne s'agit pas de vivre, mais de partir"^ — had left the English far more angry with General Ingoldsby, to whose disobedience the Duke of Cumber- land attributed his defeat, than with the enemy. The coincidence of the date — 1745 — with that which has been suggested for Gravelot's final return to Paris has probably been responsible for the tale of the terrifying talk by which he was driven from London, and if he did not return, which seems doubtful, his marriage was a sufficient reason, to one of his disposition, for not again leaving his own country. To Gravelot had fallen the honour in 1761 of" creating " the illustration of Rousseau's " Julie. "^ Rousseau had appeared more than content, but — whether it were that Gravelot was absorbed by his designs for the Voltaire or that the publishers were inclined to make trial of another hand — the designs for " Emile " were fur- nished in the following year by Charles Eisen. ^ The lavish employ- ment of the vignette had not at first been welcomed by the lover ' Grignon is supposed to be, as his name indicates, of French origin, but spent his whole life in London. ^ " Correspondence of David Garrick," v. ii., p. 496. " " Precis du Siccle de Louis XV," p. 109, ed. 1808. * See Chap. VII., p. loi, note 5. * 1720-1778. R. Acad. St. Luc, 1751. 120 La Galerip: nr Paj.ais : Cornf.ille, 1764. (Le Mire, after CIravelot. ) jV tc Mm Sculi of books. " J'ai peste le premier," writes Mathieu Marais to Gravclot President Bouhier, " centre les encadrements de nos libraires, qui ^"g sont plus sots que des enfants avec des images."^ But the artists who devoted themselves to the task, showed such admirable dexterity and ingenuity that they conquered their public and the vignette soon became the indispensable adjundl to every text. The art of illustration was no longer confined to the decoration of works of romance or poetry, or to the pointing of serio-comic studies of life and charadler, it seized on treatises of morals — the most unlikely pasture to nourish the imagination of the designer. " Emile ou de I'Education," says Bachaumont, " by Jean-Jacques Rousseau, citizen of Geneva ; such is the title of four volumes in 8vo which have lately appeared. This work, long announced and expefted, excites so much the more public curiosity since the author joins to great wit the rare talent of writing with as much force as grace . . . the four volumes are admirably printed and ornamented with the prettiest cuts."^ These cuts, engraved by Pasquier,^ de Longueil and others after Eisen, do not, however, show that profuse book-illustrator to advantage. The enticing airs of his women, their mincing manners and wanton fluttering ways are as evident in the cuts which adorn the first edition of " Emile " as in the famous series of the " Contes de la Fontaine," but so also is Eisen's insufficient drawing. Born in 1720, at Valenciennes, of Belgian parents,* Eisen on coming to Paris was brought into relations with the maitres. His father exhibited, in 1762, two little pi6tures of the " Fuite " and " Le Repos en Egypte"^ at the Salon of " Messieurs de I'Academie de S. Luc," but this was a tardy compliment, for his brilliant son had been received on " Un tableau, representant Icare et Dedale," eleven years before. At the Salon of 1751, when he made his first appearance, Charles Eisen showed, amongst other work, " Plusieurs dessins et esquisses sous le meme Numero," which probably represented his designs for the " Eloge ' Letter of January 2nd, 1726. He writes in reference to the edition of the " Contes " to be published at Amsterdam in that year. ^ May 22nd, 1762. The first edition, "La Haye, 1762," contains five cuts by Eisen. Before the month was out Bachaumont notes that " Le livre de Rousseau occasionne du scandale de plus en plus. Le glaive et Tencensoir se reunissent contre I'auteur." Early in June he adds : " U Emile de Rousseau est arrete par la police. Cette affaire n'en restera pas la." ' See Chap. VL, p. 87, note 8. * Jal, " Diftionnaire critique." ' Two subjefts "par Eisen pure" were engraved by Halbou (1730-18 . . ?) for Basan: "L'Amour en ribotte " and "Les dragons de Venus." 121 R Gravelot de la Folie,"^ which appeared in that year. He must have been ^'^ already in communication with the "canal des graces," for at the Salon which was held by uhe maitres in 1752 at the Arsenal Eisen, who is called " conseiller," exhibited two drawings com- missioned by Madame de Pompadour, " dont I'un represente une Automne, dessinee d'apres un Bas-Relief d'yvoire qui lui appartient, et I'autre un Printemps dessine et compose par le sieur Eisen. Ces deux dessins," we are told, " sont graves par Madame la Mar- quise de Pompadour." A further indication of his friendly re- lations with Cochin is given by Eisen's employment on the tail- piece for the " Oraison funebre de Madame Henriette de France." The illustration of the " Eloge de la Folie " was the first important work of its kind executed by Eisen, who, whilst yet in the house of Le Bas,^ had been forced by a hasty and ill-assorted marriage ^ to devote himself to the readiest means of making money. He engraved and designed a great variety of subjedts — some religious — all more or less commonplace in charadfer, from which may be distinguished the headings and tailpieces with which he ornamented the Boileau edited by Saint-Marc in 1747, but neither in this work nor in the " Eloge de la Folie " do we realize that Eisen is about to give us his famous series of drawings in illustration of the " Contes de la Fontaine." Some of these were exhibited in 1753, together with others for the " Christiade, " for a new edition of PufFendorf 's " Histoire de rUnivers," and for a curious work dedicated to the Marquis d'Argenson and intended for the use of " difFerens Artistes, Archi- tedlure, Sculpture, Ciselure, Orfevrerie, que I'auteur fait graver pour lui." ^ The miniature portrait of a young lady, painted in oil, the size of a snuff-box, which Eisen exhibited the same year, reminds us that he was then engaged on the small portraits which ' The plates are fourteen in number. ^ He came to Le Bas in 1742. M. Portalis (" Les Dessinateurs," t. i., p. 191) cites an amusing sketch of a lanky youth, lost in his cloak, beneath which Le Bas has written "M. Esin, peintre, en redingote." ' Charles Eisen, whose full name is Charles-Dominique-Joseph, married on September 20th, 1745, Anne Aubert, his elder by thirteen years. She was the mother of a boy, who had been baptized under the names of Christophe-Charles, Oftober 4th, 1744, and this child was acknowledged by Eisen and his wife as theirs on their marriage (Jal, " Diftionnaire critique"). ^ It is to this work that Jal refers as a " recueil de dessins, graves d'apres Eisen et public en 1753," in which one finds that — although his address is given in the Salon catalogue as "rue du Foin " — Eisen was then living "rue de Bievre, au petit hotel de Braque, Place Maubert." He shortly afterwards moved to the "quai de la Tournelle, a c6t6 de la manufacSture de fayence, chez M. Mazois " (" Diftionnaire critique "), and then to the "Ouay des Miramionnes," where he remained for some years (Salons de I'Acad. de bt. Luc, 1756 and 1762). 122 ■a} X ?*. Z cS <v. S ' ^1 o X r-* Ul '^ y ^ -f^ u- £; - ' < '-5 — • 8 3 C-" ^ w z u s V U Z -J ^ < Q Z Q ^ t > Id D « V) Z 'U l^ < •5 ^-^ S <u S s; M 1 I illustrate Descamps' " Vies des Peintres," the drawings for which Gravelot and Eisen. were nearly all made by him. ^"'^ Eisen was then "adjoint a professeur" at the Academy of St. Luke and " professeur de dessin de M. M. les chevau-legers de la garde du Roi,"^ posts which conferred on him a somewhat settled position. Admission to the Royal Academy remained out of the question ; if his acquirements had equalled his genius, there would still have been difficulties, it is hinted, on account of the irregu- larities of his life. His marriage — which, under the circumstances, one must reckon to the credit of a kindly heart — did not obtain the sanation of his father's presence, but he evidently had some very good friends of the soberer sort, Le Bas — in whose atelier he had worked — stood godfather to the son who was christened in 1747, when his father was living in the "rue des Noyers, au coin de la rue des Anglois," and the excellent Madame Wille was god- mother to another in 1749, when the family had moved to the " rue du Foin." The diary of Wille for 1743-1759 is unfortunately lost, so we do not know what entertainment Madame Wille received at the christening, nor what present she was obliged to make. The intimacy, if ever there were any, cannot have been lasting, for the name of Eisen never occurs in his pages. Words which passed in the curious quarrel which took place between Eisen and Le Mire in 1759 over, it would seem, some of the illustrations to the " Contes de la Fontaine," ^ imply that there already existed a strong feeling of sympathy for Eisen's wife and children in which Eisen himself had no share. He appeared at seven o'clock in the evening of the 2nd December before the commissaires du Chdtelet, who discharged in the eighteenth century the fun61:ions of the commissaires de police of our day, to complain that Le Mire had that afternoon at five o'clock brought him some work which he had given him ; that he had pointed out some faults in his work, whereupon Le Mire, instead of thanking him for his hints and re- presentations, had abused him violently, had insulted him, had requested him to come down and fight it out, and had actually used these words : " Si je ne respeftois pas ta femme ainsi que tes enfants, je te passerois mon epee au travers du corps, et je te rejoindrai."^ ' Jal, " Didtionnaire critique." ^ I do not think that there is any woric by Le Mire after Eisen bearing the date of this year, but they were then most certainly occupied with the illustrations to the edition of the "Contes de la Fontaine dite des Fermiers g^n^raux " which came out in 1762. Eisen, as we have seen, had begun to prepare the drawings in 1753. ^ "Bulletin de la Socidt^ de I'Histoire de I'Art franfais," 1875-1878, b. iii. 5-6. 123 Gravclot Le Mire was, as his rough treatment of his assistants shows, an and excitable, passionate man. On this occasion, it islilcely that he had '^^"' considerable justification for his anger. The compositions which Eisen designed with incomparable facility, grace and spirit, were too often drawn with a careless and slovenly hand. If one puts beside an engraving by Le Mire the drawing which it reproduces and that drawing be by Charles Eisen, the advantage is by no means invariably to the account of the draughtsman. The fault- finding, the hints and representations which Le Mire took in such ill part had, quite possibly, but little justification, and it is clear from the tone of the reference to Eisen's wife and children that his condud: as a husband and father was already notoriously bad. The brilliant series of Eisen's illustrations to the " Contes," ^ even more than his later work on the " Metamorphoses d'Ovide," ^ must always remain his chief title to fame. In many respefts this fine series — the most important that he produced — is superior to any other of his work. The proportions of the figure, often faulty in Eisen's designs — as in the vignettes to the " Eloge de la Folie " or the headings to the " Satires " and the " Heros de Roman " in the Boileau of 1747 — are, in the "Contes," often of rare beauty and elegance. The pose and proportions of the beautiful queen in " Le roi Candaule " have a fine reminiscence of the Diane of Jean Goujon ; nor is this figure the only example of a similar chara6ter. Even when Eisen's art offers us a less delicately poised elegance, his wit, his facility of invention, his power of touching with piquancy every expression and pose carry off the necessary freedom of his treatment of themes essentially free, for the light touch of his pencil is exquisitely appropriate to the airy mockery of vice and folly with which the witty story-teller entertains his readers. We may take with these volumes " Les quatre parties du jour" and "Les quatre Saisons,"^ charming compositions en- graved by de Longueil, in which Eisen has given us of his best. They represent the sort of work which one should expeft from the illustrator of the " Contes," but it is not without surprise that we discover, from the list of Eisen's contributions to the Salon of the ' These drawings are in the colleftion of Madame James de Rothschild, by whose kindness I am able to give a reproduftion of that of the "Trois Commeres " together with the engraving by Le Mire, ° See Chap. II., p. 33. ' See Panhard, "Joseph de Longueil: sa vie et son oeuvre," pp. 67-69 and 71-73- 124 ^ H 2 O ja (Xh "^ -f* •x ■^ rA .J ■^ z •^ w :i] 2! ^ OS Q -M ;z^ ^ -« S s ^5, «5 /5 o ^ o 'O > > '-J C t: _ si X ^^ O Z ^ c " X >^ =q a; -• '—* ^4. ^ z X H fc. s X D SI « Academy of Saint Luke in 1762, the amount of work of a stri6tly Gravelot religious charafter on which he must have been engaged simul- ^^ taneously with that of the lightest style. First comes " un projet dessine pour une Chapelle de Communion," together with " une esquisse du Tableau d'autel de ce meme projet, representant Notre Seigneur qui fait la Cene avec ses Apotres," and " une autre Esquisse, representant I'Annonciation de la Vierge, exccutee en grand." Of this last, we are told that it was destined 'for the collegial church of Douai and was thirteen feet and a half high by ten wide. Another " esquisse," the subjedl of which was "The Marriage of the Virgin," had possibly the same destination, and the mere fift of the commission shows not only that Eisen continued in touch with the neighbourhood in which he had lived as a youth, ^ but that the licentious character of much of his work was no bar to his employment by the dignitaries of the Church. It was not, moreover, the first time that Eisen had been busied with work of this class ; he exhibited studies of St. Sebas- tian for an altar-piece in 1756, and it is clear that the various works which we have just seen figuring at the exhibition of the maitres in 1762 must have satisfied the taste and feeling of some amateur, for two years later " Charles Eisen, professeur," sends to their rooms as his principal contribution " Sainte Genevieve assise dans la campagne, faisant la ledfure " — a painting six feet by four which was intended for the chapel of a chateau. At the same exhibition Eisen showed also various pencil drawings washed with Indian ink, and probably amongst these were his illustrations to the " Zelis au bain "^ of the Marquis de Pezay. One of these — '* Le bain de Zelis " — was in the de Goncourt collection, where also figured Eisen's drawing of " L'Ouie," reproduced in illustration of du Rosoi's verses on " Les Sens," ^ which came out in 1766. The drawings for the edition of the " Henriade," * which was not complete till 1770, were also prepared about 1766- 1767, but at this date Eisen had left his wife. He was but forty-seven, she was sixty, and the rupture was so complete that he was not present at the marriage of his daughter Catherine-Justine, which took place on the 4th November, 1767, at St. Nicholas des ' He is supposed to have spent his first years at Valenciennes, where he was born : 1742 seems to be the earliest date suggested at present for his presence in Paris. Fine work of the early sixteenth century, such as the polyptych of Anchin by Jean Bellegambe (see A. Preux, "Jean Bellegambe ") was probably little valued by the men who commissioned work from Eisen. ' "Zdis au bain " by the Marquis de Pezay, 1763 and 1768. ' See p. 107, note 2. ' "La Henriade. Paris, V" Duchesne, 1770." Gravelot Champs, nor, two years later, at that of his son, Christophe- and Charles, who married a girl of fifteen, Adelaide Thibault, the daughter of a " controleur des fermes," at Ste. Marguerite, the 31st January, 1769 ^ — a match which seems rather better than the state of his family affairs entitled the young man to expert. His father was, however, adlually producing some of his best work at this time, and the price of one of his drawings was, we learn from a receipt given at this very date, 48 1.;'^ but it is unlikely that his family were much the richer for his earnings. The drawings for Dorat's " Baisers," now in the colleftion of the Baroness James de Rothschild, belong to this date and were closely followed by those for the "Temple de Gnide."^ The illustra- tions in this work are amongst the best of Eisen's designs, and their beauty is enhanced by the exquisite art of Le Mire, by whom they were all engraved. This volume has therefore a real advantage in harmony of aspeft over others — such as du Rosoi's " Les Sens " — in some respefts equally beautiful, but the pages of which are disfigured now and again by the inferior work of Wille fils,^ which cannot for an instant support the comparison with Eisen's facile and accomplished skill. The rashness of youth can alone excuse the impertinence which presents us with the ludicrous version of " L'Ouie " by young Wille, immediately in connedlion with the same subjeit treated as the frontispiece with that delightfully intangible grace which was one of Eisen's many gifts. Not even the equal kind- ness of de Longueil's graver, in which " the quality of mercy is not strained," can give to the Teutonic sentiment of such draw- ings as represent " La Vue " and " L'Odorat " anything in common with the witty gaiety of Eisen's " Le Tadl " or " Le Gout," nor anything of the elegance with which he has handled the subjeft of " La Jouissance." ^ Jal, " Dittionnaire critique." ■ "J'ay re^ue de monsieur d'Arnaux la somme de quarante huit livres pour le payement d'un dessien quy doit servire de frontispice au lamantation de Geremye fait par monsieur d'Arnaux, a Paris, ce 24 Janvier, 1769" (N. A., 1872, p. 340): "mon- sieur d'Arnaux " is Baculard d'Arnaud, the husband of M"' Chouchou, a fashionable marchande de modes. ' " Le Temple de Gnide, suivi de Cdphise, p^r M. de Montesquieu. Lemire, Paris, 1772." I vol. gr. in 8vo. M. Portalis says that the drawings for this work were in 1877 in the collecSlion of M. Duriez de Verninac ("Les Dessinateurs," t. i., p. 212). * Wille fils no doubt profited by the reputation and position of his father. We find Cathelin engraving with delicate art his ridiculous " Nouvelle affligeante," in which a lady in full dress and feathers strikes a fantastic attitude of despair, explainea by a detail in the frame, where we see a little ship going down at sea. 126 Here we are back again at situations such as Eisen treated in Gravelot the "Contes," such as he treated in " Les Epreuves du Sentiment " ^ g"ggj^_ and a dozen other volumes of a similar character. By the grace and wit that distinguished his conception of these themes he made his great and very personal reputation. Cochin had something to say as to the composition of his allegorical designs, Boucher's influence may be recognized in his drawing, especially of the heads of his figures, but these things are not of the essence of Eisen's art. His special gift resides in the power to handle indelicate subjefts with the most exquisite delicacy. This fine ta6t never forsook him ; no matter how suggestive the situation, Eisen rarely becomes either coarse or vulgar. His contributions to the exhibitions of the Academy of St. Luke maintained their curiously mixed charadler up to the last. In 1774 the unfortunate maitres held their final show in the Hotel Jabach under the auspices of the Marquis de Paulmy.^ Eisen, then " adjoint a Refteur," sent, in addition to some little paint- ings of classical subjefts,^ several drawings, amongst which may be noted two "a la sanguine, rehausses de blanc." These last were a " Sainte Famille, et pour pendant le Songe de Saint Joseph." After this elTort the maitres closed their doors, and Eisen, in his official capacity, can have had very little to do. His name appears on some illustrations published in the course of 1775, and then we hear of him at Brussels " ronge de goutte et tourmente par les maux qu'entrainent le libertinage et la debauche.""* At Brussels Eisen died. When his wife appeared, to give notice of the fa(5l (January 13th, 1778), before the commissaire du Chdtelet, Fran9ois Bourgeois, she declared that he had gone there " pour ses affaires," and his death had taken place on the 4th January, 1778, according to the letter of the S"" J. -J. Clause " addressee a la dame Saint-Martin, rue Sainte-Hyacinthe, place Saint-Michel, qui vient de la luy communiquer." ^ The dame Saint-Martin who announces to the dame veuve Eisen the news of her husband's death ^ is, it is said, the woman for whom Eisen had deserted his wife and family thirteen years before. ' Paris, Delalain, 1775. 3 vols, in 8vo. " See "French Painters of the XVIIIth Century," p. 12, note 3. ' See Appendix D. ' De Goncourt, "L'Art du XVIII. Siccle," ed. 1880, t. ii., p. 155. ' N. A., 1885, p. 84. ° Clause says in his letter to her that the goods left by Eisen in his hands would only about half pay the debts due to him, and he desires her " de faire avertier a son per est a la famille" {ibid., p. 82). 127 Gravclot There is not a word concerning them in the letter from which wc ^^ learn that Eisen " s'a bien converties pour morier," and that he was, on the 6th of the present month " anteres sur la simantier des St. Gudule." One would say that Clause had not even any idea of the existence of a wife and children, for he continues, " les pu trist pour mois, c'es pour avoir ce quy m'es dois, est mes des hours la somme de 376 florain quy fait en argant de France 752 liever, sans le dette quy doit encore au sauter, que la valeur en tous est mil liver," Whether these debts were ever paid is doubtful. Eisen, we learn from the close of Clause's curious letter, had told him that he would be paid for his outlay by the sale of his furniture and the library which he had in the apartment of " Madame St. Martin " in the " maisson de Mons"" Vasselin, a Paris." " II m'a dis," he says, " ci en cas que je viens troi cours pour mois, que je saires payes de ces meuble de Paris," but they had counted without Anne Aubert, " epouze adtuellement veuve de Charles-Joseph-Dominique Eizen, peintre dessinateur du cabinet du Roy et de I'Academie des beaux- arts de Rouen, avec lequel elle demeuroit rue du Faubourg-Saint- Denis." Not only the " bibelotecque," but everything else that could be removed had been transferred by Eisen to his apartment in the rue Sainte-Hyacinthe. His widow was left in possession of nothing that was not her personal property. The commissaire, who accom- panied her to her own rooms after setting the seals on her husband's apartment, notes only a screen, a mirror, a pifture or two, amongst which were her own portrait and that of the dead man, a couple of candlesticks and one or two other necessary articles of household furnishing. Money was owing on all sides, not only to trades- people, but to Patas,^ the engraver from whom Eisen had obtained various sums on account of two drawings which he had never executed or delivered. The details of the claim made by Patas recall similar incidents in Eisen's earlier career. The curious series of documents printed by M. Guiffrey in the " Courrier de I'Art " for 1884 includes not only two Proces-verbaux of " Saisies " made by the maitres on Eisen's work in 1748 and 1750 — both, that is to say, prior to his reception into their body and appearance at their exhibitions — but also the fads as to the dispute between him and Guyon, one of xhe fermiers- generaux. In this case Eisen was taxed with delay in carrying out the illustrations of an unnamed work, which can be no other than the famous edition of the " Contes." He had, according to ' 1748-1817. 128 his usual custom, obtained payment in advance, and also, as usual, Gravelot violently resented any attempt to induce or compel him to fulfil 1"?^ i-^-^ ^ Eisen. his engagements. Eisen had no pupils; it was indeed impossible that the qualities which give charm to his work should be taught. The special charadleristic of his art was that very personal and delicate facility and lightness which enabled him to present the most indecent themes with a gloss of grace and sentiment. Others might indeed imitate his freedom, but not one could boast the same dexterity in the avoidance of the commonplace, the foolish and the vulgar. 129 CHAPTER IX THE SAINT-AUBIN, MOREAU LE JEUNE, BOILLY, PRIEUR GABRIEL DE SAINT-AUBIN ^ was one of the most original of all the draughtsmen in whose work may be traced the influence of Gravelot and of Eisen. He was next brother to Germain de Saint-Aubin," the amusing author of " Les Papillonneries humaines," '^ in which we find an echo of the apish pleasantries of Christophe Huet.^ The youngest of the family, Augustin, is perhaps the best known, for he is the author of the popular " Au moins soyez discret " and the com- panion " Comptez sur mes serments," in which he has drawn and engraved a pair of lovers whose charming looks must plead forgiveness for any indiscretion which they may have committed. The year 1753 marks an epoch in the life of Gabriel. He was then about thirty, and was attending the classes of the Royal Academy and competing, as one destined to the career of an historical painter, for the Grand Prix. He missed it, but obtained the second place. Monnet,-' whose name we find on so many poor ' 1 724- 1 780. ^ 1 721-1786. He was the eldest of fifteen children, and became his father's assistant in his trade as " brodeur." See MS. note by him reproduced by the de Goncourt, " L'Art du XVIII. Sidcle," ed. 1880, t. i., pp. 399-401. ' These were published " a Paris chez Fessard graveur du roy rue St. Thomas du Louvre la 3'' porte cochere a main gauche en entrant par la Place du Palais Royal." Germain also published a " Recueil de Chiffres inventus par Saint-Aubin dessinateur du roi A. P. D. R." These were engraved by Marillier and published "chez la V'' de F. Ch^reau, rue St. Jacques aux deux Piliers d'or." *' Mes petits bouquets," another of his publications, were "D^di^s a M""" la Duchesse de Chev- reuse." ' See " French Decoration and Furniture, etc.," pp. 90-96. ' 1730- . . . i' A., July 27th, 1765. He was never received. 130 u 7. < P g I B D < 5 H z z < z V3 o w J < z < ^ " a; u z ^ <■ ^^ K designs for which mythology and allegory have furnished the The subje6ts, was the successful competitor. When it came to painting ?^'^.^' " Nabucodonosar qui ordonne le massacre des enfants de Sedecias, Morea'u Roi de lerusalem, et lui fait ensuite crever les veux," ^ one feels le jeune, sure that Monnet would have the best of it. Such a theme p°' ^' offered no chance to Gabriel de Saint-Aubin for the exhibition of the brilliant and entertaining wit which was the essence of his genius and which he had already displayed in his etching of " Les nouvellistes au cafe " executed in the previous year. The astonishing thing is that Gabriel's family should have even wished him to compete for the Grand Prix at this date. The competition was not decided till the 31st August; the Salon, which is commemorated by his marvellous drawing, " Vue du Salon du Louvre en I'annee 1753,"^ had opened on the Saint Louis, five days earlier. It is quite clear from the freedom and beauty of this drawing, the powerful rendering of the movement of the crowd and the delightful ease and insight with which every man and woman is charadlerized, that Saint-Aubin was in the full possession of his powers. Yet, in spite of this triumph and in spite of the check from Monnet — which followed on a previous failure ^ — Gabriel de Saint-Aubin stolidly returned to his Old Testament exercises. In October of the same year'* he again entered a competition of which the prize should have been a place as " eleve protege." Fortunately both for himself and us he was again unfortunate. The subjed: was " Laban seeking his gods " and the successful competitor was Brenet.^ Undaunted by his third unlucky essay, more time was again wasted by this delicate and spirited draughtsman on the " Con- cours pour les grands-prix." ^ He was defeated by young Chardin and accepted the test as final. In the year 1754 he dated the fairy-like composition popularly known as the " Bal d'Auteuil." It is the work of a master. The musicians play, little figures dance with a grace, a gaiety and a freshness that recall the magic thrown by Watteau over these rustic festivals. To paint the ' P. v., Aug. 31st, 1753. ■ His etching of this subjedt is reproduced by the de Goncourt, " L'Art du XVIII. Siecle,"ed. 1880, t. i. ' See P. v., Aug. 26th, 1752. M. Moureau notes: "Deux sujets bibliques, dates de 1752 et de 1753, repr^sentant, le premier 'La Rdconciiiation d'Absalon et de David,' le second, retouch^ dix ans apres, ' Laban cherchant ses dieux,' justi- fieraient assez mal la faveur qui s'attache aux eaux-fortes de Gabriel" ("Les Saint- Aubin," p. 42). ♦ P. v., Oa. 6th, 1753. ' P. v., Dec. 29th, 1753. " P. v., April 6th, 1754. The Saint- Aubin, Moreau le jeune, Boilly, Prieur. "Ballet danse au theatre de I'Opera dans le Carnaval du Parnasse " was clearly more to his taste than the task of depidting Laban's unpleasing adventures with his erring daughter. This work, which was exhibited by Gabriel in the " Salon des Graces" at the Colysee in 1776, was engraved by Basan and dedicated by him to the " Due de la Valiere Pair et grand Fauconnier de France . . . Capitaine des Chasses de la Capitannerie Royale de la Varenne du Louvre."^ The etching was prepared by Saint-Aubin himself, and its sedudlive brilliance is such that it cannot be obliterated even by Hasan's graver — a tool which has not added beauty to the work as prepared by its author. With the " Bal d'Auteuil " may be grouped the " Dimanches de Saint- Cloud " ^ — in all the various states which make Gabriel's method of work so entertaining — the " Reunion dans un Pare," where the professional bearded old model makes his appearance as a beggar at one of the tables, and the " Chaises mises aux Thuilleries," with its companion, " Le Tonneau d'arrosage." The "Chaises mises aux Thuilleries" is dated 1760: "En ce temps-la le beau jardin des Thuilleries etoit le rendes-vous de tout ce qu'il y avoit de grand et d'elegant dans la ville. On n'y avoit pour se reposer que quelques bancs de bois epars dans les contre-allees. lis etoient toujours tres occupes et encore plus desires. . . . En 1760 le gouverneur du chateau, Bontemps, fit placer dans la grande allee quelques milliers de chaises, dont il donna la ferme a sa maitresse. . . . Les bancs furent abandonnes ; il parut meme ignoble de s'en servir. Le grand concours du monde occasionnant beaucoup de poussiere, les loueurs de chaises firent faire un tonneau roulant asses ingenieux pour arroser la promenade. C'est le sujet de la seconde vignette."^ These were the scenes in which the bohemian spirit of Gabriel delighted and he sought them reckless of all but the joy of the moment : yet he seems to have been visited occasionally by an uneasy impulse of allegiance to forms of art such as he had been bidden to admire in the classes of the Academy, We find in his ' Impressions of this beautiful etching are, I believe, extremely rare. See Chap. II-, P- 33. note 3- . . . ^ The drawing of this subjedt was in the de Goncourt colle£lion and is repro- duced in " L'Art du XVIII. Siecle," t. i. A fine drawing, the composition of which recalls that of the "Dimanches de St. Cloud," is in the colleflion of Mr. Heseltine, who possesses also the sketch of a group drawing from the life and that of a large group of dancing figures, both of which were in the de Goncourt colledlion. ^ See MS. note on the proof of the " Chaises mises aux Thuilleries " in the volume " Les St. Aubin " in the Cabinet des Estampes. It has been reproduced in full by MM. Portalis and B^raldi ("Graveurs du XVIII. Siecle," t. iii., p. 478-479). 132 Reunion dans un Parc. (Gauriel de Saint-Aubin.) ^.y'M'^d^ &^^ 'T'-^v'/k j^^-,^ \ ""-'^ <<- \^^' % }? . '^" '^fjn^"'., .-^ copy of the livret for the Salon of 1761 — which is full of tiny The pen-and-ink sketches — that the most careful note is devoted to '^^^^^ Cochin's "Lycurgue blesse dans une sedition,"^ Nothing amongst Morea'u the work of Gabriel de Saint-Aubin is more curious than the le jeune, minute sketches which fill these little books — sometimes, as in p°eu^j.\ that of 1769, washed in with sepia, sometimes simply sketched in pencil and retouched with the pen. They show an ever ready catholicity of interest, and in the margins of the catalogue for 1777 Robin's plafond for the " Salle de Spedacle de Bordeaux " is as carefully noted as " La port et citadelle de Saint-Petersbourg sur la Neva " — the engraving which involved Le Bas in his quarrel with Le Prince.^ Gabriel himself exhibited officially for the first and only time, not at the Salon which he had so zealously frequented, but at the exhibition of the maitres in 1774.* He was then "adjoint a pro- fesseur," and at the head of his list of contributions stands " Le Triomphe de I'Amour sur tous les Dieux," next to which comes " L'Ecole de Zeuxis . . . I'an du monde 3,564." This is followed by " Effet du tremblement de terre a Lisbonne " ^ and a series of other works, amongst which figure a " Fete de Village et Pendant " — the only entry which suggests that Gabriel had really painted something to please himself. That he could paint, work such as the little canvas exhibited this year at the Guildhall under the title of" Le Nozze di Figaro" bears eloquent witness.^ Not one of the works described in the " Catalogue " of the maitres have I succeeded in identifying. It is, however, impossible to believe that their author put into subjefts evidently selected with a view to " I'enseignement," as was the bounden duty of a professor, the gaiety and graceful satire which he brought to the rendering of a " Parade aux theatres du Boulevard " — the engraving of which is said to be by his brother's pupil, Duclos — or the easy ' See Chap. III., p. 37, note i, and Chap. X., p. 151. ^ The catalogues cited here are in the Cabinet des Estampes ; others are in the hands of various amateurs. Fourteen were sold in 1 808 on the death of Augustin de St. Aubin (" L'Art du XVIII. Siecle," t. i., p. 370). " Salons " found a rival in " Sales." No great sale took place without the presence of Gabriel, and his copies of the cata- logues are also covered with innumerable small drawings. In this way he has enriched the pages of those of L. M. Van Loo (1772), de Fournelle (1776), Natoire and Fitz James (1778) and Randon de Boisset. This last is now in the colledtion of Mr. Heseltine. ' He sent works also, as we have seen, to the Colysce, where, after the suppres- sion of their Academy, some of the maitres held a surreptitious exhibition (see Appendix D), which, though it was noticed in the press, had no official sandtion. ^ A fine drawing admired by artists, we are told, and ruined by his own additions and corredtions (MS. note on the " Recueil des plantes" of Germain de Saint-Aubin). ' No. 117. Lent by M. Warneck. The Saint- Aubin, Moreau le jeune, Boilly, Prieur. freedom which distinguishes the fine drawing of" Un grand diner dans une Orangerie," which formerly belonged to M. Armand, but is now in the colledlion of M. Valton, together with Gabriel's famous " Ouvrier de fileuses a deux mains" — signed and dated 1777. This drawing must have been amongst his last work, and amongst his last work we must also reckon the drawings made by him for the " Ouvrage intitule abrege de I'histoire romaine orne de 49 estampes. Paris, 1789." ^ Many, if not all, of these designs are attributed to Gabriel. The " PI. 39 " which sets forth the triumphal procession of Pompey in the Forum is signed " Gabriel de St. Aubin del." and " Pelletier sc." In spite of the technical merits of the work, I confess that I would rather possess one such drawing as those in M. Valton's colle6fion, or the wonderful " Seance de Physique a la Monnaie " which the kindness of M. Doucet enables me to reproduce, than all those done in illustration of the history of Rome. The " Experience de Chimie," once in the Goncourt collection, is dated 1779, the year before Gabriel's death. He died young, exhausted by the feverish passion with which he gave himself up to every passing caprice and vagrant fancy. The beaten path had no charms for him. He seems to have lived in the street, at the " Cafe," in the auftion room, or wherever his fellow-men happened to have come together.- In his haste to be with them every personal care was forgotten. The description of the clothes which he brought with him to his brother Germain's house, when, after suffering for six months, he had himself carried there, "pour etre plus a portee de secours," five days before his death, justify his brother's words : " C'est dommage qu'il ait neglige I'ordre et la proprete." ^ An overcoat of striped plush, a dressing-gown, black breeches, an old pair of slippers, a dirty shirt, a woollen nightcap without a lining, a pocket handkerchief — these were " les seuls effets dans lesquels il etait enveloppe dans la chaise a porteurs dans laquelle il s'est fait transporter." On Thursday, February loth, 1780, Germain, the " dessinateur du roi," sent for the commissaire to declare that his brother Gabriel- Jacques de Saint-Aubin, " peintre de I'Academie de Saint-Luc," ' The de Goncourt give the date of 1764 for the drawings prepared by Gabriel for this work (« L'Art du XVIII. Siecle," t. i., p. 373). - See ibid., pp. 374, 375, for the admirable portrait of his adivity drawn by the de Goncourt. It is too long to be transferred to these pages, but their mention of Gabriel's sketch of Damiens in his cell, " boucl^ sur une grosse pierre," the night before his execution, cannot be omitted. ' Ibid., p. 405, note; MS. note by Germain de Saint-Aubin on an album of drawings. Seance de Physique a la Monnoie. (Gabriel ue Saint- Aubin.) Drawing in the collection of M. Jacques Doiicet. I had died at eleven o'clock in the morning of the previous day. The The seals were set on the doors of the apartment in which he had ?^'".*" I- 1 • I in -1 1 • I • Aubin, lived m the rue de ceauvais, but when it came to making an Moreau inventory of his goods the commissaire takes note of " le dcsordrc le jeune, qui regne dans led. appartemcnt et I'impossibilitc qu'il y a dc p^jgy^' proceder a I'inventorie de ce qu'il renferme avant qu'au prcalable il ait etc fait un arrangement et mise en ordre de tous les meubles et effets, tableaux, dessins, livres et papiers bouleverses et confondus les uns dans les autres." ^ This note points to an exceptional state of things, which was due only to Gabriel's eccentric habits. Germain, the elder brother, whose trade as dessinateur pour etoffes reminds us that the father of this family was a " brodeur du roi,"" had no lack of means. Even after the losses which he sets down in the autobiographical note to which reference has already been made, servants and money and plate were not wanting in his house,^ and Augustin, " graveur de la bibliotheque du Roi demeurant rue Thereze," was also at this date in easy circumstances. Augustin de Saint-Aubin ^ had succeeded to the post which he then occupied in 1777, on the death of Etienne Fessard. He had been a pupil of Fessard, but fortunately for himself had been first taught by his brother Gabriel. He was but a boy of sixteen when he engraved a ticket for a " Concert bourgeois de la rue Saint- Antoine " and executed a little etching of a party of excited women in a Salon, the title of which is " L'Indiscretion vengee." The little figures are ludicrously out of proportion, but their attitudes are full of spirit, and have an air that reminds us of Eisen's illustrations to the " Eloge de la Folie," which had appeared in the previous year. In spite of this early evidence of unusual gifts Augustin was put to the humblest tasks. On the engraving of a " Crucifix with St. John and the Virgin," which opens the series of his work at the Cabinet des Estampes, he writes: "J'ai fait cette drogue la premiere semaine que je suis entre chez Etienne Fessard en 1755." ^ ' Jules GuifFrey, " Scell^s et Inventaires d'Artistes," N. A., 1885, pp. 105-106. His heirs were three brothers and a sister, Catharine, who lived with Germain in the rue des Rouvaires, and to whom Gabriel, on his death-bed, gave his gold watch and " sa m^daiiie d'or de I'Acad^mie." Basan was called in to value the engravings and paintings. ^ Charles-Germain de Saint-Aubin tells us that he conferred on himself the title of "'Dessinateur du Roi' que personne ne me contesta," when he married in 1751 (MS. note, de Goncourt, " L'Art du XVIII. Siccle," t. i., p. 400). ' N. A., 1885, pp. 183-184. ' 1 736-1807. ' Portalis and B^raldi mention that Augustin at about this time won a medal at The Saint- Aubin, Moreau le jeune, Boilly, Prieur. Matters improved when he reached ihtjleurons of the " Decameron " and found in the admirable drawings of Gravelot a course of the highest instruction : the influence exercised on him by this work may be traced in the brilliant execution of the engraving of the " Mausolee de M. Languet de Gergy," which he contributed to d'Argenville's " Voyage pittoresque de Paris." The " St. Fessard direx." which accompanies the signature "August. S' Aubin del. et Sc. 1757" reminds us that, although his work may be compared almost to its advantage with that of Choffard in the same volume, Augustin was still only the assistant of a master to whom he was greatly superior. There is, however, little personal character in work such as the series of " Les differens jeux des petits polissons de Paris " and " Mes Gens " — engraved by Augustin de Saint-Aubin's fellow-pupil, Jean-Baptiste Tilliard ^ — as compared with his " Tableau des portraits a la mode " or the more famous " Promenade des remparts de Paris," both reproduced by Courtois in 1760.^ This was four years earlier than that in which Augustin entered the atelier of Laurent Cars^ and married Louise-Nicole Godeau, whose charming features are, it is said, to be recognized in the portraits labelled "Louise-Emilie, Baronne de . . .," and " Adrienne- Sophie, Marquise de . . .," exhibited by her husband in 1779. The brilliant happiness of this marriage seems to have been saddened only by the loss of children, and even in later years the features of the woman who had figured in 1779 as the " Baronne " served her husband for the popular " Au moins soyez discret," whilst he revived a companion image of his own youth in " Comptez sur mes serments." Laurent Cars was not satisfied to leave his brilliant pupil to the protection of the maitrise. On the 25th May, 177 1, Augustin was presented by Cochin and agree by the Academy. He re- the Royal Academy. His name does not occur in the Proces-verbaux, as winning a medal until Dec. 31st, 1 76 1, but a competition pour les medailles, to which all the students were admitted, took place on Oftober 4th, 1755. ' 1 740-18 12. He was a good workman, whose name is to be found in numbers of books. He engraved ten subjefls in the "Gerusalemme liberata" (1784) after Cochin, and retouched and signed the little " Place Louis XV " by Moreau. A portrait of his wife by Augustin is in the coUedlion of Mr. Heseltine. * The set of six " Habillements a la mode de Paris," engraved in red by Gillberg, dated 1761, were executed for the "Magasin de la veuve Chereau rue Saint-Jacques aux deux piliers d'or." A further set of modes containing " Grande robe a la reine," " Chapeau a la miladi," etc., signed " St. Aubin del. Dupin fils sculpsit " and bearing date 1764, were published by Esnauts and Rapilly. ' His engraving of " Vertumne et Pomone " after Boucher is dedicated to Cars, in 1765, by his " 61eve Saint-Aubin." 136 Derniere heure de Madame de Rebeccjue. ? (AUGUSTIN DE SaiNT-AubIN.) V leur. mained content with this position and was never received, for the The two portraits which he was ordered to execute were never com- ?^'^-*" pleted.^ He had little time for gratuitous work, being then at the Moreau height of his professional success, and the climax of his art was lejeune, reached when he exhibitedhis remarkabledrawingsof the" Bal pare" p°j'^ ^' and the " Concert Bourgeois " at the Salon of 1773.'^ To the same Salon Augustin sent, amongst other things, a series of portraits " d'apres les dessins de M. Cochin," and the success which they obtained determined the continued production of similar work. From this time onwards the enormous demand for these portraits, in the execution of which he exhibited — as in the Marmontel at the head of the " Contes Moraux" — his brilliant power of rendering the flexibility and softness of flesh,^ drew him wholly away from the class of subjeft which really justifies his reputation. Yet amongst these portraits — many of which, as for example that of Linguet, framed by ChofFard,* have ad v hum inscribed on them — there are not one, nor two, but many which may claim to be chefs-d'ceuvre of delicacy and of truth. The fine head of Necker,^ the Mariette after Cochin, the Madame de Pompadour etched in 1764, and even more the wonderful Mme. Radix and Mme. Letine make us forget our regret that we are to have no more " Promenades sur les remparts," nor " Bals pares," nor " Concerts bourgeois." Augustin handled old age as delicately as the years themselves seem to have touched Mme. Letine : in the very folds of her dress there hangs a perfume of faded rose-leaves, and one understands that her son-in-law should have put his hand to this and the companion portrait of himself in order to justify the im- pertinent inscription " La Live sc."*" The Revolution, which was to realize Augustin's happiest dreams, ruined him and ruined his art. Expelled from the atelier which he had occupied since, he says, 1777, when he succeeded his old master, Fessard, as " dessinateur de la bibliotheque du ' The two portraits ordered on June 1st, 1771, were those of Le Moyne le pere, after Tocqud, and of Louis de Siivestre, after Greuze. Those named on July 24th, 1772, are of Le Moyne le pere and Dumont. ^ These drawings were admirably engraved by his pupil, Duclos. ' See Grimm's mention of Saint-Aubin's engraving of the portrait of Diderot after Greuze, " Corres. lit.," January 15th, 1767. * Salon of 1783. He exliibited at the same time a second set of drawings for the " Pierres gravees antiques du Cabinet de M. le Due d'Orl^ans." The first set were shown in 1775. ' Exhibited in 1789: "Portrait de M. Necker. D'apres M. Duplessis. Format in-i2, grav6 en Juillet 1789." See also the Salon of 1785 and p. 160. " These portraits are included in the colleftion of his own work made by Augustin himself. 137 T The roi,"^ Augustin was taken on by Renouard to execute the frontis- A^'h*' pieces and portraits needed for his various publications. In 1789 Morea'u — i^ we may identify " Au moins soyez discret " and " Comptez le jeune, sur mes serments " with the " Deux demi-figures dans des ovales " Prieur' which he then exhibited — he was in the full force of his powers. Then comes the dull succession of hack-work by which he had, if possible, to live. The portraits begin to take on a deadly sameness of aspect : we get the incessant repetition of little profiles treated in imitation of cameos, in the same oval medallion set in the same frame, bearing the same label. Individual character and personal accent dis- appear; the supple talent of Saint-Aubin is hopelessly crippled and never regains its spring. The fire and grace which animate even the little etching of" L'Indiscretion vengce " have fled the pencil which decorates the pages of the " Siecle de Louis XIV "^ with heads of La Valliere, Montespan and other illustrations of his Court, in company with wretched drawings from the enfeebled fingers of the once brilliant Moreau le jeune. ^ On the 2 I St April, 1806, Augustin writes pitifully to Renouard begging for a little money : " You sent me," he says, " only 200 fr. last time, if it is possible for you to give me 300 fr. this month, it would give me pleasure." Moreau was even more sadly insistent : " I entreat M. Renouard to help me," he w^rites in a letter of February, 18 14, " for I do not know where to turn. I have not a farthing." * In the same year he was attacked by cancer in the arm, and within a few weeks of his death he re- peated his application. " I am grieved, sir," he says, " to worry you, but I am forced to do so, being unable to work at present as my arm is useless. It seems that from now till the end of the year I cannot hope to use it freely ; having no chance of receiving money till the end of January, I apply to you to get some as soon as possible; I count on you for this week, without fail."^ The career which closed thus disastrously had opened with early and unusual brilliance, prolonged throughout a period of un- usual productiveness and prosperity. Moreau, who was the son of a " perruquier de la rue de Buci," was chosen by Le Lorrain, at ' He had no lodgings there, only a studio. See his letter to the Minister Par6 (de Goncourt, " L'Art du XVIII. Siecle," t. i., pp. 395-396). ^ Paris, 1808. ' 1741-1814. R. April 23rd, 1789. * Adrien Moureau, " Les Moreau," pp. 132, 133. There is, I think, a catalogue of Moreau's sale which shows that he had not parted with his colledlions. It is possible that they could not be sold except at a great loss. ' ^bld., pp. 133, 134. Little CIirl asleep. (Drawing by Moreau le jeune.) Collection of Mr. Hesclline. the early age of seventeen, to accompany him to St. Petersburg. The There he was appointed — as we learn from his daughter, who ?^'/^*' became Madame Carle Vernet — " premier professeur de dessin a Morea'u I'Academie Imperiale,"^ but Le Lorrain died and Moreau re- le jeune, turned to Paris eighteen months after he had left it. PHeur'. In Paris, Moreau found his way rapidly to fortune. He entered the workshop of Le Bas and in 1761,^ at the age of twenty, he signed his first engraving. This early work has not the beauty or character which soon began to distinguish the execution of his drawings. During the next three or four years he seems to have been wholly occupied in preparing plates for other people. Thus he brilliantly etched, after Greuze, " La Bonne Education " and " La Paix du Menage," both of which were finished by that unworthy pupil of Flipart, Pierre-Charles Ingouf. The charming "Philosophic endormie," on which we read " Aliamet direxit," was also etched by Moreau. The engraving of" David and Bath- sheba," after Rembrandt, which is dated 1763, is entirely by him, but it only shows that, in spite of his extraordinary facility and skill, he has utterly failed in the attempt to work in the manner of that mysterious master. In 1765 Moreau's marriage with Fran^oise-Nicole Pineau,^ the granddaughter of the publisher Pierre Prault, and niece of his successor Laurent, probably determined the bent of his career. Thenceforward we find him incessantly employed in the illustra- tion of books. Miniature editions of the Italian classics were then appearing " In Parigi, appresso Prault," and in the year of Moreau's marriage Prevost was engraving for the " Pastor Fido" of Guarini the vignettes which had been designed for its illustration by Cochin twenty years before (1745). Moreau added the title- page, and though in many others — as in that to the " Tempio di Gnido" — he showed himself a more consummate artist, I do not think that in the whole range of this lovely form of art there is anything more finely touched than the voluptuous movement of the two doves, who, nestling down on the quiver and arrows in the centre, give each other the kiss of love. ' "Notice historique par sa fille, M"' Carle Vernet " (A. de I'A. fr., t. i., p. 183). See also " Eloge par M. Feuillet" ("Moniteur," 1814, No. 355) and " Eloge par M. Ponce" (" Mercure," June 15th, 1816). '■" This date is given by MM. Portalis and B^raldi as "1781," an obvious misprint for "176 1." Franfoise-Nicole was the daughter of Dominique Pineau and Jeanne-Marine Prault. See Emile Biais, " Les Pineau," p. 116. MM. Portalis and Biraldi are, I think, in error when they state that she was the daughter of Francois Pineau. Francois-Nicolas Pineau was the brother of Fran9oise-NicoIe. See ibid. The The work on which Moreau was immediately employed after Saint- drawing this little gem was the designing and engraving all the Moreau tailpieces for Prault's edition of that " Histoire de France," by le jeune, President Renault, which was further and most brilliantly adorned Prieur' '^^ Gaucher's miniature portrait of Marie Leczinska, set in a frame that Choffard alone could have invented. The proof of extra- ordinary gifts shown in Moreau's work for Prault ^ brought him, from Basan and Le Mire, the proposal to join the band then engaged upon their famous Ovid, whilst Le Bas continued to keep him busy with etching plates which he himself afterwards finished and signed. In this way Moreau became associated in 1768 with the pro- duction of that famous estampe galante, the " Couche de la Mariee," which was finished and signed by Simonet after Baudouin. Two years earlier Moreau had engraved after Le Paon — a very inferior draughtsman — the " Revue de la Maison du roi au Trou d'Enfer." I do not know the drawing made by Le Paon for this engraving, but anyone who has seen other drawings by him and noted their peculiar mannerisms must necessarily suppose that there is a great deal less of Le Paon than of Moreau in the work as we now have it. In any case we owe Le Paon a debt of gratitude in that he inspired Le Bas to order of Moreau — as a companion to the "Revue de la Maison du roi au Trou d'Enfer" — the famous draw- ing of the " Revue de la Plaine des Sablons."^ Moreau's nomination in 1770, " sur la presentation meme de Cochin," as " dessinateur des Menus Plaisirs " ^ gave him an assured position which permitted the free exercise of his talent and marks the moment when much of his best work was pro- duced. It was the year in which his little daughter, whose slumber he has sketched with so much charm, was born to him — she to whose pious devotion we owe the collection of her father's work in the Print Room of the Bibliotheque Nationale and the short sketch of his life written with the tenderness that befits a daughter much beloved.'* ' Perhaps the finest work of this class by Moreau is " Les Graces," engraved after Moreau by N. Delaunay, in Du Querlon's "Les Graces " (see p. 106, note 9). It is far superior to the other four illustrations by Moreau in the same volume and to his four designs for Imbert's "Jugement de Paris," 1772, ^ Engraved in 1787 by Malbeste, Li^nard and N6e. The drawing, one of the finest belonging to the de Goncourt, was sold at their death to M. Chauchard for 29,000 francs. ^ A. Moureau, "Les Moreau," p. 42. * The notice is written at the beginning of the first volume of the colle<5lion of Moreau's work, which fills five volumes, and is signed " F. Vernet, n6e Moreau, 20 Odobre 18 18." 140 Lk Retour de Claire: "Nouveli.e HeloTse," 17 74-1 783. (Le Mire, after Moreau i.e jeune. ) l!:,:4»«»K|liii.il-iaiJi|l J . >L .Vh. Nothing at this point was wanting to perfeft the astonishing The Saint- Aubin, good fortune which waited on Moreau's footsteps and brought him fame and honour and prosperity at the age when most men Morea'u have their spurs to win. That some of his best work was done lejeune, when he was about thirty is a noteworthy fa6t. Amongst it we p°jgy^' must reckon the twenty-six ilkistrations which he engraved him- self and contributed to the "Chansons," before he quarrelled with Laborde ; ^ those which he prepared for the edition of Moliere, published in 1773, and the fine plates in the " Nouvelle HeloYse " produced in the following year.^ These last are treated with a breadth which one would scarcely expedl from the same hand which, in 1772, had given us the four superb miniatures con- tributed, together with various minor subjefts, to Desormeaux* " Histoire de la Maison de Bourbon." Of these, as of other book-illustrations by Moreau, we may say that those in which he treats personages of his own day, wearing the costumes of his own century or the traditional cos- tumes of the French stage — which were incorporate, so to say, in the daily national life — are invariably the best. Like Gravelot, Moreau seems bored by classic drapery and conventional nudities ; his drawings for the " Princesse d'Elide " remind us of those executed for the tragedies of Voltaire,^ at a date when Moreau's brilliant faculties had begun to fail him, whereas in illustrating a scene from " La critique de I'Ecole des Femmes " or " Les pre- cieuses ridicules " he is brilliantly intelligent and free from the tiresome mannerisms which disgrace the work of many of his rivals, as, for example, Eisen. In the " Monument de Costume"* we find perhaps the finest example of the brilliant sincerity of Moreau's work. He gives us no mere set of fashion plates such as limited the ambition of the publisher Eberts, at whose instance the work was undertaken, but a series of drawings which represent phases of the life of a definite social class. The first illustrate the childish days of the girl, and then Moreau goes on to give us the most intimate details of the ' See p. 109, note 3. The drawings, together with those of the other volumes, are at Chantilly. The frame of the dedication, drawn also by Moreau, is engraved by Masquelier. ^ "CEuvres de Jean-Jacques Rousseau. Londres, 1774-1783." ^ In the Proces-verbaux of the Royal Academy, February 3rd, 1781, we find the entry of a " Prospe6lus pour une suite d'estampes, destin^e a decorer la nouvelle Edition de M. De Voltaire . . , M. Moreau le jeune, Graveur et dessinateur du Cabinet, et Agt66 de ladite Academic . . . permission de faire paroitre sous les auspices de I'Acad^mie." ■* See p. 109. The dates on the engravings show that the first were begun in 1776, the last of the second set finished in 1783. 141 The existence of the young married woman. We see her in the stages Saint- of her motherhood : " La declaration de la grossesse " and " N'ayez Morea'u P^^ peur, ma bonne amie," are followed by " C'est un fils, Mon- le jeune, sieur," and " Les delices de la maternite." Then come her court P°. y* appearances, her coquetries, her assignations, her walks and rides in the Bois.^ In the third series Moreau sets before us the youth of a similar class developing through various stages of gallantry and pleasure till he becomes the not much married man. One of this set — brilliantly engraved by Malbeste — is perhaps the most beautiful of all. It has been diversely christened " La Sortie de rOpera" and " Le Mariage"; it seems, on the whole, to be more probably " Le Mariage," and as such I have therefore re- produced it here." At the height of his power there came to Moreau a great opportunity. The office which imposed on him such futilities as allegorical drawings on the recovery of the Countess d'Artois,^ brought him the great spectacle of the coronation of Louis XVI, His rendering of this subjedl embodies a moment of exalted vision in the most impressive character. No scene of royal pomp has ever been depifted with greater perfection and fulness of insight and with more exquisite and masterly art. The conception ot the magnificent pifture by David of the coronation of Josephine by Napoleon is not of a higher order. The extraordinary significance of the scene lifts it into a different order of interest from that occupied by the equally brilliant " Louis XV a la Plaine des Sablons," whilst both these works stand infinitely above anything of a similar character after- wards produced by Moreau. The " Sacre de Louis XVI " is the apotheosis of the old regime seen in all the blinding glory of royal state and consecrated by the holy magic of the Church. The piftorial effed: of the composition is far finer than that achieved ' In this set Martini engraves the "Declaration de la Grossesse" and "Les Pre- cautions"; Tricre, "J'en accepte I'heureux presage"; Helman, "N'ayez pas peur, ma bonne amie," "Di^lices de la Maternit^" and "L'Accord parfait"; Baquoy, "C'est un fils. Monsieur"; Baquoy and Patas, "Les Petits Parrains " ; Guttenberg, " Le Rendez-vous pour Marly " and " Rencontre au bois de Boulogne " ; Delaunay le jeune signs "Les Adieux." " The third set opens with the engraving by Halbou of " Le Lever"; Martini follows with " La petite Toilette " ; Triere engraves " La Grande " (repeated by Romanet for the edition as published ; see Bocher, p. 493) ; Guttenberg, " La Course des Chevaux " ; Camligue, "Le Pari gagne " ; Dambrun, " La Partie de Wisch"; Thomas, " Oui ou Non " ; Delignon, " Le Seigneur chez son Fermier"; Patas, " La Petite Loge " ; Malbeste, " La Sortie de I'Op^ra " ; Helman, " Le Souper fin " ; and Simonet, " Le vrai Bonheur." ' Ex. 1783. The drawing is now in the Musde de Bayeux (N. A., 1874-1875, P- 347)- 142 r'-^'^\ . 2 -"-^ V E^r^t^^"^"' »; ' I; I Leaves from a Sketch-Book (Musee du Louvre), (moreau le jeune.') in any similar work by Cochin. The attention of everyone being The concentrated on the Kine, there is, indeed, no room for the ?^'"*' amusing byplay which entertains us in the " Bal masque " or Morea'u the "Jeu du roi," but this is more than compensated by the le jeune, representative charadler of the various aftors. Pdeiu-' The drawing and engraving ' of the " Ceremonie du Sacre " were exhibited by Moreau at the Salon of 178 i, together with an immense group of other work, amongst which may be specially noticed the " Dessin de I'lllumination, ordonnee par M. le Due d'Aumont, pour le mariage du Roi " ; the " Dessin representant Louis XV a la Plaine des Sablons " ; many drawings for " L'Histoire de France " — some of which are specially marked as " appartenant a M. Le Bas " — and twenty-nine for the Brussels edition of the works of Rousseau, in which the kneeling figure placed beside the tomb of Jean-Jacques was obliterated by order of the Censor. Other groups of illustrations are for Metastasio, for the " Hen- riade," for the " Description generale de la France," but the splendour of the colledlion was not enhanced by the inclusion of the drawing representing " L'Arrivee de J. J. Rousseau au sejour des Grands Hommes ; sur le devant, Diogene souffle sa lanterne,"" Moreau's first essay in a style which found its most ridiculous expression in •' La reception de Mirabeau aux Champs-Elysees "^ exhibited by him in 1800. Before we reach that date we have gratefully to remember the four famous drawings of the " Fetes de la Ville a I'occasion de la naissance de Mgr. le Dauphin " * which appeared at the Salon of 1783 in company with " Douze dessins pour les CEuvres de Voltaire, dont la colleftion est dediee a S.A.R. Frederic-Guillaume, Prince de Prusse."^ Those for the Tragedies, Comedies and "Contes" — eighteen in all — appeared together with the frontis- piece in 1785 ; seven more were exhibited in 1787, together with " Un grand dessin representant I'Assemblee des Notables. Dessin ordonne par le Roi." In this year, too, Moreau also bethought himself of his duties . towards the Academy. The " progressive " party probably saw in him a useful ally and suggested that he should qualify himself to ' The etching for this plate is not unfrequently to be met with and is of extra- ordinary beauty. ^ Engraved by Macret. ' Engraved by Masquelier, 1792. * L'Arrivee de la Reine a I'Hotel de Ville, le Feu d'Artifice, le Festin Royal, le Bal masqu^. See article by M. Germain Bapst, G. B. A., 1889. The drawings were exhibited in 1783, the engravings in 1789. * See the letter concerning the Voltaire to Beaumarchais, July 15th, 1782 (N. A., 1872, p. 385). H3 The vote. A drawing ot " Tullie, faisant passer son Char sur le corps Saint- jg sQ,^ Pere " of which we are told that it was to be engraved yVii Din Morea'u " pour la reception de I'auteur " appeared together with the King's lejeune, drawing of the " Assemblee des Notables." The engraving was Pre r' delayed by its author's absence from Paris, but a drawing of the same subject appeared a second time at the Salon in 1789, with the note, " C'est le morceau de reception de I'auteur," ^ and from that date onwards we shall have no more delightful water-colours such as the piquant " Souper a Louveciennes," ^ that chef-d' ceuvre of distinguished feasting, but cuts for the Old and New Testament ^ in the commonest taste and plenty of false sentiment in illustration of the " Lettres d'Heloise et Abailard." ^ Like all the set to which he belonged, Moreau lost his fortune, his gift and his style in the throes of the Revolution. A change for the worse in the charadfer of his work dates from the tour which he made in Italy in 1785,^ of which Madame Carle Vernet says that " in less than two years, one saw a new man, as much superior to his old self as he had been previously to his con- temporaries." This statement is confirmed by the " Sketch-book " of 1785, which is in the possession of Mr. Heseltine, It is clear from the "academies" of the opening leaves — helmeted heroes straddling behind shields — that Moreau is already on the decline, but he makes two graceful drawings of French landscape, probably on his way south, and at Venice completely recovers himself, and the pages are filled with a series of brilliant studies of the men and women before him. After his return and his reception by the Academy he fell an easy prey to the tendencies of which David was the chief exponent, and became absorbed by the internecine struggles which divided his confreres. On behalf of David he even had an adlive skirmish with Vien during the turbulent meetings of 1790, the sentimental close of which brought tears, we are told, to their eyes.^ Wille himself was closely allied in all these disputes with Moreau, to whom, shortly before, he had been " parrain " on his unanimous reception as a full Academician.^ The temper which Moreau developed may be judged from the ' It was engraved by Simonet in 1791. See Bocher, p. 107. ^ In the Mus^e du Louvre. ' These are dated 1790, 1791 and 1792. Those of the New Testament were exhibited in 1791, others of the Adts of the Apostles in 1796, and eighteen for the "Testament de Saugrain " in 1798, together with the forty-seven drawings for Renouard's edition of Gessner. * Edition published by Didot lejeune, 1796. ' N. A., 1878, p. 62. ' Wille, Mdm., Sept. 23rd, 1790. ' See P. V. and Wille, M^m., April 25th, 1789. 144 letter written by him from Paris " ce 27 jenvier 1791 " to his The brother-in-law Francois-Nicolas Pineau. " Ouand a notre ville," ^^'"^' , ' 1 • / 1 1 • '^^ • Aubin, he says, " tout va assc bien exceptc le clairgc qui nous tracasse un Moreau peut, mes nous en viendrons a bout il faut I'espcrer ; mais ces lejeune, M. M. sieurs sont diablement coriace, mes il trouveron plus dur p°ieu^'. qu'eux. Hier et avan hier nous avons instaler nos 6 tribunaux ; ce la fei passer a merveille." ^ From this time onwards Moreau's second manner became more and more accentuated. Drawings such as fill the pages of his sketch-book in the Louvre,^ full of human interest and spontaneous charm, were too trifling for the newly-acquired dignity of Vhomme libre, and the laboured com- position of " Tullia," which, as we have seen, was presented by Moreau to the Academy on his reception, did but open the long series of empty and stilted work by which he paid homage to his new ideals and turned his back on art, which draws vitality from the senses rather than from reason. " Une influence etrangere," as M. Duplessis puts it, " changea tout d'un coup sa maniere et sembla paralyser ses facultes." ^ In 1798 Moreau's fortunes had fallen so low that he was glad to accept the post of Professor of Drawing at the " Ecoles Centrales." * Under the Empire he made vain attempts to renew his youthful suc- cesses : the tide had turned, and when Louis XVIII., in 18 14, com- passionately restored Moreau to his old post of " dessinateur du Cabinet du roi " he held it but for a few months before his death.^ The companions of Moreau's brilliant past had dropped one by one into poverty and negleft. Choffard — the unrivalled " graveur de I'accessoire " who was never trivial, not even when he was only sketching his own trade-card, or inventing an " ex libris," or drawing the frame for a portrait by Gaucher or by Ficquet — was obliged to occupy his time in writing the " Notice sur la gravure " which he published in 1804. A few years later he too died in poor circumstances, forced to undertake the most inferior work to get a little money for his daily needs.® The days were long past ' Emile Biais, " Les Pineau," p. 131. » See the article by M. Lafenestre, G. B. A., 1888. ' "Merveilles de la Gravure," p. 278. This little book, in spite of one or two inaccuracies, is more original and suggestive than the " Histoire de la Gravure en France," an earlier work by the same author. * See Salon, 1798, in which he is entered as " Moreau jeune, . . . professeur aux Ecoles Centrales de Paris au Palais national des Sciences et des Arts." ' See letters of Feb. 8th and March 26th published by M. Emile Biais, " Les Pineau," pp. 134, 135. His last and perhaps worst work is the Cr^billon published by Renouard in 18 17, three years after Moreau's death. " See letter of the engraver Legrand to Mme. de Charridre (Portalis and B^raldi, t. i., p. 423). 145 U The when, as Wille so often chronicled in his journal, publishers, ^^'".*' engravers, painters feasted together; when joyous dinners and Morea'u suppers united the friends and pupils of Le Bas ; when Papelier lejeune, and Eberts entertained Flipart and Choffard, Chardin and Roslin Priem-'. ^""^ Vien, or " my wife and I and our two sons " dined with " De- launay the engraver, to meet M. and Mme. Lempereur, M. and Mme. de Saint-Aubin, M. ChofFard and others." ^ Conspicuous amongst the few men who flourished prosperously both before and after the days of the Revolution was Louis Boilly.^ In fadt he lived so late into the nineteenth century that one is surprised to find that he had nearly fallen a viftim to republican zeal for morality in 1794. The licence of certain subjefts of his pencil was denounced by a brother artist to the Societe Re- publicaine des Arts, and by that society to the Comite du Salut Public ; Boilly was lost, had it not been that a timely warning enabled him to destroy the offending "sujets de boudoir" and begin a sketch for the " Triomphe de Marat," an achievement which, coupled with the declaration " qu'il expie les moeurs d'une composition un peu libre en exerfant son pinceau d'une maniere plus digne des Arts," procured his absolution.^ In spite ot that incessant activity as a painter of small portraits/ and as a draughtsman and lithographer, which was imposed on Boilly by the necessities of his numerous family, it is as a painter of "sujets de boudoir," such as drew on him the thunders of the Societe Republicaine, and of scenes from everyday life that he deserves to be remembered, to be consulted and admired. Amongst the most charming specimens of this class of his work are " Le Cadeau delicat," " Les Chagrins de I'Amour," " Poussez ferme " and " La douce Resistance," catalogued by M. Harrisse, together with three other subjefts, as in the Wallace Colleftion, but his talents as a great' draughtsman — the equal of the best in his day, which was a day of great draughtsmen in France — are better shown in his drawings and sketches. As an example of a less familiar class may be instanced " L'Arrivee d'une Diligence," in the Musee du Louvre, and his fine composition, " Depart des Conscrits de 1807," in the collection of M. Lehmann. The qualities which mark these remarkable examples of the ' Wille, M^m., Feb. 12th, 1765, and Sept. 25th, 1774. ^ 1761-1845. ' Henry Harrisse, "Louis Boilly, Peintre, Dessinateur et Lithographe," pp. 13-15. * A fine series of these, including the charming " Portrait de femme en robe grise" (belonging to Dr. Piogey), were seen at the Exposition Centennale in 1890. The preface to the catalogue entitled " Un Siecle d'Art " contains some excellent notes on Louis-L6opold Boilly by M. Armand Dayot. 146 o g a. ft Q ^ D 3 ">. style developed by Boilly during his early years in Paris are to be The found in the beautiful " La Qi^eue au Lait," which is here repro- ^^'^j*,^" duced. The pure truth of the types and attitudes, the harmonious Moreau expression of the very clothes worn by those who are pressing lejeune, together, with admirable unity of movement, speak of the perfect p°4uV. certainty of hand and eye which distinguished this fine draughts- man. If it is scarcely possible to overestimate the importance of this group of Boilly's work in relation to the anecdotic history of the day, we are at the same time to be congratulated in that, in in his earlier days at least, it presents features of beauty and artistic value. As a rule the drawings which impose themselves as docu- ments are rarely entitled to attention in any other respeft. Those executed by Jean-Louis Prieur^ for the "Tableaux de la Revolution Fran9aise "^ do not belong to this category, but they show us the progressive deterioration which overtook the work of an artist who gave himself up to the passions of the Terror. Most of the men who were affefted by the revolutionary movement were inspired, like Moreau le jeune, by a mild enthusiasm for " I'homme libre " and classical costume, or followed David into stilted heroics and the severer duties of citizenship. Prieur went mad with blood. Of the sixty-eight drawings by him now in the Louvre, the first were begun in 1789, when Prieur married and settled in the Faubourg St. Denis. These — numbering thirty-one — are out of all proportion to the fifteen allotted to the events of 1790; the later years are still less liberally illustrated, for Prieur became more and more absorbed in politics, until he was forced to accept, in Septem- ber, 1793, the fatal post of "jure au tribunal revolutionnaire." Slipped between the leaves of the text of the " Tableaux de la Revolution," these drawings, till recently, escaped attention, but have now been the subjedl of a very complete study by M. Jean Guiffrey in the pages of " L'Art." There he has summed up all that is to be known of Prieur ; of the early days in the Temple, which brought him into connedtion with Fouquier-Tinville, and of his work for Berthaulf'^ the engraver, who — out of all those ' 1759-1795. He was brought up in the Temple, where his father, Louis Prieur, had taken refuge on account of debt. Condemned to death after Thermidor, he was guillotined at the age of thirty-six. See Guiffrey, " Les Dessins de Prieur, etc." ("L'Art," Oa. 28th, 1901, p. 439). - Renouvier, " Hist, de I'Art pendant la Revolution," t. i., pp. 59-60, and Maurice Tourneux, " Bibliographie de I'Histoire de Paris pendant la Revolution Fran9aise," t. i., p. 33 et seq. ' 1 737-1831. See GuifFrey, ut supra; also Renouvier, "Hist, de I'Art pendant la Revolution," t. i., pp. 60-61. ^^7 The Saint- Aubin, Moreau le jeune, Boilly, Prieur. engaged on the " Tableaux de la Revolution " — alone died a natural death. The drawings themselves make a fitting close to the story of this century of art. In them an extraordinary chord is struck which includes all the gaiety, the thoughtlessness, the courtliness of the ancien regime. We pass from the enthusiastic " Repas des Gardes du corps " and see the fine air of royal representation that clothes "Le roi a I'hotel de Ville de Paris, 7 Juillet 1789" ; then the fervour of the " Vceu patriotique. Assemblee nationale. 7 Sepf 1789," seizes on us and prepares the way for a growing popular excitement: the " Place Louis XV" is strewn with headless busts, and as yet passion may be contented by the ruin of things inani- mate. Turn the pages and there is the terrible arrest at Varennes. Royalty huddled in the miserable room of a miserable inn ; the rabble swarming, hustling from the stairs; the King obscured by a countryman's coat, the Queen with a toy hat knocked on one side of her head ; both seen with the illuminating vision of hate. Turn the page again and the tumbril rolls along with its terrified burden and the heads are bleeding from the pikes. The quality of Prieur's work steadily degenerates as he be- comes more and more fervent, developing finally into " I'un des suppots de la Terreur." Moreau lost his individuality — as did most of the men who were then swept clear of the convictions of a lifetime by the popular current. Prieur lost his art. His later drawings are not to be compared for precision, for wit, for variety of incident with those which open the series of the " Tableaux de la Revolution Fran9aise." If we wish to think of him as an artist we must turn back to the earlier pages of this series, to the crowds which almost remind us of the inimitable skill of Cochin, to the " Repas des Gardes du Corps " and the " Roi a I'hotel de Ville de Paris." 148 60 .S *> ^ o J3 w ^ — i; ui b« > rt 3 O 3 •o ■ii ■a " 2 D ? 02 3 u a • :*; r; "^ -J. ;iH r- ^ C-i --• 5 5 v. J ^ x> 5 -., "o 2^ Q 5 > 1) ^ a ai 1- z H J2 J3 a ^ ^ v^ -< V T3 ^T* J X rj 3 a. bO CHAPTER X THE ENGRAVERS IN COLOUR ONE of the most popular examples of the work of Augus- tin de Saint-Aubin, the charming figure in disordered dress crying " Soyez discret," is most popular of all in the coloured version. The existence and renewed popularity of these coloured versions of much work, the beauty of which is scarcely enhanced by this treatment, bear witness to the popular interest in scientific questions, which accompanied the movement of the Encyclopjedists and reflected itself in the eager pursuit by engravers of new processes. The varieties of method which came into vogue were endless. As a first step we have seen that obvious divisions of labour were accentuated. One group were engaged in preparing plates a Veau- forte, whilst others, who only worked with the burin or graver, formed a class apart termed les finisseurs. Then the graver was taught to afFe6l the picturesque play of the etching needle. The Academy a6tually deliberated on the subjed:, and Nicolas Dupuis — as we have seen — in proof of zeal, began and finished after Carle Van Loo the curious print of "Enee portant son pere " entirely with the graver, employing it as if it were the point. To imitate by engraving the effe6l of a chalk drawing was the next problem to be solved. The attempts made in this diredtion by Jean Lutma and by Leblond ^ had long been forgotten, when ' Mathieu Marais, under the date of April 29th, 1721, notes that Desmaiseaux has sent over to the Chancellor, who has shown to the Regent, specimens of " peinture imprim^e " by a Frenchman named Leblond who had withdrawn to England. These specimens comprised portraits of the King, the Queen, etc., etc. Leblond is called an " AUemand " by the de Goncourt, "L'A'rt du XVIIL Siccle," t. ii., p. 273. 149 Engravers in Colour. The Fran9ois, a " graveur de vaiselle " at Nancy, ^ presented to Marigny '^ ~ in 1756 six sheets of prints a la maniere du crayon and received in acknowledgement a pension of 600 It. and the title of " graveur des dessins du Roi." In the following year he appeared before the Academy with " des estampes qu'il a gravees dans une maniere non usiteejusqu'a present qui imite le maniement large du crayon." He received from them a certificate that his invention would be of service in the reproduction of the drawings of the old masters.^ To him succeeded Magny and Gilles Demarteau/^ who claimed attention for another process and was, in his turn, succeeded by Bonnet,* Jean and Dagotti Gautier^ and others, each with some variety of the same invention. The imitations of pastel by Bonnet are remarkable, but the chief place was maintained by Demarteau, who, after having been agree in April, 1766, on a set of his works " dans le genre qui imite le crayon," was received three years later,^ having meanwhile distinguished himself by an " essay . . . dans lequel il imite le melange des deux crayons, rouge et noir." With this " essay" it is recorded that " la Compagnie en a este satisfaite," ' for Demarteau had contrived a " roulette " with which he rendered Boucher's drawings in red chalk so as to deceive at first sight even a praftised eye. Amongst the best of these is the " Femme couchee sur le ventre " and her companion " Nymph," both drawings " du portefeuille de M. Nera," ® but he made his first appearance at the Salon of 1767 with five subjects of less importance after the same master. These were " Un grouppe d'Enfans ; Une tete de femme ; Deux petites tetes, Imitant le dessin a plusieurs crayons," and "Une Femme qui dort avec son enfant." ^ To this imitation of drawings " a plusieurs crayons " Demarteau returned in 1771, when he showed "Une tete de ' M. Portalis, "La gravure en couleur," G. B. A., 1889. ' P. v., Nov. 26th, 1757. ^ 1 722- 1 776. See a pamphlet published at Brussels in 1883, entitled "Gilles Demarteau." ' 1743-1793. He applied Demarteau's invention to the imitation of pastel. Regnault says of him, "par des planches repairees parvint a imiter la peinture au pastel " (Avant propos. Catalogue Basan, p. xv, note). ' There seems some doubt as to the proper names of these artists. I have followed Regnault [ut supra) and Basan (" Di£l. des graveurs"), who give the father and son thus. They will, however, be found under " Dagotti " in other works of reference. ' Sept. 2nd, 1769. ' P. v., April 4th, 1767. * See " French Painters," p. 50, note 5. ' The other subjedls by Demarteau at this Salon were an " All^gorie sur la vie de feu Monseigneur le Dauphin ; La Justice protege les Arts ; Notre Seigneur au Tombeau, d'apres le Caravage ; Une Sainte Catharine, d'apres P. de Cortonne." " Tous ces morceaux, imitant le crayon, sont graves," we are told, " d'apres les Dessins de M. Cochin." The list is completed by an " Acad^mie" after Carle Van Loo. vieillard, d'apres le Dessin de M. Doyen," but his " Deux Enfans The jouant avec un chien," exhibited in 1773, together with " Trois ^"Jq^q^^^ Sujets de Fenimes et d'Enfans. Graves a plusieurs Crayons," and " Deux Enfans jouant avec des raisins. Graves a I'imitation du Dessin aux trois crayons sur papier gris," exhibited in 1775 — all after Boucher — were not executed till after the painter's death. Of Demarteau's work after Cochin, the best known is the " Lycurgue blesse dans une Sedition,"^ exhibited in 1769. To the Salon of 1771 he also sent reproduftions of a study from life and an allegorical subjed : " La France temoigne son affedlion a la ville de Liege." Two years later he produced another "Aca- demic " after Carle Van Loo and a " Descente de Croix, d'apres une Esquisse de M. Pierre " — work which was probably imposed on him by reasons of interest and from the pressure of which he would seem to have relieved himself by his studies after Boucher and by the portrait after " Vandick, a I'imitation du crayon noir et du lave," all of which he sent, together with " La Laitiere. A plusieurs crayons, d'apres M. Huet," to the Salon of 1773. From the imitation of coloured chalks and pastels the transi- tion was easy to the art of engraving in colour. Jean Le Prince,^ a skilful etcher, invented a form of aquatint which led direftly to this further development.^ His secret was bought by the Academy, after his death, from his niece, to whom he had bequeathed it as the only provision which he was able to make for her.* The wild life led by Le Prince and his eccentric habits account for the poverty in which he died. He gained money only to waste it, and no advantage could be offered him that he did not promptly throw away. A humble lad at Metz, he had the luck to please the Marshal de Belle-Isle and to be carried by his patron to Paris and placed with Boucher; but when scarcely eighteen he married a woman of forty, and, having spent her money, relieved her of his company.^ His return to France after five years at St. Petersburg gave him almost as much popularity in Paris then as it might now, and was followed up by a con- ' See Chap. III., p. 37, note i. ■^ 1 734-1 78 1. R. Aug. 23rd, 1765. See " L'Art en Alsace-Lorraine" and H6dou, "Jean Le Prince." ' P. v., Jan. 28th, 1769. * D'Angivilier insisted that the Academy should taice it up, granting to Mile. Le Prince an annuity of 1,200 It. as an equivalent. He overruled objeftions, declaring that he thought the company "aujourd'huy assez riche, tant par la dottation du Roy que par les concessions des Baraques [shops on the Pont Neuf] a son profit." ' Another story is that Le Prince returned her money before he left her. The tinuous flow of paintings, etchings and drawings of Russian Engravers customs, ceremonies and scenes. " II a fait en Russie," writes in Colour, n , • ,, t i ^ i d > -i Mariette, * des etudes sans nombre d apres nature, et il en est revenu avec une ample collection de desseins dont il S9ut tirer parti lorsqu'il se presenta pour etre agree a I'Acadcmie." His " Bapteme suivant le rite Grec " did, in fadt, secure his reception, and in the success which it obtained curiosity seems to have played a certain part. The work had been carried out with difficulty, " in spite," says Mariette, " of very bad health," and thenceforth Le Prince — probably for this reason — relaxed his efforts and relied chiefly on the interest excited by the un- familiar aspeft of his subjects. " Si cet artiste n'eut pas pris ses sujets dans des moeurs et des coutumes, dont la maniere de se vetir, les habillements, ont une noblesse que les notres n'ont pas, et sont aussi pittoresques que les notres sont gothiques et plats, son merite s'evanouirait." ^ And this criticism made by Diderot on the series of works sent by Le Prince to the Salon of 1767 applies to all that interminable pro- cession of " Concerts Russes, Bonnes Aventures Russes, Reveils de petits enfants Russes, Cabacks ou Guingettes Russes aux en- virons de Moscou," in which we find the same exhibition of magnificent stuffs and ornaments, the splendour of which is ill- supported by the figures of those by whom they are displayed. " Si un Tartare, un Cosaque, un Russe voyait tout cela, il diroit a I'artiste : tu as pille toutes nos garde-robes, mais tu n'as pas connu une de nos passions." When Diderot wrote thus with his usual reckless frankness, Le Prince was only thirty-three. He was on the eve of perfeft- ing the process " au lavis " destined to have so great a popularity.^ In spite of the support which he derived from his situation in the Academy and the success of his work, his affairs were always embarrassed and he died at forty-seven in every way a ruined man. The famous secret once in the hands of the Academy very soon became public. The next step was to apply colour in the place of the wash which Le Prince had laid with a brush on the varnish by which he covered his etched plate, and this was done by Franfois Janinet,^ who describes his little print " L'Operateur " as " grave a I'imitation du lavie en couleur par F. Janinet, le seul ' Diderot, Salon 1767. '' "En 1768, il a trouv(5 une maniere d'imiter a la gravure ie lavis des desseins" (Mariette, A. B. C. Dario). " 1752-1813. 152 z O a; X o .J O > X H 5 5, •e k ^ qui ait trouve cette maniere." His pretensions, unfortunately for The himself, did not stop at the imitation of " lavie en couleur," and Engravers . • ,. ' r • 1 1I7--11 -11 • 1 r '" Colour. his disasters as an aeronaut furnish Wille with the materials tor one of his most amusing pages. "It was," he writes on the i ith July, 17H4, "a Sunday devoted to sending up the balloon made by the abbe Miollan and M. Janinet, the engraver. This machine, the largest of all those previously sent up, was to start from the garden of the Luxem- bourg. ... As it was a lovely day I proposed to my wife to take her to the Luxembourg itself for three livres a head, to look close on the ascension of this balloon which was one hundred and ten feet high : the two inventors, the marquis d'Arlande and a mecani- cien^ were to go up in it — but she would not agree to risk herself in such a crowd of people as would be there. We therefore went to the new boulevard, to a gardener's of our acquaintance . . . even here there were an infinite number of people. MM. Preisler, Baader, Guttenberg, Madame Guttenberg and her brother were in our party. The machine should have gone up at midday pre- cisely ; but the poor inventors, apparently through ignorance, having been unable to fill their balloon with gas, on the contrary, set fire to it : it was burnt to ashes, and all we saw from where we sat was a thick smoke." The abbe Miollan and " I'ami Janinet " had to fly for their lives ; the crowd tore down the barrier and threw the planks and rails of which it was composed, together with the chairs on which they had sat, into " le feu ballonique," which raged for four and twenty hours. " The next day," adds Wille, " and throughout the whole week, nothing was sold and sung but satirical ballads on MM. Miollan and Janinet; at the same time several prints appeared to make them as ridiculous as possible." The public heard no more of the abbe Miollan. Janinet went back to his engraving in colour which he had already brought to great perfection. His admirable rendering of the " Toilette de Venus" after Boucher had actually been produced in 1783 — the year previous to that in which he made his unfortunate attempt as an aeronaut — and his remarkable portraits of Marie-Antoinette ^ and of Mile. Bertin, from the opalescent delicacy of their colour, look as if they might belong to an even earlier date. With these, as showing the same beautiful quality, may be grouped the clever reprodudlions of two medallions after Fragonard, " La Folie " and ' In 178 1 Janinet reproduced after Huet a design in honour of the birth of the Dauphin. The head of the Queen has no resemblance to the large portrait which I take to be that of the year 1774. 153 X The " L'Amour," which are attributed to Janinet on the evidence Engravers afforded by their execution. in Colour. t • i i i- • i . i • ■ • ^ i. /- »t- , It IS when deahng with "boudoir-subjects after Nicolas Lavreince ^ that Janinet seems to be supremely happy. The modish marionettes, daintily staged in equivocal situations, who furnished the painter with his favourite themes, lent themselves with facility to the skill of the colour-engraver. Lavreince cannot handle full, strong hues without heaviness, but the white frocks and blue ribbons, the roses and feathers of the ladies who accept " Les offres seduisantes " or show signs of " Le Repentir tardif"^ are well within his scope. In these suggestive romances the airy dress or undress of the heroines, the faint blues of their bed-cur- tains, the violet coats of their lovers afford the very tones which are the most effeftively handled in this medium. Janinet's repro- ductions of the two gouaches by Lavreince, " La Comparaison " and " L'Aveu difficile" (1786 and 1787),-' imitate the execution of Lavreince in the most deceptive manner and are veritable triumphs of his graceful and pleasing art. With them may be ranked the clever print in which Janinet reproduced the portrait of Mme. Dugazon by Claude Hoin * as " Nina, ou la Folle d'Amour," which was to be seen three years ago in a state of remarkable preservation at the sale of the Muhlbacher collection. " L'Indiscretion," which Janinet reproduced after Lavreince in 1788, is not only one of his best, but one of the last amongst his work which were really successful. He appeared at the Salon of 1 79 1 with two "Scenes familieres, gravees en couleur," but these were accompanied by a " Vue du Champ de Mars, au moment de la prestation du Serment Civique, gravure coloriee," and his remaining contributions were of a charafter that betrayed a change of interest : " Deux dessins et une gravure d'apres ' Nicolas Laurensen — whose surname is sometimes written "Lafrensen," and was transformed by the French public into " Lavreince" — was born and died at Stockholm (1737-1807). Of the works executed by him for Gustavus III. now in the Gallery at Stockholm, the most interesting are " Tvanne Taflor en gouache, forestallande Feter, under Konung Gustaf d. III:s vistande i Paris, ar 1784." His art belongs to the class produced for the " fermiers-g^neraux " and " financiers " of Paris, towards the close of the century. Twenty gouaches by him were sold in 1899 at the death of M. Miihlbacher, in Paris. Two of these were of great importance, " L'Assembl^e au Concert" and "L'Assemblee au Salon" (Bocher, Nos. 5 and 6, engraved by Dequevauviller, 1763, "Catalogue de I'CEuvre de Lavreince"). " Bocher, Nos. 43 and 52. The gouache of "Le Repentir tardif" was in the Miihlbacher colledtion. ■^ Bocher, Nos. 12 and 8. 1 750-1 81 7. The gouaches of this Dijon master are often of great brilliance. He has recently been the subjedt of an excellent study by M. Portalis, G. B. A., 1899 and 1900. La Marchande de Modes. (Nicolas Lavkein'ce.) Gouache in the ayllection of M. Beiirdeley. M. Moitte. Frise a I'antique." In 1793 he again returned to The the work of this dull pupil of Pigalle's, exhibiting not only some Engravers drawings and an engraving of " Le premier pas de I'enfance," but two heavy reproductions of " La conspiration de Catalinat et la Mort de Lucrece, graves d'apres les dessins de Moite." Meanwhile the process which Janinet had invented, and the capabilities of which he had for a while illustrated with real charm, had fallen into other and stronger hands. Even before he had become a good citizen and had substituted Moitte as his model in the place of Lavreince, Janinet's methods had been mastered and most brilliantly turned to account by Louis-Philibert Debucourt,^ who was agree by the Academy on the 28th July, 1 78 I, as " Peintre en petit sujet dans le genre des Flamands." He had exhibited an " Interieur Flamand " at the Salon de la Cor- respondance during the same year, and to the Salon of the Academy contributed various works of the same class, if one may judge by titles such as " L'Instrucftion villageoise,"- " La Con- sultation redoutee " and " Le Juge de Village ou La Cruche cassee." '^ He exhibited again at the Salons of 1783 and 1785, at the last of which appeared the well-known " Feinte Caresse ou Les deux Baisers," which is rather a " sujet de boudoir " than a sujet jiamand. As the catalogue tells us, we here see " an old man looking at the portrait of his young wife, whom he is having painted, looking at his own in a locket, whilst she strokes his cheek as she leans on his shoulder and takes advantage of his foolish confidence to slip a note to the young painter who kisses her hand." The sketch for this work — the last exhibited by Debucourt at the Academy — was reproduced by the de Goncourt in " L'Art du XVHL Siecle," when it formed part of the colleftion of M. Lion. This painting seems to have been the point of departure from which Debucourt made his way to a different class of subjects. The " Feinte Caresse " is not " Flemish," neither does it represent precisely the Debucourt who made a name for himself as having imaged with surprising felicity the life and air of his epoch, for there is a touch by which we are reminded of Eisen and the " Contes de la Fontaine." In the following year* "La Feinte ' 1755-1832. ^ Engraved by Glairon. ' Engraved by Le Veau. The subjeft seems to have been suggested by Tieck's " Zerbrochene Krug." * 1786. Debucourt had published several engravings in colour at an earlier date. The de Goncourt mention " La Porte Enfoncde ou les Amants poursuivis, Suzette mal cach^e ou les Amants d^couverts et La Fille enlevee." All these works of a tentative charafter bear the date of 1785 (" L'Art du XVIIL Siecle," t. ii., p. 277). The Caresse " was published as a coloured engraving, but at the sanne Engravers j^jg appeared a work of a very different order — " Le Menuet de la Mariee," of the black state of which I give an excellent reprodudlion. " Le Menuet de la Mariee " is one of Debucourt's most suc- cessful and important works in " la gravure-gouache " ; it is superior to " La Noce au Chateau" (1789) — though this is amongst his best — and may take equal rank with the famous " Promenade de la gallerie du Palais Royal," which, apart from its interest as an historical document, is remarkable for the evidence it affords of quick powers of observation and taste too delicate, one would think, to be tempted into caricature such as detradts from its com- panion, the " Promenade du jardin du Palais Royal." In the " Promenade du jardin du Palais Royal " we get the first hint of the effect of the Revolution on Debucourt. The patriotic fever, even when it was sincere, as it certainly was in his case, rarely inspired fine work.^ We may, however, leave on one side the domestic virtues of republican families and the caricatures of the strange world thrown up by the waves of revolution which Debucourt engraved after his friend Carle Vernet. Even his methods changed ; he lost not only his originality and charm, but the precious secrets of his excellent art. The grace and personal accent of the work done by him during the five years which followed the publication of the " Menuet de la Mariee " are such that they throw into the shade engravings as pretty as the " Foire " and " Noce de Village," which Descourtis^ engraved after Taunay.^ For in Debucourt we have the " graveur qui cree." Much of the peculiar merit which renders his engravings still so delightful is doubtless due to the ht\ that at first he painted his subjects before he engraved them, and thus won a double mastery over their expression. After 1 79 1, in which he dates "La Rose mal defendue," we seek in vain for any sign of this mastery over his own method. In fa(5l he abandons it for a " procede nouveau decouvert par I'auteur en 1792," which, if I remember rightly, is the same as that employed by Sergent, in 1793, for "II est trop tard." ^ The engravings ' See " L'Almanach national," " Le Calendrier de la Republique Fran^aise," " Les Droits de I'liomme et du Citoyen," etc., etc. ' i753-i82o(?). He was the pupil of Janinet. ^ 1755-1830. A., 1784. Pupil of Brenet and Casanova. See Quatrem^re de Quincy, "Not. hist.," t. ii., p. 51. * He exhibited "II est trop tard, estampe peinte et gravee en couleur," in 1793, together with two views of Chartres, two engravings of " La Soiree et la nuit de 12 Juillet, 1789," and a "Costume Republicain." In 1798 he exhibited " Portrait grav6 < a O H u D C s '<. o ►J ^ ^ \ \ "'^'\ '^i l_ \ 1 1 ? 1^ produced according to the new process have no likeness to the The early work ; they depend for their effect on a stipple of colour Engravers about which there can be no illusion. The change of method was no doubt suggested by the then enormous popularity of stipple engraving. Reserved at first — as one may see in the work of Delaunay and Le Veau in the Moliere of 1773 — for the young faces only of figures in vignettes, it became the rage in England, where the method, as applied to the whole subjeft, was skilfully turned to account by Bartolozzi. In France it was employed, on the whole, with greater taste and intelligence both by Copia ^ and his pupil, Barthelemy Roger,^ nor is it possible to withhold our admiration from the appropriate use of pure stipple to render the " effets estompes " specially character- istic of Prud'hon, though the unfortunate attempt made by Debu- court to apply it to colour-engraving wrought ruin on his entertaining and decorative art. en couleur du general Marceau, beau frcre de I'auteur," and in 1 799 a water-colour : — "II repr^sente les costumes des filles suisses, etc." ' 1 764-1 799. A German, born at Landau (Salon, 1798). Amongst his best work are the illustrations of " Id(5es sur le geste et I'adtion thdatrale." See Renouvier, "L'Art pendant la Revolution." ' 1770-1840. "^Sl CHAPTER XI ENGRAVERS AND THE ACADEMY IN 1752 Natoire, reporting to Marigny as to the eleves of the school of France at Rome, suggests that one place should be given to an engraver. This concession he urges on the ground that for the most part engravers cannot draw. He adds that, as they are admitted to the Academy, they will be worthier of the honour if they are put in possession of" un talent si necessaire." ^. Nothing came of Natoire's proposal, but the feeling that the training of engravers — except in what may be called the me- chanical part of their profession — was insufficient determined a motion brought forward in 1790, at a moment when all other regulations were relaxed, but when, through the influence of Vien and David, the reaftion in favour of a severer style and stricter method was daily gaining strength, " They wanted," says Wille, " at one of our last meetings to make a rule that all engravers who come up to be agrees shall show with their engravings academy studies recently executed in the schools under the eye of a professor. This proposal shocked me and I opposed it hotly. I gave my reasons and was supported by other engravers, even by M. Pajou, our president, and the proposal was rejedied. I maintained that no one ought to be humiliated, and that artists having various talents ought to be treated equally and without any distindion : that they ought all to add to their works, whether painting, sculpture, engraving, etc., drawings from the life and academies executed by them — even the flower-painters — all was agreed."'^ G. B. A., 1870, pp. 268, 270. 158 ' M^m., Sept. 23rd, 1790. Wille had been chafing all his life at the inferior position Engravers which he and his fellows occupied as compared with painters and ^^ \^^ sculptors in that Academy ot which he proudly records that, when visiting Marigny on New Year's Day, its representatives took, precedence of the Academy of Architedlure, " qui y etoit aussi." ^ The engraver, even within the fold of the Academy, found him- self in a position inferior to that of other artists, whilst outside the Society the incessant commercial relations with the public — made necessary by the sale of impressions — tended to relegate him, in general opinion and in that of his fellows, to the ranks of those in trade, and also gave rise to vexed questions not only between engravers and their brother artists but between buyers and sellers. When the Revolution gave the signal for the revolt of the " agrees" against the Academicians, the engravers at once made common cause with them, under the leadership of the sculptor Pajou, and thus seized the opportunity to make better terms for themselves. In addition to the annoyance that they had always ex- perienced from the half-veiled contempt which accompanied the insufficient protedtion received from the painters and sculptors, engravers were subjeft to harassing attacks from printers and publishers, on whose domain they were supposed to encroach. Driven to despair " les graveurs en taille-douce " presented a memorial in 1767 to the unsympathetic Academy, imploring their intercession with Marigny in order to secure a favourable hearing for their petition, entreating his protedfion " pour conserver la liberte de leur art." - The desired freedom unfortunately led to abuses which are set forth in a letter from Lenoir to d'Angiviller in reply to the com- plaints brought before him as to the libels on Mmes. Vigee Lebrun, Vallayer-Coster and Labille-Guyard, published in connexion with the Salon of 1783.^ The insults of which they complained are attributed to the abuse of the concessions which had been made to the " graveurs en taille-douce." " What has occurred, sir," writes Lenoir, *' is a fresh proof of the abuses which I could have wished to have been more speedily checked. There are many cases in which, by means of line engravers or of engravers of music, violent attacks and obscenities are published contrary alike * aux bonnes mceurs et a la bonne police,' but under the pretence of freedom, the men of this profession at Paris are not inspected; they put their presses to an ill use. . "4 ' M6m., Jan. 3rd, 1762. " P. V., Sept. 20th, 1767. ' See Portalis, "Adelaide Labille-Guiard " (G. B. A., Dec, 1901, pp. 483, 484). * Guiffrey, " Expositions du XVIII. Si^cle," p. 61. Academy. Engravers Troubles as to the rights of reprodudlion and publication were and the also frequent. In July, 171 9, the engravers presented a petition to the Academy and complained that M. Poilly/ in spite of their " pleintes," " contrefait tous leurs ouvrages." On this the company diredled their secretary to write to Poilly, so as to give him a chance " avant de se porter contre luy a quelque juste violence."^ Later in the century no less than six Academicians combined to objeft to the reprodudiion of their works — executed "pour le Roy" — by a certain Henriquez, a protege of d'Angi- viller. This was simply a protest against the employment of an incompetent hand, but piracy — such as that of which Poilly was accused — was of frequent occurrence. Augustin de Saint-Aubin in November, 1788, attacked Delaunay, his fellow agree, for copying and selling a portrait of Necker, whereby he was injuring the sale of Saint-Aubin's own engraving after the original portrait of Necker by Joseph-Silfrede Duplessis, the pupil of Subleyras.^ There were also graver matters than these to be settled. Balechou,* a pupil of Lepicie, who is best known to us now by his two spirited engravings after Joseph Vernet, also executed portraits in the manner of his contemporary Beauvarlet, such as his well-known rendering of Fran9ois de Troy's portrait of Watteau's friend and patron, M. de Julienne. To him had been entrusted the reproduction of that by Rigaud of Augustus III., King of Poland and Eledlor of Saxony, which was destined to be placed at the beginning of the " Galerie de Dresde."^ The engagement made with the King's agent, Leleu, was brief: " Nous soussignes," it says, " sommes convenus que moi Jean-Joseph Balechou, m'engage a graver entierement au burin, le portrait de S. M. le roi de Pologne, conformement a I'original qui m'en a ete remis peint par M. Rigaud, sur une planche de cuivre de deux pieds, dans I'espace de deux ans pour le prix de 5,000 It." The result was pronounced equal to Balechou's best work, rivalling his achievements in the portraits of Mme. Aved and Mile. Loizerolles, or that executed in 1750 ot the Count de Briihl after Silvestre, which was placed at the beginning of the colle6tion of engravings after works in his gallery. The plate carried out for the King of Poland was, however, soon found to be in a bad ' Not to be confused with F. de Poilly, the engraver of the " Vierge au Linge." See " Catalogue de I'oeuvre de F. de Poilly." Drevet finished de Poilly 's portrait which had been begun by RouUet in 1699. ' P. v., July 29th, Sept. 30th and Odt. 28th, i 719. ' P. v., Nov. 8th, 1788. See "French Painters, etc.," pp. 155 and note and 157. See also Wille, Mem., t. ii., p. 1 17 note. ' 1719-1764. A., March 29th, 1749. ' N. A., 1882, pp. 142-210. 160 condition, and the engraver was accused of having pulled as many Engravers as six hundred proofs on his own account. The matter was ^"^^^^ brought before the tribunal of the Academy, and on April 8th, 1752, that body was called on to consider a series of questions drawn up in a " Memoire " signed by the " Comte de Loss, Ambassadeur de Sa Majeste le Roi de Pologne, Eled:eur de Saxe." Some of these questions seem rather irrelevant, as, for example. No. 8, which runs as follows : " Des epreuves non finies d'une planche peuvent-elles etre bonnes a vendre ou a faire des presents a des personnes que Ton considere, et surtout en y joignant la depense d'un cadre et de sa glace." Others tended to elicit stri6l limitations of the number of occasions on which impressions might be taken during the progress of the work. These were laid down with laconic precision by the commission, on which sat no less than fourteen engravers.^ The deliberations were direded by " M. de Silvestre, Diredleur et ancien Refteur et premier peintre du roi de Pologne," and Balechou was found guilty." In spite of the violent opposition of men of good character, such as Daulle," Le Bas and Lepicie, backed by the support from outside of the Dukes of Nivernais and Clermont, the name of Balechou was struck off the register of the Academy and he was expelled from France. The rest of his life was spent at Avignon, then still Papal territory. The chief witness against Balechou was, it would seem, his printer, and we cannot help suspediing that there was something in this affair of which we are left purposely in ignorance, when we find that on the testimony of this man, " dont le dire variait considerablement, du reste, sur le nombre d'epreuves tirees," the Academy cast out one of the most skilled engravers of the day. No doubt some of his colleagues wished to get rid of him and they succeeded. " II y a a Avignon," says Diderot, writing of " Les Ports de France," " un certain Balechou . . . qui court la meme carriere et qui les ecrase."* He refers, probably, in this sentence to the two engravings after Vernet, " Le Calme " and " La Tempete," the second of which seems one of Balechou's best works, though I do not think that it is really a truthful interpretation of Vernet. He himself was, however, not ill pleased with the free translation ' Duchange, Audran, Lipicie, Mass6, de Larmessin, L. Surugue, J. Moyreau, J. Daull6, L. Cars, Tardieu, Le Bas, Cochin, Cochin fils, Surugue fils. '' P. v., April 8th, 1752. ^ See Delinieres, " Jean-Fran9ois Daullc." * Salon, 1763. 161 Y Engravers and strokes of unauthorized force and effe(5t which the engraver and the }^^g substituted for the easy harmony of his model. He proposed that Balechou should reproduce the " Baigneuses " and wrote enthusiastically: "II n'est qu'un Balechou en France; je ne suis pas content des gravures de mes autres marines depuis que j'ai vu les votres ; si vous voulez vous charger de ce travail, il vous en reviendroit un tres-grand avantage, et a mes peintures une tres- grande gloire." At the same time Wille enters in his diary : " Wrote to M. Balechou at Avignon. I complimented him on his 'Bathers,' which he has engraved after M. Vernet. I have ordered fifteen to twenty proofs of him and one proof before letters."^ In his exile Balechou was not forgotten by his friends in Paris, nor did the scandal which had banished him prevent Nattier from at once sending him his portrait of " Mme. I'lnfante Duchesse de Parme sous la figure de la Terre,"^ but the Academy remained in- exorable and on the i8th August, 1764, this unfortunate man died in exile. On the fifteenth of the following month Grimm writes : " We have just lost one of our most famous engravers. Balechou died a short while back, at Avignon, where his irregular condudl had for some years past banished him. He did not draw corredtly, but he had a most singular vigour and warmth of execution. Some things which he had engraved after Vernet have the greatest reputation and sold for a high price during his life. Their value will not be lessened by his death. The only great engraver now remaining in France," adds Grimm, with proper patriotism, " is a Hessian, who is called M. Wille." In spite of the rules laid down by the Academy in the case of Balechou, difficulties of a similar character continued to arise from time to time. The word " arbitraire," affixed to one of the questions put for decision, left certain points undecided, and various courses were open, more especially when the process employed was that usual one which involved a mixture of etching and line engraving, or the preparation of the plate a Veau-forte by one man, in order that it should be terminated au burin by another.^ It was not long before Etienne Fessard — sufficiently esteemed to be employed by Boucher to engrave his " Light of the World " ' Mem., Sept. 25th, 1762. See also Balechou's reply, ibid., t. i., p. 208, and La- grange, "Joseph Vernet," pp. 212, 213. = P. v., Feb. 23rd, 1753. ' We have seen Le Mire employing Le Veau in this way (pp. 102, 105). Moreau was also thus serviceable to Wille (Mem., Nov. 13th, 1765 j July 29th, 1766). 162 and " L'Amour desarmc" — became involved in an a<5lion at law Engravers on this account. a"'^h'^^ The adtion was brought by " le Sieur Germain " to recover two proofs — " eaux-fortes " — taken by Fessard from plates en- graved after Germain pere. Once more the quarrel was submitted to the Academy, but on this occasion judgement was given with- out reserve in favour of the engraver.^ '• It is," they say, " the established custom from all time that the proofs which are pulled in the course of the work, and specially of the first ebauc/ie, which is called eau-forte, are never handed to the proprietor of the plate unless, indeed, there is an express stipulation to the contrary." It is to the beginning of this affair that Wille probably refers, under the date February 29th, 1760, when he writes that he and Cochin "have been cited before the Grand Council to judge and esteem a portrait of the King that M. Fessard has engraved for an individual with whom he is at law. The affair is not ended." Indeed, it reappears in the journal on June 15th, 1761, when Cochin and Wille are " again cited before the Grand Council to examine and judge the engraving, executed by M. Fessard, from the King's portrait." During the course of the century the Academy formed that great collection of engravings which was transferred, in 1792, to the " Cabinet du roi," together with those of the " sur-intendance de Versailles," the " depot des Menus-Plaisirs," the " maison de ville de Paris" and of various other establishments.^ In 1693 the society possessed only three plates ; two portraits, one of Claude Perrault, the other of Chancellor Seguier, together with the engraving of the " catafalque " which had figured at his funeral obsequies. From 1706, when the regulations came into force which obliged engravers on their reception to give the plates of two portraits prescribed by the Academy, these diploma works became a valuable property. These collections once established were frequently enriched by the generosity of " honorary amateurs " and other friends and patrons. Courtin ^ presented a series of engravings by Michel Aubert ; * de Julienne gives " I'oeuvre de Watteau " — " quatre ' P. v., April 4th and July 24th, 1 761. * See " Not. hist, sur la Chalcographie " (Musce Nat. du Louvre). ' P. v., April 7th, May 26th, 1736. Jean Courtin was a " peintre-graveur " born at Sens. He died at Paris in 1752. See A. B. C. Dario, Mariette. ' Mariette says of Michel Aubert, " mort a Paris a la fleur de son age, en 1740," but if this is so there were two Michel Aubert, for we find engravings signed in this name in the La Fontaine of Oudry. The date of 1757 is also given as that of his death. See the note to Mariette's article. 163 Engravers beaux volumes, reliez en maroquin, contenant une suitte de toutes and the jgg estampes gravees d'aprcs Watteau, Academicien." ^ From ca emy. g^-^j^j^|-,gj. j.|^g society received two sets of " Pastorals " and of " Chinese figures," engraved after his drawings by an English artist, John Ingram.^ In 1737 Duchange gave them a copy of his magnificent publication, " La galerie du Palais du Luxembourg." ^ A few years later, through the generosity of Coypel, they came into possession of the two hundred and twenty-three plates engraved by de Caylus from the drawings of the Royal collections,* and amongst other noteworthy donors may be cited Chardin, who on May 30th, 1778, is said to have " prie I'Academie d'accepter la colIe6tion des estampes gravees d'apres ses ouvrages relies en un volume in-folio " ; Surugue, who on finding the plate engraved by Bernard Picart of the portrait of de Piles, presented it to the Academy, together with a hundred proofs; and Jean-Jacques Caffieri, who, according to his wont, gave a fine set of engravings on condition that his liberality should be acknowledged by a return of equal munificence in kind.^ In addition to the other sources through which the possessions of the Academy were increased, the tax of two proofs imposed on the publication of any engraving before its author could put it on the market with the obligatory " cum priv. regis," soon became profitable. Books, if they contained engravings, required the same privilege,'' but books seem to have borne in praftice a small proportion of the tribute levied from the publishers of prints. Nicolas de Larmessin offers proofs of his reproduction of Lancret's " Amours du Bocage," which are " re9ues et aprouvees pour jouir . . . du privilege du Roy accorde a I'Academie par Arret du Conseil du 28 de Juin 1714." In like manner the Academy obtained proofs of his best work, " Les Pelerins de Cythere," after Watteau; of the " Frere Luc," after Wleughels; ' P. v., Dec. 31st, 1739. '' P. v., Jan. 31st, 1744. He was born in London (1721), but worked chiefly in Paris. He is said to have engraved the etching by Cochin of the " Illumination a Versailles a I'occasion du second mariage du Dauphin, le 9 fevrier 1747 " (see Portalis and B^raldi). Chal. du Louvre, No. 4034. ' P. v., Oa. 5th, 1737. ' p. v., May 27th, 1747. ' P. v., April 30th, 1774. ^ P. v., April 1st, 1786, we find Le Barbier I'ain^ applying for this " privilege" on account of the edition of Gessner illustrated from his designs, and on May 27th, 1747, Frdret submitted to the Academy the projefl: for his work on " Costume " and the " Sieur Careme" was "nomme pour en faire les dessins et les planches" with the title of " dessinateur attache a I'Academie pour ce sujet." Careme was expelled the Academy Dec. i6th, 1778. 164 Ze^ictC' j'tti^ *J&^- 1 La petite Fille au volant. (Bernard Lepicii':, after Chardin.) Academy. " Les oies du Frere Philippe" and " Les quatre heures du jour," Engravers after Lancret.^ and the " M. Moyreau," says Bachaumont, " a beaucoup grave, d'apres les tableaux de Wouvermans passablement," ^ and the enormous series of engravings after Wouvermans which Jean Moyreau seems to have passed his life in executing, found its way into the port- folios of the Academy.^ To this immense work Moyreau now and then added a little scene after Raoux, or a " Conversation de Matelots " after Claude le Lorrain,^ but as a rule he is absolutely faithful to his favourite master. From Charles-Nicolas Cochin also a vast quantity of work was received — at first chiefly proofs from plates after Restout de la Joue ; '* then we find mention of Chardin : La Blanchisseuse, La Fontaine, L'Ecureuse, Le Gar9on Cabaretier.*" These engravings are amongst the best executed by Cochin, though as an interpreter of Chardin he was surpassed by Bernard Lepicie,'' who succeeded Dubois de Saint-Gelais as Secretary to the Academy in 1737. "A good engraver," says Bachaumont, " he has wit and letters ; he writes well enough in prose, and makes pretty fair verses, which he usually puts at the foot of his engravings." To this, he adds in conclusion, " il faut le voir. II est poly, obligeant et communicatif."^ Rarely do we find Lepicie as satisfactory, as full of interest and simple charm as in his sufficient yet modest translations of Chardin's masterly work. The long series from which the Academy regularly profited begins with " La Gouvernante " (1739) and includes the noble " Bene- dicite" (1744). Lepicie must, indeed, stand first on the list of those who have interpreted Chardin, although that list contains the names of Laurent Cars and Le Bas, not to mention lesser lights such as Filloeul and Pierre-Louis Surugue,^ Few artists, says M. Duplessis, found amongst their contem- poraries interpreters equally intelligent, and he suggests that either Chardin himself superintended those who reproduced his work, or that the engravers themselves were captivated by the qualities of ' P. v., Dec. 31st, 1735; Jan. 26th, 1737. " Wille, M6m., Appendix. ^ P. v., Feb. 23rd, April 26th, Sept. 28th, 1737; March 29th, 1738; 1739; 1740; Sept. 26th, 1744. He exhibited constantly at the Salons from 1737 to 1761. * P. v., Sept. 28th, 1743; April 25th, 1744; Sept. 28th, 1759. ' P. v., Sept. 28th, 1736; March 2nd, 1737; March 29th, 1738. ° P. v., June 27th, 1739; Sept. 24th, 1740. ' 1698-1755. He was a pupil of Jean Mariette, but completely abandoned the practice of engraving after his appointment as Secretary and Historian to the Academy. ' Wille, Mem., Appendix, and Feb. 3rd, 1761. ' See Chap. V., p. 8i, note 7. 165 Engravers Chardin's execution and seized instindlively on the essential and the beauties of his art. Academy. With the engravers who paid enforced homage to the Academy came the painters who, as did Chardin, presented prints after their own works. Nattier brings proofs of Tardieu's famous reproduc- tion of his portrait of the Queen.' He is preceded by de Troy''' and followed by Duplessis,^ " peintre Academicien," who presents engravings of his portrait of M. Gluck, " musicien celebre." Duplessis, it should be remembered, had, like Boissieu,^ a strong natural feeling for landscape, but had been forced to take to portraits in order to earn his bread. By the middle of the century the Academy had made a thriving business out of this branch of their colleftions. They bought and sold and gave commissions on their own account to the engravers, whom they persisted in regarding as an inferior order. Plates after works by de Troy and Le Brun were pur- chased in 1764-1765; in 1770 they made 1,716 It. from the sale of prints, the larger part of which was derived from Demarteau's diploma work — a reproduftion of"Lycurgue blesse" after Cochin/ to which reference has already been made more than once. The receipts from this source touched their highest point in 1773, when they amounted to 3,878 It., of which 714 are accounted for by the sale of Porporati's*' popular rendering of" La chaste Suzanne" after Santerre. In 1776 eighty-three proofs of this work were sold, and again in 1777 the chief profits were brought in by the sale of the same print. The inventory, taken in 1775, shows that in addition to fifty- four portraits and the engraving of the funeral pomp of Chancellor Seguier, the Academy were then in possession of three hundred and twenty-eight historical and other subjects, a colleftion which was steadily increased until the total — including diploma works, purchases and gifts — had reached in 1789 over four hundred and seventy pieces.' ' P. v., March 22nd, 1755. " P. V., Jan. 7th, 1736. '■' P. v., Feb. 25th, 1775. See p. 160. * 1736-1810. See " Hommage rendu . . . par le Conseil du Conservatoire des Arts" and " L'Eloge par Dugas de Montbel," Lyon, 18 10; also Wille, M^m., July 28th, 1 762. Some of his best drawings were made in 1 765, when he accompanied Alexandre de la Rochefoucauld to Italy. The Print Room in the British Museum has several specimens of his work: Interior of a mill; Water-colour landscape; Study in sepia of a bridge, etc., etc. * P. v., Sept. 2nd, 1769. " 1741-1816. A. and R. May 8th, 1773, on the "Suzanne" after Santerre. ' See also Miintz, " L'Acaddmie de Peinture et de Sculpture a la Chalcographie du Louvre." 166 This inventory is also particularly interesting, because it was Engravers in 1775 that the society began to give commissions — none too ^"^ t*^^ generously paid — to its engraver members. We get the })ar- ticulars of these bargains two years later. ^ The " planches gravees au profit de I'Acadcmie " are, we are told, to be carried out at the fixed price of 4,000 It., whilst only 2,000 It. are to be paid for such as are executed as diploma works. Coustou represented that the sum of 2,000 It. was too low for the execution of work out of which the Academy expedled to make money, as those entrusted with such commissions would naturally delay their performance for other and more profitable orders. The committee, however, stood firm, and as a check on the long delays of which Coustou spoke, a resolution was brought in,^ by which it was enadted that engravers should in future, like Porporati and Demarteau, present their work and have their fate decided on the same day. This rule, by which aspirants were agrees and re^us on the same day, protedted engravers from the attacks of the imprimeurs by the suppression of a dangerous interval. In accordance with it we find Simon-Charles Miger, Cochin's commis — certainly no dis- tinguished talent — received on Carle Van Loo's " Supplice de Marsyas," ^ which he had been commissioned to engrave for the Academy, whereas the elder Lempereur, agree in 1759, was not received till 1776, when he also was ordered to finish the "Enleve- ment de Proserpine," after de la Fosse.'* Miger was, however, also obliged to execute, as a gift, the portrait of Michel Van Loo,-'' and a few years later induced the Academy to pay him 300 It. for the portrait of Laurent Cars,** which he had engraved after Perronneau. Better business was done when in August, 1782, the company bought from his sister for 3,400 It. all the plates left by Jacques Flipart. Even at that date the work of this fine engraver had a considerable sale, for he had engraved many of the most popular works of Greuze : " L'Accordee de Village ; Le Paralytique ; Le Gateau des Rois" — suggesting, as far as possible, the manner in which Greuze painted — placing his tints side by side. To this end Flipart carried his work almost to completion with the etching-needle, a system in which he was followed by others — ' P. v., May 31st, 1777. ^ P. v., July 26th, 1777. The death of Coustou was announced on the same day. ' See p. 47, note i. * No. 985, Chal. du Louvre. ' P. v., fan. 31st, 1778. No. 2213, Chal. du Louvre. ' P. v., May 25th, 1782. 167 Academy. Engravers such as his pupils the two Ingouf — who were of inferior and the ^\^[\l_ Though the acquisitions of the library could not so easily be turned intomoney,they were valuable and important. The "Gazette Littcraire " was regularly received from the Duke de Praslin, but for the most part the presents sent in were works of a costly charadler magnificently illustrated, such as Descamps' "Vies des Peintres"and " Voyage pittoresque," Saint-Non's "Voyage pittor- esque d'ltalie" and the " Description general de la France," illus- trated by Nee and Masquelier.'"' During the same years too came in the " Histoire de la France," published by Le Bas, d'Argen- ville's "Voyage pittoresque de Paris" and Choiseul-Gouffier's " Voyage pittoresque de la Grece." Tribute too was received from the " Dired:eur-general [des batiments] de S. A. S. I'Eledteur Palatin," who sent in for approbation " la Galerie de Dusseldorf, gravee sous sa diredtion,"^ and from England, whence " Le Sieur Cozens " sent his " Principles of Beauty " with Bartolozzi's illustrations.^ The Academy — whilst deriving profit from the exertions of engravers — had always refused to acknowledge the art as equal with Painting and Sculpture in the designation of the society, but by an odd accident their last consultations were devoted to the concerns of the despised engravers. On the " 27 Juillet 1793, Tan II de la Republique Fran^oise," they received a report from Wille, Lempereur, Levasseur, Moreau and Renou, on Bachelier's inven- tion, " pour remplacer le mirroir dont se servent les graveurs pour retourner de droit a gauche les objets qu'ils ont a graver." Twelve days later the society was suppressed by the decree of the National Assembly,'' together with all other organisations of a similar character endowed by the nation. ' See p. 88, note I. Both were popular engravers in the later years of the century. Francois-Robert le jeune (i 747-1812) sent to the Salon in 1793 " Le Retour du Laboureur," "La Libert^ du Braconnier, d'apres Benazech," and " Cana- diens au Tombeau de leur Enfant, d'apres le Barbier l'ain6." This last had the honour to be reproduced in terra-cotta by Marin, who exhibited the group in 1795. ■ See for these gifts: P. V., March 31st, 1764; May 2nd, 1761 ; Nov. 25th, 1769; 1777-1780. ' P. v., Nov. 29th, 1776. ' P. v., oa 29th, 1785. ' " Decret rendu sur la proposition du Comite d'instru£lion publique. Article I". Toutes les AcadiJmies et Soci^t^s litt^raires, patent&s ou dotees par la Nation sont supprimees. ... La Commune des Arts a 6t6 dtablie par un Decret du 4 Juillet pre- cWent. Les Ecoles ont et^s maintenues provisoirement par un Decret du 28 Septembre 1793" (P. V., 1793, p. 224). 168 The revolt against privilege had found expression the more Engravers effedtually because the work of centralisation as begun by Richelieu ^'^^^ and Colbert had been perfedly accomplished. All the associations which had been created under the old rule, to complete the rigid circle of its police, were swept away by the spirit which pro- claimed the gospel of liberty, of fraternity, of equality. The fall of the Academies was but an insignificant detail in the great over- throw of that despotism which had been founded on the ruins of Huguenot France. The outburst of 1789, with its hateful passions and bloodguiltiness, was needed to unlock those sources of spiritual life which had been arbitrarily sealed by the rulers of France. Once more the thoughts of men were kindled as with fire from on high, and their dreams were visited by the generous vision of a new " Harmonia Mundi." No mystic schemes, such as had satisfied the sixteenth-century monk,^ could serve the needs of a society which, deprived of all outlook on the unseen, had beheld its nobles lavishing the re- sources of the state on the lowest forms of personal luxury and its people perishing of hunger and sorrow, whilst the arts of pleasure triumphantly glorified all the desires of flesh. As soon as the way had been made clear the whole nation joined in the heroic attempt to formulate rules for every phase of life and conduft — rules which, standing free from any petty conventions of time and place, should have universal authority; define the relations of the ideal family, the ideal man, the ideal citizen, and draw the world towards that spirit of perfedl: charity and brotherhood which still remains before us as a dream. The ideals of this moral evolution were unfortunately — perhaps necessarily — embodied in a fashion disastrous to the arts, on the movement of which it imposed intolerable limitations. No divine gift of beauty or of charm could be accepted in expiation of the failure to fulfil conditions fixed by a tyranny as exafting as that of the Academic rule which it had replaced. Those who might have learned from Prud'hon the secret of perfed: freedom in the application of classic precedent to the treat- ment of themes inspired by the passions of their own day, followed on the track of David and the archaeologists. Carried away by the enthusiasm born of a new creed, they demanded the pedantic sanftion of a logical perfedion only to be obtained at the cost of every principle of life and growth. Not till a clear note was struck by the leaders of the Romantic movement were the ' Franciscus Georgius (1460-1540). His "De Harmonia mundi totius cantica tria," published at Venice in 1525, received the honours of the Index. 169 Z Engravers slumbering forces aroused which had been held fast for nearly half and the ^ century in the sterile bonds of the dodlrinaires. Academy. j.^^ Romantic movement released from artificial pressure tendencies which were in genuine harmony with the development of modern democracy, but the task of tracing the relation of their various manifestations to the currents set in motion by the days of '93 has yet to be accomplished. 170 APPENDIX (A) List of Works by the Comte de Caylus. (B) Note sur la Famille de M. Mariette. (C) Extracts from the " Partage des Biens de la succession de Monsieur Mariette." (D) List of Works exhibited at the Salon by Beauvarlet (Jacques-Firmin). Cars (Laurent), Cathelin (Louis-Jacques). Cochin fils (Charles-Nicolas). Daulle (Jean). Debucourt (Louis-Philibert). Delaunay l'aine (Nicolas). EiSEN (Charles-Dominique-Joseph). [Works exhibited at the Academy of St. Luke.] Flipart (Jean-Jacques). Larmessin (Nicolas). Le Bas (Jacques-Philippe). Lempereur (Louis-Simon). MoREAU LE JEUNE (JeA N-MiCHEL). Saint-Aubin (Augustin de). Saint-Aubin (Gabriel de). [Works exhibited at the Academy of St. Luke and at the Colysee.] WiLLE (JeAN-GeORGEs). I (A) THE WORKS OF DE CAYLUS For his printed works see Lewine, " Bibliography of Eighteenth-Century Art " pp. 98-100. For the catalogue of his AISS., which are of an enormous number., see Cochin., Mem, ined.., Appendix II. His discourses at the Academy having a special interest will be found in order below, Discours sur les Dessins. R(^flexions sur la Peinture (Sorbonne MSS.). Discours sur la Mani^re (Sorbonne MSS.). Discours sur I'harmonie et sur la couleur (Sorbonne MSS.). Vie d'Antoine Watteau. Vie de M. Trcmolieres. Vie de M. Le Moyne. Dissertation sur I'Amateur. Vie de M. Le Sueur. Vie de M. Sarrazin. Vie de Michel Anguier et celle de Thomas Regnaudin, avec un Discours . . . sur I'art de traiter les bas-reliefs. Vie de M. Leranbert. Vie de M. Guilain. Vie de M. Girardon. Vies de MM. Buyster et Poissant. Discours au sujet du portrait de M. Dufrenoy, peint par M. Le Brun, dont il a fait present a I'Acadimie. Vie de M. Van Opstal et celle de M. Van Cleve. Discours sur la Composition. Vie de M. Mignard. Vie de Francois Perrier. Dissertation sur I'importance et I'dtendue du Costume. Reflexions sur la Peinture. Discours sur I'Etude des Tetes. Discours sur la Peinture des Anciens. Discours sur la Peinture des Anciens. Suite. Discours sur la Peinture des Anciens. Suite. Memoire sur les Sculpteurs Grecs. Discours sur la n&essite des Conferences. Dissertation sur la Gravure. Mdmoire sur la Peinture a I'encaustique et sur la Peinture a la cire fait present a la Compagnie. ^3, 1732. Juin 7- 1747- Juin 3- ») Sept. 2. )> Nov. 4- 1748. Ylv. 3- >■> Av. 27. n Juil. 6. » Sept. 7- » Nov. : 29. 1749. Mars I. ■>•> Mai 3- 1750. Jan. 10. » F(5v. 7- n Mai 2. n Juil. 4- ■)■> Aout I. » oa. 3- » Dec. 5- 1751. Mars 6. •>■> Mai 8. 1752. Juil. I . >5 Nov. 4- 1753- oa. 6. )> Nov. 10. 1754- Mars 2. » Mai 4- » Juin I. '755- Juin 1- 55 Aoiit 2. » Aout 30- The 1755- oa. 4. Works 1756. Mai 8. ofde .758. D6c. 2. Caylus. 1759- F6v. 3. J> oa. 6. 1760. Mars I. 1762. oa. 30. 1763. Dc:c. 3.. 1764. Mai 5. Dissertation sur la l^gdret^ de I'outil. Discours sur I'avantage des vertus de socidtc^. Discours sur I'Hermaphrodite. Reflexions sur la Sculpture. Discours sur IVtude des testes. Discours et proposition aux Amateurs. M. de Caylus fait present de la vie de M. Bouchardon . . . dont il a fait kaure cy devant, Lettre de M. le C. de Caylus concernant un Prix pour la Per- speaive. Discours sur la ndcessit^ de I'^tude de I'Ost^ologie. M. Miintz (Revue Bleue, 29 Mai 1897) mentions also "Dissertation sur les Causes de la Petite Manidre de I'Ecole fran9aise." This appears to be the " Discours sur la Manidre" delivered Sept. 2nd, 1747. (B) NOTE SUR LA FAMILLE DE M. MARIETTE Pierre Mariette, libraire et graveur, rue St. Jacques, a I'Espdrance, en 1660, cut trois enfans. Savoir : 1°. Denis Mariette, libraire et graveur en i6gi, Syndic de sa communaut^ en 1726. II 6pousa N. Langlois, fille de Francois Langlois ' dit de Chartres libraire en 1634 dont le portrait a 6ti gravd par Pesne d'apres Van-Dyck qui I'a repr^sentd jouant de la musette, parcequ'il en jouait supdrieurement ; il ^ait connaisseur en tableaux, dessins et estampes, dont il faisait un grand commerce, et sous ce rapport il 6tait honord de la confiance de Charles i*"' roi d'Angleterre. II mourut en sa maison rue St. Jacques et fut inhume a St. Benoit. II n'eut de son mariage qu'une fille, maride a N. Chomel mddecin. 2°. Jean Mariette, libraire rue St. Jacques, aux Colonnes d'Hercule en I 702 ; fut aussi dessinateur et graveur, ayant eu pour maitre J. B. Corneille, peintre, son beau frere ; il se distingua dans cet art, et mit au jour plusieurs morceaux pleins d'esprit et de gout, la plupart d'apres ses dessins. II epousa Genevieve Coignard fille de Jean Baptiste Coignard, libraire. II fit batir sa maison rue St. Jacques et mourut en 1742, il fit un legs de io,000 livres aux pauvres de St. Benoit, oii il fut inhumd ; son portrait a etc gravd d'apres Pesne par Daullc ; il laissa de son mariage une fille, femme de Jean Baptiste Corneille, peintre dont on voyait plusieurs tableaux estimes dans les eglises de Notre dame, des Carmes dcchaussds et des Chartreux. 3°. Une fille Marie Madeleine Mariette femme de J. B. Corneille peintre ; et 4°. Une fille Helene Genevieve Mariette femme de J. B. I'Espine, libraire du Roi. Jean Mariette laissa Pierre Jean Mariette Libraire en 17 14 rue St. Jacques aux colonnes d'hercule, avec cette devise: Nee plus ultra;' il fut imprimeur en 1722, il acheta conjoinaement avec son pere d'Antoine Urbain Coustelier moitid du privilege de I'ouvrage des historiens des Gaules et de France, colleaion volumineuse dont le ' This is an error. Denis Mariette married "Justine Abonnenr."' She died in 1753, ^^^ husband having predeceased her in 1741. This and other correflions are supplied by Mr. Percy Mariette, the present representative ot the family. - This legend is given to Mariette erroneously by Delatour. Mr. Mariette tells me that it should be " Haec meta laborum." The molto " Nee plus ultra," with the sign of the " Colonnes d'Hercule," is said, however, to have been in use by the Langlois, who were connefted with the Mariettes, premier volume in f" n'a paru qu'en 1738 ; d'autres libraires estimi-s sont devenus Note associis et en 1802 il y avait 13 volumes imprimis ; le gouverncment a fait coiitinuer sur la les 14'' et I 5''. Famille P. J. Mariettc fit paraitre ce gout h(^'rcditairc pour Ics arts en gind-ral, particujicrc- de M. ment pour Ics dessins et les estampes et il se perftc'tioiiiia en voyageant en Allemagne Mariette. et en Italic. Ses grandes connaissances en cettc partie sur laquelle il 6tait souvcnt consulte le mirent dans le cas de miriter la confiance des personnages les plus dis- tinguis et de plusieurs souverains. II fut auteur de plusieurs Ouvrages, savoir : Des Lettres (i M' de Qiylus sur la fontaine de Grenelle ; Des descriptions qui se trouvent dans le recueil du planches gravces d'aprcs les tableaux de M' Crozat ; Des descriptions des travaux relatifs a la fonte en bronze de la statue <!'(|uestre de Louis XV. Alais le plus interessant de tous est son Traite des pierres gravees tjui lui fait autant d'honneur par la puret(5 du style qu'a ses presses par la beaute d'exccution typo- graphique. Les grandes relations le mirent a meme d'etendre son commerce de la mani(^re la plus brillante et de pousser sa fortune jusqu'ou elle pouvait aller ; on peut dire qu'il rcalisa dans son itat la devise que son pere avait adopt^-e. En 1750 il se demit de son imprimerie en faveur de L. F. Delatour et vendit son fonds de Librairie en conservant par honneur une part dans I'ouvrage des historiens de France; et en 1752 avec I'agri^ment et I'estime du chef de la magistrature, il fut pourvu d'un office de secretaire du roi, controleur general de la grande chancellerie de France: II epousa Angilique-Catherine Doyen,' fiUe de Louis Doyen, notaire, et mourut en 1774, en sa maison, rue St. Jacques, Paroisse St. Benoit, ou il fut inhume. On a deux gravures de son portrait dont une de St. Aubin d'apres le dessin de Cochin. II laissa quatre enfans, Savoir : I". Jean-Pieire Mariette, conseiller a la Cour des Aides; 2". Corneille-Guillaume Mariette, maistre des comptes ; 3". Angelique-Genevicve Mariette, femme de J. B. Brochant ; 4°. Genevi^ve-Thirese Mariette femme d'Achille le Begue, secretaire du roi. Cette note est de M' Delatour, successeur de M'^ Mariette. (C) EXTRACTS FROM THE "PART AGE DES BIENS DE LA SUCCESSION DE MONSIEUR MARIETTE" (M'' GuESPEREAU, Notaire, 13 Avril 1776) " A I'Egard des Estampes, livres et autres objets composant le cabinet dud. sieur Mariette, la vente en a et6 faite par M. Chariot, Huissier Commissaire Priseur au chatelet suivant son proces-verbal en date au commencement du [i;V] mil sept cent soixante quinze : Le prix de laquelle vente s'est trouv(5 monter en totalitd a la somme de trois cent quatre vingt treize mille quatre cent soixante une livres cinq sols, dans laquelle somme d'apres la declaration faite par lad, dame Mariette dans I'in- ' In another note given by Delatour the date 1722 stands for that of this marriage, but this date is incorreft. See p. 26, note 4. ^7S Extra(f\s ventaire fnh apris le d^ces dud. sieur son mary, il a M reconnu que la portion dans from the 'i-'sd. Estampes livres et autrcs objcts qui provenaient dcs successions dc M. et M""^ " Partage Mariette pcre et mi-re qui 6taient propres fidlifs dud. dcfunt sieur Mariette et appartenant des Biens auxd. sieurs et dames ses enfants, monte a la somme de deux cent trei/.e mille neuf de la Sue- cent trentc six livre huit sols, et que la portion revenante a lad. dame Mariette pour cession ce qui faisait partie de la communautd monte a la somme de cent soixante dix neuf de Mon- mille cinq cent vingt quatre livres dix sept sols ; sur laquelle somme de deux cent sieur treize mille neuf cent trente six livres huit sols revenantes auxd. sieurs et dames Mariette." hi-ritiers dud. sieur Mariette, il convient deduire celle de vingt un mille quatorze livres dix huit sols pour la remise de dix pour cent sur les premiers trois cents mille livres et de huit pour cent sur le surplus accord^ au sieur Bazan marchand d'Estampes pour I'arrangement dud. cabinet, la confedtioii du Catalogue et ses vaca- tions a lad. vente, et pour les frais du proces-verbel d'icelle, en sorte qu'il ne revient plus auxd. h(^'ritiers de net dans le prix de lad. vente que la somme de cent quatre vingt douze mille neuf cent vingt une livres dix sols qui entrera en masse." " Plus a donne et Id-gue aux pauvres de la Paroisse de Croissy oik etait situ^e sa maison de campagne, la somme de six cent livres. . . ." "Plus led. sieur Mariette a declare qu'il dcsirait qu'on remit au sieur Jogan et a sa femme une somme de trois cent livres pour I'entretien et la nourriture de leur fils qui 6tait pour lors en apprentissage chez M. Beauvarlet, graveur, et aussy ce qu'il faudrait payer aud. sieur Beauvarlet pour les mois d'apprentissage, et ce pendant quatre annees a partir du premier Janvier mil sept cent soixante quatorze, pass6 lequel temps il ne serait plus rien pay^." " Plus a donn^ et Icgu^ a M. Mariette son fils ain6 un diamant jaune qu'il avait refu de M. le Prince Eugene en le priant de le conserver comme une marque des bontes que ce prince avait eiies pour luv et comme une marque honorable pour leur famille." yfr/. 7. " Maisons rue St. Jacques. " II dependait de la succession du dcfunt sieur Mariette et repris en nature une grande maison situee a Paris rue St. Jacques dans laquelle est dic^de led. sieur Mariette ; laquelle maison en composait autrefois trois et n'en forme plus qu'une aujourd'hui au moyen de la reconstruftion que M. et M*"" Mariette ayeux paternels des parties en ont fait faire a neuf. Laquelle maison avec une autre maison sise a Paris susd. rue St. Jacques vis-a-vis la rue des Mathurins ou pend pour enseigne la croix d'or aussi reprise en nature, ont ctL- vendues a sieur Claude Nicolas BufFault marchand de vin a Paris." y^rL I I. '' Autre maison rue St. Jacques. "Plus il depend de lad. succession une autre maison sise a Paris rue St. Jacques Paroisse St. Benoist, ou pend pour enseigne les trois croissans ; laquelle maison les parties conviennent de laisser en commun entr'elles pour etre les loyers d'icelles echus et a 6cheoir touches par led. sieur Mariette conseiller et etre par luy employes jusqu'a due concurrence au payement des arrerages des rentes et pensions viageres et autres charges annuelles de la succession dud. sieur Mariette." 176 (H) LIST OF WORKS EXHIBITED AT THE SALON BEAUVARLET (JACOUES-FIRMIN), Gr. 1763 Le Jugement de Paris. L'Eiil^vement dcs Sabines. L'Enluvement d'Europe. Galathde sur les Eaux. D'aprcs Lucas Giordano. 1765 Deux pctits Enfans, s'amusant a faire joucr un chien sur une Guitarre. D'aprdis M. Drouais le fils. Une ofFrande a V(5nus et une autre a Ceres. D'apres M. Vien. Deux desseins d'apres les Tableaux de feu M. Carle Vanloo ; I'un la conversation Espagnole ; I'autre la ledture. Ces morceaux sont destines a etre graves. 1767 Monseigneur le Comte d'Artois et Madame. D'apres M. Drouais le fils. Deux dessins : I'un, Mercure et Aglaure, d'apres la Hire ; I'autre, une Fete de Campagne dans I'intL-rieur d'un Maison, d'apres Teniers. Ces Morceaux sont destines a etre gravis. 1769 La Conversation Espagnole. Gravde d'apres Carle Vanloo. Dessins au Crayon noir. Une Vendange. D'apres David Teniers, de 2 pieds de largeur sur 17 pouces de haut. La Vierge avec I'Enfant Jesus et le petit Saint Jean. Deux Pastorales. Dessines d'apres les Tableaux de M. Boucher, premier Peintre du Roi, et destines a etre graves. 1 77 1 Cinq Dessins ovales, dont quatre sont les quatre Heures du jour, et le cinquiinie une Pretresse tenant une Corbeille de Fleurs. D'apres les Tableaux de feu M. Carle Vanloo. Deux Dessins qui reprisentent des Sultanes. D'apres les Tableaux de feu M. Carle Vanloo, qui sont au Chateau de Menars. La Conversation. Estampe d'aprcs feu M. Carle Vanloo. 1773 Le Portrait de M. le Marquis de Pourbalio, Ministre du Roi de Portugal. D'apres le Tableau de L. M. Vanloo ; la Mer et le fond sont peints par M. Vernet. Le Portrait de J. B. Pocquelin de Moliere. D'apres le Tableau de Bourdon. La Lecture Espagnole. D'apres le Tableau de Carle Vanloo. Dessins destines a 6tre gravis. Les Couseuses. D'apres le Tableau du Guide ; du Cabinet de feu M. le Baron de Thiers. Tdlemaque, racontant ses Aventures a la Nymphe Calipso. D'aprcs le Tableau de Raoux. Le Mddecin aux Urines. La Marchande de Gibier. Ces deux Dessins sont d'apres les Tableaux de Gerard d'Ow : du Cabinet de M. le Due de Choiseul. 177 A A Beau- Dessins. varlet 1775 Ouatre Morceaux de la suite de 1 Histoire d'Esther : (Jacques- Esther couronii^e par le Roi Assu^rus. rirrrnn). Evanouissement d'Esther devaiit Assuerus. Mardoche refuse de fld-chir les genoux dcvant Aman. Repas doiiiK^- par Esther a Assuirus. D'aprci le Tableau de M. de Troy le fils. Estampes. La Confidente."! ,v i 1 t^ ui i i\/r /^ 1 \/ 1 TCI. / U apres les 1 ableaux de M. Carle Vanloo. La Sultaiie. J "^ 1777 Le Triomphe de Mardoch(5. La Toilette d'Esther. Aman arrfite par ordre d'Assuerus. Suite de I'Histoire d'Esther, d'apris M. de Troy le fils. Estampes. Le Portrait de M. Sage. Le Portrait de M. Bouchardon. C'est le Morceau de Reception de I'Auteur. 1779 La Marchande d'Amour. D'apris le Tableau de M. Vien. 1781 Toilette d'Esther. D'apris le Tableau de M. de Troy; hauteur 18 pouces, largeur 22, 1783 Esther, couronnie par Assuerus. Estampe gravee d'apres de Troy. Renaud et Armide, Dessin au papier bleu, d'apres le meme, pour etre grav6. I 793 Triomphe de Mardochce. D'aprds Detroye. 2 pieds et demi de hauteur, sur un pied et demi de large. Tel6maque dans I'lsle de Calypso, d'apres — . Largeur i pied 8 pouces, sur i pied 5 pouces de haut. CARS (LAURENT), Gr. 1737 Deux Sujets des CEuvres en gravures. 1738 CEuvres gravies. 1747 Un Sujet grave, repr&entant le Temps qui enleve la Virlti; d^di^ a M. de Tournehem ; d'apres le dernier Tableau de feu M. le Moyne, Premier Peintre du Roy. 1753 L'Enlivement d'Europe, d'apres M. Le Moyne, Premier Peintre du Roy. L'Aurore enl<5ve C^phale, d'apres le meme. Epreuve a I'eau-forte pour faire Pendant au Morceau ci-dessus. Ce Tableau est au Roy. Une Nativit(S ; d'apres M. Carle- Vanloo. Une Dame variant ses amusemens ; d'apres M. Chardin. Ce Tableau est tir^ du Cabinet de M. de Vandieres et I'Estampe luy est dedi^e. 178 1/55 Trois Sujets d'aprds feu M. Le Moine, premier Peiiitre du Roi : Cars Lc premier. Adam et Eve. (Laurent). Le second. L'Aurore qui enleve Cephale. Le troisicime. Hcrculc qui terrasse Caeus (epreuve a I'cau forte). C'est lc Morceau de r&eption dc M. Lc Moine a I'Acadcmie. Plusieurs Portraits, en mc^'daillon, gravels sur Ics dcsscins de M. Cochin : dont entr'autrcs celui de M. Boucher, ct ceiui de M. Chardin. Trois Sujets des Fables de la Fontaine: L'Ane charge de Reliques. Le Chasseur, le Patre et le Lion. Le Meunicr, son Fils et L'Ane. 1757 L'Aveugle tromp6. D'apris le Tableau de M. Greuze. Trois Portraits en Medaillons. Messieurs Slodtz. D'apres les Desseins de M. Cochin. 1 761 Le Sacrifice d'Iphigenie. Hercule combat Cacus. Ces deux Estampes sont d'apres le Moyne. Le Frontispice du Catalogue de MM. les Chevaliers de I'Ordre du S, Esprit. Allegoric d'apres le dessein de M. Boucher. Vignette pour le meme Livre, oii est la mddaille du Roi. CATHELIN (LOUIS-JACOUES), Gr. 1775 Le Portrait de M. Turgot, Brigadier des Armies du Roi. D'apres le Tableau de M. Drouais. Le Portrait de feu M. Paris de Montmartel. La tete, d'apres M. de la Tour, le reste d'apres le Dessin de M. Cochin. Le Portrait de M. Vernet, Peintre du Roi. D'apres M. L. M. Vanloo. Le Portrait de M. Jeliotte. D'apres M. Tocqu6. Le Portrait de M. Tocqui, Peintre du Roi. D'apres le Tableau de M. Nattier. Le Portrait de Moliere. D'apres le Tableau de Mignard. 1777 Le Portrait de M. I'Abbd Terray, ancien Contr61eur-Gen6ral. D'apres M. Roslin ; c'est le Morceau de Reception de I'Auteur. 1779 Le Portrait de M. Franklin. D'apres le Tableau de Mde. Filleul. 1 78 1 Le Portrait de Louis XV. D'apres Louis-Michel Vanloo. Un Corps-de-Garde Italien, on y voit une dispute de Joueurs. D'apres le Valentin. 1783 Mort de Lucrece. D'apres Pellegrini. Portrait en Medallion de M. le Has. D'apres M. Cochin. Autre Portrait en Mddaillon de M. Sacchini. D'apres M. Jay, Portrait en petit de Charles Rollin. D'apres C. Coypel. 1787 Portrait de M. d'Agay, Litendant de Picardie. D'apres Chevalier. Portrait de Mile. Dcon de Beaumont. D'apres M. Ducreux. Portrait de M. Gretry. D'apres Madame Lebrun. 1789 Portrait de M. Louis, Secretaire perpctuel de I'Acadcmie Royale de Chirurgie. D'apres M. Greuze. 179 Cathelin '7^9 Portrait de J. J. Balechou, Gravur. D'apr6s le pastel de M. Arnavon, Cha- (Louis- noine d'Avignon. Jacques). 1800 Esseid-AIy-EfFcndy, ambassadeur de la sublime Porte-Ottomane. Portrait de Nicolas Poussin, peint par lui-mfime. Portrait dc BufFon. Portrait de Bernard de Jussieu. COCHIN FILS (CHARLES-NICOLAS), Dess. et Gr. Ai Cochin died in April^ '79°) ^^ •'"^ """^ "f *^' "work at the Salons o/^'gi, '93, '96, though some of it was arranged for by him., as for example the two views of Rouen, before his death. I 741 Un Dessein a la gloirc des Arts, representant I'Academie Royale de Peinture et de Sculpture conduite par le genie du Dessein, qui s'^leve au Temple de M(5moire, sous la protedtion de Sa Majest6. Un Dessein dont le sujet est tird de I'Histoire romaine, representant Virginias qui tue sa fille. Autre Dessein tire pareillement de I'Histoire Romaine, qui repr^sente L. Junius Brutus, Consul Romain, qui fait mourir ses deux fils pour avoir conspir6 contre la Rd'publique. Une Estampe ou Ton voit la decoration du Feu d'artifice, qui a ete tire a Versailles en 1739, a I'occasion du mariage de Madame Premiere avec Dom Philippe, deuxieme Infant d'Espagne. Dix petits Desseins de difFcrens Caprices, et une Estampe representant le Triomphe de la Religion Chretienne. 1742 Un Dessein representant la pompe funebre 6rigee dans I'Eglise Cathedrale de Notre-Dame de Paris, le 22 Septembre 1 741, a I'occasion du deces de la Reine de Sardaigne. Cette pompe, ordonnce par M. le Due de Rochechouart, Premier Gentilhomme de la Chambre du Roy, a ^t^ composee et conduite par M. de Bonneval, Intendant et Controleur general de I'Argenterie, Menus Plaisirs et Affaires de la Chambre de Sa Majest^. Dessein allegorique, qui repr&ente la lumiere du Messie qui penetre les Mages de I'ancienne Loy, et se fait connoitre aux Prophetes et aux Patriarches. Autre Dessein, oii Ton voit Mars qui revolt de la Geometrie des Lemons pour se conduire dans les travaux de la Guerre. Six petits Desseins pour le Lutrin de Boileau : Chant I. La Discorde sous la figure d'un vieux Chantre, eveille le Prelat, et luy reproche son indolence. Chant il. La nuit annonce a la mollesse etendue dans les bras du sommeil, la division et le trouble qui va s'elever dans I'Eglise. Chant III. Le Sacristain, le Porte-Croix, et le Perruquier ^tant venus de nuit pour retablir le Lutrin, sont effrayez, et fuyent a la vue d'un Hibou : la Discorde, sous la figure de Sidrac, leur reproche leur lachete et les rallie. Chant IV. Le Grand Chantre et les Chanoines se jettent sur le Lutrin et le mettent en pieces. Chant V. Rencontre du Prelat et du Grand Chantre ; bataille des Livres sur le Perron de la Sainte Chapelle : le Prelat met en fuite le Chantre et les Chanoines, en leur donnant sa benediction. 180 1742 Chant VI. La Piet(5 accompagn6e de la Foy, I'Esperance et la Cochin Charit^, vicnt se plaiiidre a la Justice du disordre que la Discorde cause Fils dans I'Eglise. (Charles- Un petit Dessein ou est icrit au bas, Le Medecin observateur. On y voit un N'colas). jeune Medecin qui tate le pouis a une Dame malade. Neuf petits Sujets tirez de Virgile: Georgiques, liv. II. Un Laboureur a Table avec toute sa Famiilc, reprdsente la douceur de la vie champetre. JEne'ide, liv. I. JEnie sort de la nu& qui I'environnoit, et se fait connoitre a Didon. ^nei'de, liv. II. Laocoon, Prctre de Neptune et ses Fils, sont tuez par deux Serpens d'une grandeur extraordinaire. ^nei'de, liv. III. JEnie ordonne a sa Troupe de prendre les armes pour chasser les Harpies qui venoient troubler leur repas. iEneide, liv. IV. Mort de Didon. ^nei'de, liv. VII. Ascagne et quelques Troyens ayant blessi5 a la chasse un Cerf appartenant a la sceur du gardien des troupeaux du Roy Latynus, la Discorde excite les Paysans a prendre les armes pour venger sa mort. ^neide, liv. IX. Nisus et Euryale, deux Amis intimes, apres avoir traversd le camp des Latins, et y avoir fait un grand carnage, furent decouverts par un parti de Cavalerie, qui les obligea a prendre la fuite vers un Bois : Euryale fut atteint en fuyant, et fait prisonnier: Nisus appercevant son Amy entre les mains des Ennemis, se cacha dans le Bois, et lan^a quelques darts dont il tua plusieurs Soidats : le Chef de la Troupe, furieux de la mort de ses Gens, se jette sur Euryale pour le tuer; alors Nisus se montre, et veut en vain detourner sur luy-meme le coup qui menace son Amy. ^neide, liv. X. JEnec ayant blessc le Roi Mezence, est pret a le tuer ; Lausus, fils de Mezence, couvre son pere avec son Bouclier, et s'oppose a la colere d'j^nee. JEne'ide, liv. XI. Pallas, fils d'Evandre, ayant cti tu6 dans un combat, JEnie luy renvoye son corps : ce Pere vient au devant, et est saisi de douleur a la vue d'un si triste speftacle. '743 Quatre Vignettes, et huit Culs-de-lampe, destincz pour une nouvelle Edition des CEuvres de Rousseau. Plusieurs petits Desseins, dont trois concernent I'Art Militaire. 1745 Un grand Dessein sous Glace, a la mine de plomb, representant la Ceremonie de I'Audience accordee par le Roy a I'Ambassadeur Turc, 1746 Morceaux pour un Livre de Voyage, in-4° representans les differens usages des Peuples d'Orient. D'apres les Desseins de M. Cochin fils. Par AI. Tardleu fils. 1 748 Deux autres [sujets], des Animaux ; d'apres les Desseins de M. Cochin fils. Par M. Tardleu. 1750 Les quatre Fetes grav6es du premier Mariage de M. le Dauphin, dessinees par Cochin fils. Le Bal pare. Le Bal masqud dans la grande gallerie de Versailles. Ouvrage de M. Cochin le pere. Le Mariage dans la Chapelle de Versailles. La Comddie. 181 Cochin '75'^ U" Dessein repr&entant le Roy, tenant grand appartement dans la grande Fils Gallerie dc Versailles : la '1 able de jeu du Roy, celle de la Reine et d'autres (Charles- Tables distribu(^s dans ladite Gallerie pour diffc^rens jeux. Nicolas). Autre Dessein reprc^-sentant les Illuminations des deux grandes Ecuries de Versailles jointes ensemble par des Arcades de lumierc: les deux Desseins se gravent adluellement. Les vingt-neuf Estampes de I'Histoire de France de M. le President Haynaut, in-4", en vingt-neuf Parties, sous verres et bordures, dessind-es et gravies par le mi^me. Le Portrait de M. Bailleul et de son Epouse, dessind par le m6me. 1753 Trois Vignettes, dont I'une represente les Arts ; gravdes d'aprds le Dessein de M. Cochin le fils par M. Galimard. Quarante-six petits Portraits en Medallions, dessin^s par M. Cochin le fils. '755 ^^ Desseins pour I'Histoire du Roi, par M(:dailles. P"^ Medaille, la Naissance du Roi. Dans le Bas-relief ovale, on voit Madame la Duchesse de Bourgogne couch& sur un lit au moment qui suit sa di-livrance : on lui prdsente le jeune Prince qu'elle vient de donncr au monde. Au-dessous est une Femme repr(^sentant I'Espcjrance. Forcde d'abandonner deux petits enfans que lui enleve la mort sous la figure d'une femme voild-e, elle tend les bras a I'enfant nouveau-n6 qui est dans le Bas-relief. A droite, une Femme arrose un laurier dans un vase ; allusion au Prince naissant. A gauche, une autre Femme enveloppe de voiles funeraires deux jeunes Cypres; symboles des deux jeunes Dues de Bretagne morts, I'un en 1705 et I'autre en 1712. Seconde Medaille, sur la mort de Louis-le-Grand. Dans le Sujet en Bas-relief, on voit Louis XIV au lit de la mort. Ce Bas-relief di!core la face d'un tombeau sur les cot^s duquel sont rang^es cinq Urnes sc^pulcrales, d'autant de Princes de la Famille Royale, morts avant le feu Roi. Quatre Femmes en pleurs expriment la desolation de la France ; en haut I'lmmortaliti sur des nuages soutient la Mddaille. Seconde Midaille sur la mort de Louis XIV et troisidme du Livre. La Renommee attache le Mddaillon dc Louis XIV a une pyramide dlevde sur un tombeau. Le Mddaillon de Louis XV est soutenu par le Gdnie de la France; ce Gdnie porte un bouclierd'oii rayonnent des traits de lumiere. La France se tourne avec inquietude vers son Genie tutdlaire, et jette ses regards sur le portrait de son jeune Monarque. Aux pieds du tombeau de Louis le Grand, on voit la Discorde et la Guerre enchaindes : elles font effort pour rompre leurs chaines et pour se relever, mais les rayons du Bouclier semblent, en dclairant leurs mouvemens, les rendre immobiles. Quatrieme et cinquidme Mddaille : La R6gence dcferde au Due d'Orleans. La Prudence revolt de la Justice les renes d'un Char qu'elle doit con- duire sur un chemin difficile; les Animaux d'especes diverses, attelds a ce Char, sont les symboles des caradleres opposes dont le contraste semble partager un peuple nombreux en difl^erentes classes, si la Main qui les gouverne ne s^ait les tenir unis. Le Lion est I'embleme de ces hommes dont le courage aspire a I'independance. Le Chien courageux mais fidele et soumis, represente le Sujet dont la valeur est animde par ses Maitres. Le Mouton et le Renard sont le symbole, I'un de la simplicite, I'autre de I'intrigue. Plusieurs Desseins de Ruines antiques et autres vues d'apres nature, dessinees en Italic. Tires du Cabinet de M. le Marquis de Marigny. 182 '755 Quatorzc Dcsseins faits a Rome, d'aprcs les Tableaux et Sculptures ties Cochin grands Maitres. Pils Six Vignettes d'aprds les Desseins de M. Cochin, dont entr'autres la Peinture, (Cnarles- le Gt5nie du Desscin et la Couleur, designc^-es par une Muse qui tient un I^ 'Colas), prisme : un G6nie s'oppose aux ravages du Tems. Par M. GalUmard. Six petits Morceaux graves d'apres M. Boucher et M. Cochin. Par M. FHpart. 1757 Trois Portraits en Medaillons. Messieurs Slodtz. D'aprds les Desseins de M. Cochin. Par M. Cars. Six petits morceaux sous un meme Verre, dont quclques-uns d'aprcs les desseins de M. Cochin. Par M. Fllpnrt. ijbi Licurgue bless6 dans une sedition. Dessein au crayon rouge. Les quatre premieres Estampes de la suite des Ports de France, d'apres M. Vernet, grav6es en socidt^ avec M. Cochin. Par AI. Le Bas. 1763 Les quatre Estampes de la seconde suite des Ports de France, d'aprcs M. Vernet, gravL'es en socii^'te avec M. Cochin. Par Af. Le Bas. Cinq petits Morceaux, d'aprcs M. Cochin. Par M. Fllpart. 1765 Un dessein destin^ a servir de Frontispice au livre de I'Encyclopddie. On y voit les Sciences occupies a d&ouvrir la Verit6. La Raison et la Metaphysique cherchent a lui oter son voile. La Thiologie attend sa lumiere d'un rayon qui part du Ciel: pr^s d'elle la Mdmoire et I'Histoire ancienne et nioderne. A c6t6 et au-dessous sont les Sciences. D'autre part, rimagination s'approche avec une guirlande, pour orner la V^rit^. Au-dessous d'elle sont les diverses Po(5sies et les Arts. Au bas sont plusieurs Talens qui dd-rivent des Sciences et des Arts. Plusieurs desseins all^goriques sur les rignes des Rois de France. lis sont le commencement d'une suite d'estampes que Ton grave, pour etre placdes dans le livre de I'Abregd Chronologique de I'Histoire de France, par M. le President Henault. 1767 Plusieurs dessins alldgoriques sur les regnes des Rois de France . . . destinies a etre graves pour ... la nouvelle Edition de rAbr(^gi Chronologique, etc. Un Dessin repr&entant I'Ecole du module dans I'instant oii les jeunes Gens concourent au Prix d'Expression fondi par feu M. le Comte de Caylus. Les deux Estampes de la quatriime suite des Ports de France ; par M. Vernet, gravies en soci^t^ avec M. Cochin. Par M. Le Bas. A116gorie sur la vie de feu Monseigneur le Dauphin. La Justice protege les Arts. Notre Seigneur au Tombeau, d'apres le Caravage. Une Sainte Catherine, d'aprc^s P. de Cortonne. Tous ces Morceaux, imitaiit le crayon, sont grav6s d'aprcs les Dessins de M. Cochin. Par M. Demarteau. 1769 Plusieurs Dessins all(5goriques sur les regnes des Rois de France. lis sont destines a etre graves pour I'ornement de I'Abr^g^ chrono- logique de I'Histoire de France par M. le President Henault. Douze Estampes de cette meme suite. Le Portrait de M. de Parcieux, et autres Dessins. Lycurgue blesse dans une sedition. Grave dans la manidre qui imite le crayon, d'apris le dessin de M. Cochin. Par M. Demarteau. 1771 Un Dessin destine a recevoir les diverses Inscriptions relatives a I'^tablissement de I'Ecole Royale Militaire. On y voit les Armes du Roi ; la M<5daille frapp(5e a I'occasion de cet Edifice ; sur les c6t6s, les Figures A116goriques de Mars et de I'Etude ; et en bas, quelques-uns des Exercices des Eleves. Plusieurs Dessins, qui ont 6te graves pour servir a rornement de la Traduftion i«3 Cochin Fils (Charles- Nicolas). 1771 1773 1775 1777 1779 les Maun et P Esprit Dessin de M. Cochin. de Tdrence, par M. I'Abb^ le Monnier; le Frontispice de sa Traduftion de Perse et autres. La France tcmoigne son affection a la viile de Liige. Cette estampe a M grav(^-e en reconnoissance de Texemption du Droit d'Aubaine accordd-e par le Roi aux Citoyens de la ville de Liige. Une Figure, Etude d'apres nature. Cette Esiampe et la prdcddente sent gravies a limitation du Crayon, d'aprd-s les Dessins de M. Cochin. Par M. de Marteau. Quatre Estampes ; deux pour les Comd-dies de Tdrence, une pour le Poeme de la Peinture, et une pour le Frontispice des quatre Pod-tiques, traduites par M. I'Abbd- Batteux. D'aprds M. Cochin. Par M. de St.-Aubin. Dix-huit Portraits en Md-daillon. D'aprds M. Cochin. Par M. de St.-Aubin. Plusieurs Dessins des Aventures de Tdl6maque. Destint-s a une Edition in-8" de ce Livre. Deux Dessins, all6goriques sur I'Histoire de France. Continuation de la suite, destinde a orner I'Abrige chronologique de I'Histoire de France, par feu M. le Prd-sident Henault. Les Portraits de MM. Piron, Philidor, Beaume et Cochin. D'aprds les Dessins de M. Cochin. Par M. De Saint- Aubin. Frontispice du Livre iiitituld, Essai sur le caraiiere, des Femmes : par Monsieur Thomas. D'apres le Par M. De Saint-Jubin. Un Sujet de I'Astrde. Deux Sujets de I'lliade d'Homere. Quatre Sujets des Aventures de Tel^maque. Huit Sujets des principals Fetes de I'annc^e. Ces Dessins ont dte composes pour le Missel de la Chapelle de Versailles. Quatre Dessins des principales Pieces de Th<5atre de M. de Belloy. Autres Dessins. Sujets All^goriques. Le Portrait de feu M. Paris de Montmartel. La tete, d'apres M. de la Tour, le reste d'apres le Dessin de M. Cochin. Par M. Cathelin. Six Portraits en M^daillon : M. de Trudaine, M. Pierre, M. I'Abb^ Raynal, etc. D'apres les Dessins de M. Cochin. Par M. De Saint-Aubin. TiJlemaque aborde dans I'lsle de Calipso. D'apres le Dessin de M. Cochin. Cette Estampe est pour I'Edition projett^e in-8", dont le texte doit etre grav6. Par M. De Saint-Aubin. Un Frontispice All^gorique. D'apres les Dessins de M. Cochin. Estampe par M. de Saint-Aubin. Plusieurs Portraits en Medaillons. D'apres les Dessins de M. Cochin, sous le meme numero. Par M. de Saint-Aubin. Deux quadres contenant chacun six petits Sujets. D'apres MM. Cochin, Monnet et Moreau, pour les Editions de Roland Furieux, T^l^maque, etc. Par M. Delaunay. Le Portrait de feue Mde. G * *. Le Portrait de M. de Fontanieu, Litendant et Controleur-General des Meubles de la Couronne. Le Portrait de M. le Comte Maurice de Bruhl de Martinskirlce. Le Portrait de feil M. J. J. Dortons de Mairan. Ces Portraits sont d'apres M. Cochin. Par M. Miger. Sujet Allegorique, dans lequel doit etre place le Portrait de Mgr. le Due d'Orl^ans. Ce Morceau doit servir de P'rontispice a I'Ouvrage, intitule: Descrip- tion des Pierres gravees de S. A. S. Mgr. k Due d'OrUans. Ouvrage petit in-folio. 184 '779 Vignette destince pour le m5me Ouvrage. Cochin Les deux Estampes soiit faites d'apres les Uessins de M. Cochin. Par pils M. De Saint- Auhin. (Charles- Portrait par M. De Su'nit-Aubin. J. J. Caffien", Sculpteur du Roi. D'apres Nicolas). M. Cochin. I 781 Vue du Port du Havre, faisant la seizieme Estampe de la colle£tion des Ports de France; cette vue est dessinee par M. Cochin et gravcc en soci(5t(5 par MM. Cochin et Le Bas. Ella a 28 pouces de large, sur 20 de haut. Par M. Le Bas. Un Dessin representant renicvenient des Sabines. Autre Dessin. Les Nimphes de Calipso, mettent le feu au vaisseau bati par Mentor. Plusieurs Dessins dont les sujets sont tires de I'Emile de J. J. Rousseau, destines a I'edition de Geneve. 1783 Portrait en Medaillon de M. Le Bas. D'apres M. Cochin. Vat M. Cathelin. Le Portrait de M. Perronnet, Chevalier de I'Ordre du Roi, premier Ingenieur des Ponts et Chaussees. D'apres M. Cochin. Par M. de Saint-Jubin. Portrait de M. Pigalle, Chevalier de I'Ordre du Roi. D'apres M. Cochin. Par M. de Saint- Jubin. 1785 M. Perignon, de I'Academie Royale de Musique. D'apres M. Cochin. Par M. Miger. 1 79 1 Une petite Gravure, d'apres M. Cochin. Par M. Ancelin. 1793 Un grand Cadre contenant difF(5rens Sujets d'apres Rotenhamer, Beaudouin, Bonnier, et plusieurs Vignettes pour les CEuvres de Gessner, Roland, les CEuvres de Rousseau, et d'apres Cochin, le Barbier et Alarillier. Par Ponce. Un grand Cadre contenant 18 Vignettes, pour Roland, d'apres les Dessins de Cochin. Par Ponce. Un Cadre contenant des Vignettes d'apres Cochin, pour la Jerusalem et le Poeme des Mois. Par la Cit. Cernel. Un Cadre contenant six Vignettes, d'apres Cochin, Moreau, Monnet, Eisen et Marillier, pour diffirens Ouvrages. Par la Cit. Cernel. Une Estampe d'apr(^s le Citoyen Cochin, pour le Poeme de la Peinture. Par la Cit. Cernel. Vue du Port et de la Ville de Rouen, prise de la pointe de I'lsle de la Croix, au Sud-Sud-Est. Vue du Port et de la Ville de Rouen, prise de la petite chaussee, a I'Ouest de la Ville. Dessines d'apres nature par C. N. Cochin, et graves sous la direction de Lebas et Choffard. Ces deux Estampes sont les N°^ 17 et 18 de la Collection des Ports de Mer de France, d'apres Vernet et se trouvent chez Bazan, rue Serpente, N" 14. 1796 Un cadre contenant cinq vignettes d'apres les dessins des citoyens Cochin, Regnault, Monsiau, Moreau et Marillier, destinees a orner les oeuvres de Virgile, de Rousseau, de Montesquieu et de Deshoulieres. Par Nicolas Ponce. 185 B B DAULLE (JEAN), Or. I 742 Trois Sujets gravez : Claude Deshais Gc-iulion, Dofteur, Medecin de la Facultc de Mont- pellier. D'aprc-s M. Ri;4aud. Catherine Mignard Comtesse de Feuquieres, tenant la Portrait de son Pere, peint par lui-mcme. Hiacinthe Rigaud, Ecuyer, Chevalier de I'Ordre de S. Michel, ancien Diredteur, et Refteur de rAcadcmie Royale de Peinture ct de Sculpture, avec son Epouse, peint jiar lui-meme. 1743 Trois portraits gravez d'apres difFerens Maitres : Celui de Marguerite de Valois, Comtesse de Caylus ; d'apres M. Rigaud, Ecuyer, Chevalier de I'Ordre de S. Michel. Pierre Louis Moreau de Maupertuis, d'apres M. De Tourniere. Pierre Augustin Le Mercier, iniprimeur ordinaire de la Vilie, d'apris M. Van Loo, Premier Peintre du Roy d'Espagne. 1745 Le Portrait grave de Claudius de S. Simon, Episcopus Princeps Metensis. Par Franciae S. R. J. Princeps. D'apres M. Rigaud. 1748 Douze Morceaux gravez. 1750 La Naissance et le Triomphe de Venus, d'apres I'Esquisse de M. Boucher, Les Amours en gayete, d'apres le meme. L'Enfant qui joue avec I'Amour, d'apres VVandik. L'Essayeuse de Fleches, d'apres M. Nonnotte. Le Portrait du Pere Chambroy, Abbe General de Sainte Genevii've de Paris, d'apres M. Peronneau. 1753 Depart de Marie de Medicis, appele communement le Ouos Ego ; d'apres Rubens. Deux Portraits de jeunes gens en pied; d'apres le meme. Une Madeleine, d'apres le Corr^ge. Une Vierge et I'Enfant Jesus, d'apres Carle Maratte. Un Diogene, d'apres I'Espagnolet. Le Portrait a Cheval de M. de Nestier, Ecuyer ordinaire de la grande Ecurie du Roy ; d'apres M. de la Rue, agr6e de I'Academie. 1755 Cinq Sujets : Le Portrait de Monsieur * * * en Robe de taffetas raye, d'apres le Tableau de M. Nonnotte. Le Portrait de Madame Favart, sous I'habit de Bastienne, d'apres le Dessein de M. Carle Vanloo. L'Amour mena9ant, d'apres le Tableau de feu M. Coypel, premier Peintre du Roi. La Musique pastorale, ^ | j, ,^ j^^ j^^^^^;^^ ^^ ^_ Boucher. Les Amusemens champetres, J ^ 1757 S. Pierre, tire de la Gallerie Royale de Dresde, d'apres le Lanfranc. Les Charmes de la Vie Champetre, dedie a M. le Marquis de Marigny, Direfteur et Ordonnateur General des Batimens de Sa Majeste, d'apres M. Boucher. Le Portrait de Monseigneur De Lamoignon, Chancelier de France. D'apres M. Valade. 186 1757 ^^ Portrait de Racine. D'aprcs Saiitcrre Daulle Le Portrait d'un Vieillard. D'aprcs Rubens. (Jean). Un Savoyard moiitrant la Lanterne magique. D'apres M. Pierre. La Muse Uranie, d'apres M. Jeaurat. 1759 Jupiter sous la forme dc Diane, Amoureux de Calisto, d'apres le Poussiii. Dedie .i M. de Betzky, Ge-neral Major et Chambellan de Sa Majeste rimperatrice dc toutcs Ics Russics, Chevalier dc I'Ordre de Sainte Anne. Le Turc qui regarde pecher, d'aprcs M. Vernet. La Grecque sortant du Bain, d'aprcs M. Vernet. La surprise du Bain, d'apres le Nain. Une Chienne Braque avec ses petits, d'apres M. Oudry. DEBUCOURT (LOUIS-PHILIBERT) 1781 Le Gentilhomme bienfaisant. Un Seigneur ouvre sa bourse pour soulager une famille, dent le pcre expire, dans I'instant que Ton vient pour dettcs enlever les meubles de la maison. Ce Tableau a 20 pouces de large, sur 17 de haut. L'Instru(ftion Villageoise. Tableau de 15 pouces de large, sur 12 de haut. Le Juge de Village. De meme grandeur. La Consultation redoutce. De 13 pouces sur 11. Plusieurs petits Tableaux. 1783 Vue de la Halle, prise a I'instant des r^jouissances publiques donn(-es par la Ville le 21 Janvier 1782, a I'occasion de la naissance de Monseigneur le Dauphin. 3 pieds 8 pouces de large, sur 2 pieds 9 pouces de haut. Un Charlatan. 8 pouces de large, sur 6 de haut. Deux petites Fetes, meme grandeur. Plusieurs petits Tableaux. 1785 La feinte caresse. Un vieillard sourit en regardant le portrait commence de sa jeune cpouse qu'il fait peindre, tenant le sien en medallion, tandis qu'appuyee sur son epaule, elle lui caresse la joue, et profite de sa folle confiance, pour glisser un billet au jeune Artiste, qui lui baise la main. 15 pouces de large, sur 12 de haut. Autres Tableaux. DELAUNAY L'AINE (NICOLAS), Gr. 1777 Marche de Silene. D'apres Rubens. Endymion. L6da. Le Portrait de M. I'Abbe le Bloy. D'apres M. Roslin. La Complaisance Maternelle. L'Heureuse Feconditd. D'apres M. Fragonard. Trois Sujets, sous le meme quadre, pour la Nouvelle H^loi'se. Premiere Ruine Romaine. Seconde Ruine Romaine. Le Four a Chaux. La Chute dangereuse. 187 Delaunav ^777 Deux quadres contenant chacun six petits Sujets. D'apri-s MM. Cochin, I'a^ne Monnet et Moreau, pour les Editions de Roland P'urieuXj Tcl(-inaque, etc. (Nicolas). Noce interrompue. D'aprds M. ie Prince. 1779 La Bonne Mere. D'apres M. Fragonard. Le Bonheur du Mdnage. D'apres M. le Prince. 1783 La Partie de plaisir. D'apres Woenix. Dites, s'il vous plait. Les Beignets. Deux Estampes gravdes d'apres M. Fragonard. La Gaiete Conjugale. D'apres le Dessin de M. Frendeberg. 1785 La Consolation de 1' Absence. D'apres Lavreince. L'Enfant cheri. D'apres le Prince. 1787 La premiere le9on d'amitie fraternelle. D'apres M. Aubry. Angelique et Medor. D'apres Raoux. Le Chiffre d'Amour. D'apres M. PVagonard. L'abus de la credulite. D'apres M. Aubry. 1789 Portrait de feu M. de Troy fils, Direfteur de I'Academie de France a Rome. Portrait de feu M. le Clerc, Professeur de perspeftive. 1 79 1 L'Education fait tout. Estampe gravee d'apres M. Fragonard. Autre Estampe. La gaiete de Silene. Une Estampe. Le petit Prddicateur. Les Regrets m^ritds. EISEN (CHARLES-DOMINIQUE-JOSEPH) [Expositions de l'Academie de St. Luc] Un Tableau, representant Icare et Dedale, fait pour la reception de I'Auteur. Un Plafond allegorique, representant la Nature qui tient une Corne d'abond- ance d'une main, et de I'autre retient par une de ses ailes le Genie qui semble toujours s'ecarter du vrai. On y voit les attributs de I'Archi- 1751 tedlure, de la Sculture et de la Peinture Plusieurs Dessins et Equisses. 1752 L'Histoire de Lucas Sinorelli, un Tableau de toile de quatre pieds sur trois en hauteur, representant I'Attelier d'un Peintre occupe a faire le Portrait d'un jeune Homme qui vient d'etre tu6 ; ce que Ton reconnoit a I'expression d'un Vieillard oii la douleur et la fermete se confondent. Ce Sujet est tire de I'Histoire abregee des Peintres de Depille. Une Esquisse du Serpent d'Airain qui a ete represente en grand. Deux Desseins faisant Pendant en hauteur, faits pour Madame la Marquise de Pompadour, dont I'un represente une Automne, dessinee d'apres un Bas- Relief d'yvoire qui lui appartient. Et I'autre un Printemps dessine et compose par le sieur Eisen. Ces deux Desseins sont graves par Madame la Marquise de Pompadour. Un Dessein qui avoit ete fait pour servir de Cul-de-Lampe a I'Oraison Funebre de Madame Henriette de France. Plusieurs Desseins. 188 1753 Un Dessein d'une Vue de Paris du Pont Roya! au Pont Neuf. Les figures Eisen repr^sentent I'entrce dc Son Excellence M. le comte de Kaunitz Ritzberg, (Charles- Ambassadeur de I'Empereur. Le Dessein a environ trois pieds et demi Domin- de large sur deux de haut.' ique- Plusieurs autres desseins tires des Contes de la Fontaine. Joseph). D'autres qui doivent scrvir d'Ornement au Pocme de la Christiade. Le Dessein du PVontispice fait pour la nouvelle edition d'Alphonse du Fresnoy. Autre pour la nouvelle Edition du PufFendorff. Plusieurs Vignettes pour le meme Ouvrage. Plusieurs autres Desseins d'un CEuvre, suivis a I'usage de difFerens Artistes, Architedlure, Sculpture, Ciselure, Orfevrerie, Bijouterie, que I'Auteur fait graver pour lui contenant six feuilles chaque Livre, dont il vient de mettre le premier au jour, qu'il a eu I'honneur de dedier a M. le Marquis de Voyer d'Argenson (Le rcste de cet article manque sur I'edition A. Le suivant est sans doute le meme qui est en tete des oeuvres d'Eisen sur cet edit. A.) Marechal des Camps et Arm6es du Roi, Lieutenant General pour Sa Majeste en sa Province d'AIsace, Gouverneur de Romorantin, Inspe£teur General de Cavalerie de Dragons, Diredleur General des Haras du Royaume. Le Portrait d'une Demoiselle, peint a I'huile, de grandeur de Tabatiere. 1756 Un Frontispice de rHistoireMilitaire de Flandre. L'on voit, dans ce Dessein, Minerve tenant une Mcdaille qui represente le Roi ; elle ordonne a la Re- nommce d'aller publier les exploits guerriers de ce Prince et de le couronner de lauriers. Cette Mcdaille est soutenue par le Terns que des Enfans enchainent, et dont ils arrachent la faux, pour retarder I'instant ou ce Monarque bien-aime doit etre place avec ses Ayeux au Temple de Memoire: c'est le vceu qui fait I'Auteur comme le plus respeftueux et plus fidele sujet de Sa Majeste, hauteur de 11 pouces 8 lignes, sur 7 pouces de large. Un Frontispice qui doit servir en Cour d'Hollande : l'on voit dans ce Dessein une Figure qui carafti^rise la Hollande sur son Throne, tenant d'une main une Couronne d'abondance, de I'autre une Caducce ; un Indicn qui lui presente les Tributs de sa Nation ; a cote, un Genie tenant les armes de la Maison de Nassau ; deux autres sont occupes a tenir un Gouvernail, I'autre met la boussole autour du tronc ; plusieurs ballots de Marchandises cara6terisent le Commerce ; le fond represente un Combat Naval, de 7 pouces 8 lignes de hauteur, sur 4 pouces 8 lignes de largeur. La Vignette de I'Epitre Dedicatoire du meme Ouvrage represente les Armes de Monseigneur le Ducd'Orleans que Minerve couronne; on voit a cote les Genies qui caracflerisent la Guerre et les Arts. Ce Dessein a 8 pouces de long, sur 3 pouces de haut. Le premier Sujet du Pastor Phido represente Neve du grand zele montant, prechant au bord du Fleuve Alphe, a I'ombre d'une plaine, lorsqu'un Habitant des eaux, lui remettant son Fils entre les mains, lui recommande d'en avoir soin, devant etre le bien et I'appui de sa Patrie ; l'on voit, dans le fond le Temple de ce Dieu, et dans un cote du lointain, un orage se preparer. Ce Dessein a 6 pouces de haut, sur 4 pouces de large. La Poesie. L'on voit dans ce Sujet des Poetes et des Philosophes appliques a etudier cet Art, et les autres s'empresser de montrer leur Ouvrage a Appollon pour avoir ses lumieres. La Peinture, la Sculpture et rArchitedlure. L'on y voit la Peinture avec ses Attributs ; la Sculpture appliquee a faire un Buste du Roi ; I'Architedlure ' A la place de cet article, Ted. A contient le suivant : Un petit portrait de grandeur d'une Tabatiere, peint a I'huile. 189 Eisen '75^ achevant un modele en ilivation : Ton voit au bas des G<5nies occupi->. a (Charles- dessiner d'aprcs la bosse. Domin- L'Astronomie. L'on y voit dcs Etudians aux Astres ; un tient un papier, sur '1"^" lequel est tracde une Mappemonde ; dans le fond, des Inginieurs qui Josepn). travaillent sur le terrein ; au-dessus de cet Sujet, est Appollon qui preside. La Statue Pidestre du Roi : des jeunes Militaires faisant I'exercice auquel preside Minerve. Ccs quatre Desseins ont chacun lo pouces ii lignes, sur 8 pouces 8 lignes de long. Deux Desseins all^goriques de meme grandeur. Un jeune Militaire 6tudiant I'Art de la Guerre, tandis qu'un Officier de ses amis entre doucement dans le Cabinet, accompagne de la G(-ni!-rositd voilde ; elle pose sur la table un depot et semble apprc^-hender d'etre apper^ue dans Taction genereuse qu'elle fait. Ces Figures sont historique- ment habillees. Le jeune Guerrier entrant dans le Cabinet du Firmacie, son bienfaiteur, accompagni^ de la reconnoissance, qui vient pour lever le voile de la g<5nerosit6 qui accompagne toujours ce Philosophe, qui se levant prestement, pour aller d'une main prendre le bras de la Reconnoissance, et accueillant de I'autre le jeune Militaire qui s'en saisit et la baise. Ces deux Desseins ont chacun six pieds de haut, sur 4 pieds de long. Deux Desseins de meme grandeur. Le premier represente Hercule qui 6toufFe Anti^e. L'autre represente Bellerofon qui combat Chienne. Deux autres Desseins repri-sentans Saint S^bastien, faits pour servir d'Esquisse a un Tableau d'Autel, de 8 pouces de haut, sur 4 de large. Un jeune Seigneur au Berceau, entoure des Arts, de 1 1 pouces de hauteur, sur 5 de large. Une Etude d'un Cheval ; d'un pied i pouce de long, sur huit pouces de large. Trois Paysages dessin& au crayon rouge. Un reprdsentant I'entree d'une Foret deserte, des Animaux que des Gens menent. Ce dessein a 14 pouces 10 lignes de long, sur 10 pouces de haut. Les deux autres representent une Tempete sur Mer, de chacun 1 pied de haut, sur 10 pouces de large. Une Pastorale, lavee a I'encre de Chine, de la longueur de 7 pouces, sur 5 pouces de haut. Une Estampe representant la Gallerie du Roi de Pologne, le G(5nie des beaux Arts ordonne de placer la nuit du Corr6ge, qui est le principal Tableau que possede ce monarque: au bas sont des G6nies qui s'amusent a chercher I'avis du Peintre dont il examine les Tableaux, Le fond represente la Gallerie ou sont attaches les Tableaux. Cette Estampe a 8 pouces de long, sur 6 de haut. Plusieurs Desseins de difFerentes grandeurs. 1762 Un Tableau de quatre pieds, sur trois pieds, representant Lucas Signiorelli, qui peint son Fils qui vient d'etre tue. Un Projet dessine pour une Chapelle de Communion. Une Esquisse de Tableau d'Autel de ce meme Projet, representant Notre Seigneur qui fait la Cene avec ses Apotres. Autre Esquisse, representant I'Annonciation de la Vierge, ex^cut^e en grand. Ce Tableau a 13 pieds { de haut, sur 10 pieds de large, fait pour I'Eglise Collegiale de Douay en Flandre. Autre Esquisse, representant le Mariage de la Vierge. Le Portrait de Madame Vincent. Le Portrait de M. I'Abbe de * * *. Ouelques Esquisses et plusieurs Desseins. I 764 Sainte Genevieve assise dans la Campagne, faisant la ledture. Ce Tableau est 190 1764 destine pour la Chapelle d'uii Chateau; il portc 6 pieds de haut sur Eisen 4 pieds de large. (Charles- L'Enlevement de Proserpine. Domin- Plusieurs desseins a la mine de plomb, et laves a I'encre de la Chine, repre- iQue- sentant difFerens Sujets. Joseph). 1774 Le Triomphe de Cybele et les P'orges de Vulcain, rcpresentes tous deux par des en fans. Ces Tableaux portent 12 pouces de haut, sur 15 de large. Diane et Endimion. Ce Tableau est de la meme grandeur que le precedent. Erigone, et I'Amour sous la forme d'une grappe de raisin. Hauteur 14 pouces, largeur 16 pouces. L'Aurore semant des fleurs et chassant les Ombres de la Nuit. Hauteur 15 pouces, largeur 16 pouces. Sainte Famille, et pour Pendant le Songe de Saint Joseph. Ces deux Desseins sont a la Sanguine, rehaussdes de blanc. La Charite repr(!'sent6e par une Femme entouree d'Enfans. Dessein a la plume et au bistre. Les trois Graces. Petit Dessein colorie de forme ronde. Deux Desseins colories, dont un reprdsente un Marche. lis sont pendans. Des Enfans jouant avec une Chevre, Dessein a la plume et a I'encre de Chine. Plusieurs Desseins. FLIPART (JEAN-JACQUES), Gr. 1755 Adam et Eve, d'apres le Tableau de M. Natoire. Du Cabinet de M. de Villette, Tresorier de I'Extraordinaire des Guerres. Une Sainte Famille, d'apres Jules Romain. De la Gallerie du Roi de Pologne, Elefteur de Saxe. Six petits Morceaux gravies d'apres M. Boucher et M. Cochin. 1757 Deux Estampes d'apres M. Chardin. Six petits morceaux sous un meme verre, dont quelques-uns d'apres les desseins de M. Cochin. 1763 Vt^nus et En^e. D'apris M. Natoire. Un Morceau grav6 d'apres M. Boucher, servant de Frontispice a la vie des Peintres. Une jeune Fille qui pelotte du cotton. D'apres M. Greuze. Le Portrait de M. Greuze. D'apres un Dessein fait par lui-meme. Cinq petits Morceaux, d'apres M. Cochin. 1765 Une Tempete. D'apres M. Vernet. La vertueuse Athenienne. ) t-v) . ht i/- T • o ■ .u- ^Dapres M. Vien. La jeune Connthienne. j '^ 1767 Le Paralytique servi par ses Enfans. Une jeune Fille qui pleure la mort de son Oiseau. D'apres M. Greuze. 1 77 1 L'Accordee de Village. D'apres le Tableau de M. Greuze, du Cabinet de M. le Marquis de Marigny. 1773 Une Tempete au Clair de la Lune. D'apres M. Vernet. Une Chasse aux Tigres. D'apres le Tableau de F. Boucher; du Cabinet du Roi. 1777 Le Gateau des Rois. D'apres M. Greuze. 191 LARMESSIN (NICOLAS DE), Gr. '737 Quatre sujets gravez d'aprcs difFcrens Maitres. 1738 Qiluvres en graviiies. 1739 Un Sujet des Ouvrages en gravure. 1741 Le Portrait de Monseigneur le Dauphin d'aprc-s M. Toqu^. Les Ouatre Heurcs du jour, d'aprcs M. Lancret. 1742 Le Calendrier des Vieillards, d'aprcs M. Boucher. Les Remords, d'aprcs M. Lancret. On ne s'avise jamais de tout, d'aprcs le meme. 1 743 Le Flcuve Scamandre ; grave d'aprcs M. Boucher, Professeur de I'Academie. 1745 Les 4 Saisonf, d'aprcs M. Lancret, et son dernier Ouvrage. Le Portrait grave de M. I'Abbe de Clairvaulx, peint par Mademoiselle Loir. 1746 Un Morceau grave*. La Savoyarde; d'aprcs M. Pierre. 1747 La Savoyarde; d'aprcs M. Pierre. 1748 Le Portrait grave de M. de Woldemar de Lowendal, Comte du S. Empire, Marechal de France, Chevalier des Ordres du Roy; d'aprcs M. Boucher, Professeur. 1 751 Un Frontispice allegorique, d'apres M. Boucher, Professeur. 1753 Ouatre Sujets de I'Ancien Testament; s^avoir, la Creation, le Passage du Jourdain, David, Isaie. LE BAS (JACQUES-PHILIPPE), Gr. 1737 Deux sujets en gravure d'apres Tenieres. 1738 CEuvres gravdes. 1739 Deux sujets des Ouvrages gravez. 1740 Huit Sujets pour la Traduction Angloise de I'Histoire ancienne de M. Robin. Rendez-vous de Chasse 1 ,, , -.r -c , T r^, c ' > d apres Van-ralens. Le Chasseur fortune J "^ 1 741 Le Sanglier force, d'apres Wouwermens, dedic a M. le Comte de Tessin. Prise du Heron, d'apres Vanfalens, dedie au Dofteur Mide. Deux Estampes d'apres Berghem ; I'une representant le Soir, I'autre le Matin. Deux Paisages d'apres Tdnieres ; I'un, une Vue de Flandre ; et I'autre, I'Arc-en-Ciel. 192 1742 Cinq Sujets gravez. Le Bas Le Neglig6, ou Toilette du matin. D'aprcs M. Charclin. (Jacques- Halte de Cavaleric. D'aprcs Wouvcrmans. Philippe). D(^part dc Chasse. D'apics Waiifalcns. Le Midi de Berghem, dedie a M. ie Baron de Thiers. L'apr6s-din6 de Bergliem, dcdic au meme. 1743 Quatre Sujets gravez d'apris diff6rens Maitres. Moisson, ou 3' vCie de^FIandres \ j,^ ,^ ^ Tcniers. Jeu de Boule, ou 4' vue de FiandresJ "^ Conversation galante, d'apris M. Lancret. Courrier de Fiandres, d'apres Bott. 1745 Neuf Morceaux gravez. Le Siffleur de Linottes. Le Gagne-petit. La Ferme. La Basse-cour. La Guinguette Flamande. La PSche. La Vente de la Peche. Le tout d'apres David Tenier. La premiere et seconde vue de Beauvais, d'apres M. Boucher. 1 746 Sept morceaux gravez d'apres Teniers ; dediez par I'Auteur a difFerens Seigneurs, parmi lesqueis sont, Le Concert et Famiile de Teniers, Le Port de Mer. La Tentation de S. Antoine. Le Fluteur. Le Chimiste, etc. 1748 Trois F6tes flamandes ; d'apres David Teniers. Vue de Santuliet, Village d'Hollande ; d'apres Wanderver. Vue de Schevelinge, aussi Village de Hollande. Le Maitre Galant ; d'apres Lancret. 1750 Les Philosophes Bachiques, de David Teniers. Tird du Cabinet de M. le Comte de Vence. Les Miseres de la Guerre, d'apres le meme. Du Cabinet de M. le Marquis de Calviere. Les Pccheurs Flamands, d'apres le meme. Tire du Cabinet de M. le Comte de Vence. Vue de Flandre, d'apres le meme. Dediie a M. Slodtz I'aind'. Autre Vue de Flandre. Dedi(5e a M. Slodtz de S. Paul. Autre Vue de Flandre. Dddiee a Mylord, Comte de Castlemain. Fete Flamande, d'apres le meme. Tiree du Cabinet de M. le Comte de Choiseuil. Dedi^e a Madame la Marquise de Pompadour. 1751 L'Enfant prodigue ; d'apres D. Teniers, N" 61. Depart pour la Peche ; d'apres M. Vernet de Rome. Port de Mer d'ltalie ; d'apres le meme. 1753 Les Fetes de la Ville du Havre de Grace, en six Morceaux, dessinees sur les lieux, par le Sieur Descamps, Peintre et membre de I'Acaddmie de Roiien ; a I'occasion du voyage et du s^jour que le Roy y a fait en 1749, les- quelles Fetes ont dtd prdsentdes a Sa Majest^, ainsi qu'a la Famiile Royale, le 29 juillet, par les Deputes de ladite Ville, ayant a leur tete M. le Due de S. Aignan, le Comte de S. Florentin, et M. Rouille. 193 C C Le Bas '753 EmbarquemeiU de Vivres ; d'aprcs Ic Bcrghem ; dcdic a M. le Comte dc (Jacques S. Florentin. Philippe). c- i\/i 1755 ^"^ Morceaux. Neuvicme Viie d'Aiivers, d'apris Teniers. Dixiime Viie d'Aiivers, d'aprcs le mCme. Du Cabinet du Roi de Pologne, Elefleur de Saxe. La Peche Holiandoise, et la Vue de la Montague de Tersato : petits Paysages d'apr(!;s Ruysdal. Lc Portrait de M. Grandval, d'apres le Tableau de feu M. Lancret. L'CEconome, d'apres le Tableau de M. Chardin, Conseiller et Tr&orier de rAcadimie. 1757 Deux Estampes, d'apres M. Chardin, dd-di^es a la Reine de Sudde. L'une, la bonne d-ducation. L'autre, I'Etude du Dessein. La fin du Tour "1 ,, , —, . T T • > d apres 1 eniers. Le Jour naissant J ' Deux autres Estampes, d'apres le meme, reprisentans des Canards ; di-di^es a M. le Baron de Nagel. Des gens qui d-cossent des legumes, d'aprds M. Greuze. 1759 Plusieurs Estampes tiroes du Livre intitule: Les Ruines des plus beaux Monuments de la Grece. Dedi(§ a M. le Marquis de Marigny, par M. le Roi, Archite6te du Roi. 1 761 Les quatre premieres Estampes de la suite des Ports de France, d'apris M. Vernet, grav(^es en socidtd avec M. Cochin. 1763 La recompense Villageoise, d'apres le Tableau original de Claude le Lorrain, du Cabinet du Roi. Les quatre Estampes de la seconde suite des Ports de France, d'apres M. Vernet, gravies en sociitd avec M. Cochin. 1765 Les quatre estampes de la troisidme suite des Ports de France, par M. Vernet, graves en soci<5t6 avec M. Cochin. 1767 Les deux Estampes de la quatrieme suite des Ports de France ; par M. Vernet, gravies en soci^td avec M. Cochin. 1769 L'une des seize Estampes qui sont gravees a Paris pour I'Empereur de la Chine. Elle repr&ente un combat des Chinois contre les Tartares. EUe est gravde d'aprds le dessin fait en Chine par le P. Castillon, J&uite. 1 771 Trois Estampes, faisant partie des seize qui sont gravdes a Paris pour I'Empereur de la Chine, et qui reprdsentent ses Conquetes ou des Ceremonies Chinoises. Elles ont 2 pieds 9 pouces de haut, sur 1 pied 7 pouces de large. La Revue de la Maison du Roi au Trou-d'Enfer. Deux Estampes ; l'une la Source abondante ; l'autre, les Occupations du Rivage. D'aprds M. Vernet. Vue des environs de Groningue. D'aprds Ruisdaal. Troisidme et IV*^ Fetes Flamandes. D'apres Teniers. Deux autres. Du Cabinet de M. le Due de Choiseul. L'Embarquement des Vivres. D'aprds Berghem. Autre, dont le titre est : Pensent-ils a la Musique. D'aprds Tdniers ; du Cabinet de M. le Due de Praslin. La Vue de I'ancien Pont de Messine. D'aprds le Tableau de Claude Lorrain, appartenant au Roi. Elle fait le pendant a la Recompense Villageoise. 194 1773 Achille reconnu par Ulysse. D'apris Teniers. Le Bas Un Paysage. D'aprcs Pinnakcr. (Jacques- La Sainte Famille. D'aprcs Reimbrant. Philippe). Les trois Moulins, et la Route dc Flandres. D'aprcs Breughcls de Velours. Ces ciiiq morceaux sent du Cabinet de M. le Due de Choiseul. Les Satyres et les Driades. D'aprcs Berghem. Un Taureau. D'aprcs P. Potter. Le march6 conclu, la cinquieme et la sixieme F6te de Village. Trois Sujets, d'aprds Teniers ; du cabinet de M. de Baudouin, Capitaine aux Gardes Francoises. La septieme FSte de Village. D'aprds Teniers ; du Cabinet de M. le Due de Coss6. 1775 Le Retour a la Ferme. D'apres Berghem; du Cabinet dc M. le Due de Coss6. L'Embarquement des Vivres. Du Cabinet de M. le Due de Praslin. Plusieurs Estampes. D'apris Teniers ; du Cabinet de M. le Marquis de Brunoy. Plusieurs Estampes. D'apris Teniers ; du Cabinet de M. le Comte de Baudouin. 1777 Vue du Port et de la Citadelle de Saint-Pc^tersbourg sur la Nerwa, prise dessus le Quai, pr6s du Palais du Grand-Chancelier Comte de Bedtouchcf. Elle doit etre d^di^e a Sa Majestd- l'Imp6ratrice de toutes les Russies. D'apres le Tableau de M. le Prinee, appartenant a Madame la Marquise de I'Hopital. Aneien Aqueduc de Pdnestre, prcs de Rome. D'apres Corneille Poulembourg ; d6di6 a M. le Due de Cossc, et tire de son Cabinet. IX' F^te Flamande. D'apres le Tableau de D. Teniers, d6di& a M. le Comte de Baudouin. Vues du Cotentin, en deux Estampes. D'aprcs les Tableaux de Michau, aussi d^diees a M. le Comte de Baudouin. Ruines d'Ephese et I'ancien Temple. D'aprcs Bartholomcc Breemberg ; d^dides a la M. le Due de Nivernois, et tirdes de son Cabinet. 1779 Port de Dieppe. D'apres M. Vernet. Figures de I'Histoire de Franee; Ouvrage propos^ par souseription. 1 78 1 Deux Cadres eontenant ehaeun 35 sujets de figures de I'Histoire de Franee, dessincs par M. Moreau, le jeune. Nota. II a paru 6 livraisons de 1 8 Estampes ehaeune de eet Ouvrage, propose par souseription, la septieme paroit adtuellement. Vue du Port du Havre, faisant la seizieme Estampe de la eolledlion des Ports de France ; eette vue est dessin^e par M. Cochin et gravce en societd par MM. Cochin et le Bas. Elle a 28 pouees de large, sur 20 de haut. Deux vues de I'lsle-Barbe, sur la riviere de Saone, au-dessus de Lyon, gravces d'apres les Tableaux de M. Olivier, aneien Pensionnaire du Roi de Sardaigne. Largeur 28 pouees, hauteur 20. La belle Aprcs-din^e, d'apres un Tableau de Carle Dujardin, tird du Cabinet de S. A. S. Mgr. le Prinee de Condd. Cette Estampe de 13 pouees de haut, sur 1 1 de large, fait pendant a la Fraiehe-matince. Vue des environs d'Anvers. Vue des Environs de Bruxelles. Ces deux Estampes faisant pendant, de 14 pouees de large, sur 10 de haut, sont graves d'apres Breugle de Velours, et dedi&s a S. A. R. le Prinee Charles de Lorraine. Le Bas '7^' Second Vue de Bruges, d'apres le meme Auteur, tire du Cabinet de S. A. S. (Jacques- -Mgr. le Prince de Condt. i6 pouces de large, sur 12 de haul. Philippe). ^n cadre renfermant plusieurs Dessins pour I'Histoire de France, gravis sous la diredlion de M. Lebas a qui ils appartiennent. Par M. Moreau le jeune. 1793 Vue du Port ct de la Ville de Rouen, prise de la pointe de I'Isle de la Croix, au Sud-Sud-Est. Vue du Port et de la Ville de Rouen, prise de la petite chaussde, a I'Ouest de la Ville. Dessincs d'apres nature par C. N. Cochin et gravis sous la direction de Lebas et Choffard. Ces deux Estampes sont les N'" 17 et i8 de la CoUeftion des Ports de Mer de France, d'apris Vernet, et se trouvent chez Bazan, rue Serpente, N" 14. LEMPEREUR (LOUIS-SIMON), Gr. 1 761 Les Forges de Vulcain, d'apris M. Pierre, didiie a M. le Marquis de Marigny. Quelques autres Estampes. 1763 Les Baigneuses. D'apres M. Carle Vanloo, Premier Peintre du Roi. L'Enlivement d'Europe. D'apres M. Pierre. 1765 Le Triomphe de Silene. D'apres feu M. Carle Vanloo. Titon et I'Aurore. D'apres M. Pierre. Ces Tableaux sont du Cabinet du Roi. Le Portrait de M"" Lecomte. D'apres le Dessein de M. Watelet. 1767 Le Portrait de M. Watelet. D'apres le Dessin de M. Cochin. Le Portrait de M. de Belloy, sujet allegorique, d'apres le Tableau de M. Jollain, Peintre du Roi. La Ville de Calais presente au Ginie de la Poesie le Medallion de M. de Belloy, pour etre attachi a la Pyramide de rimmortalite. Sur la Pyramide, on voit un Bas relief ou le Roi Edouard est reprisente condamnant a la mort Eustache de Saint-Pierre et ses ginireux Compagnons. Au bas est un Enfant qui tient les clefs et les armes de la Ville, et pres de lui un Chien, symbole de la fidiliti de ces vaillans Citoyens. On aper^oit dans le fond le Port de Calais. C'est sous les ordres de M. le Due de Charost, Gouverneur de Calais, que cette Estampe a iti gravce. 1769 Les Jardins d'Amour. Estampe connue aussi sous le nom de la Famille de Rubens, dont elle presente les Portraits. D'apres le Tableau de Rubens. 1773 Le Festin Espagnol. D'apres Palamede Stevens. Les Sermens du Berger. D'apres M. Pierre. Les Presens du Berger. D'apres F. Boucher. 1775 Une Vieille faisant des remonstrances a sa Fille. D'apres le Tableau de M. Wille le fils. 1777 La Mere indulgente. Les Conseils Maternels. D'apres les Tableaux de M. Wille le fils. Le Portrait de M. Jeaurat, Refteur de I'Academie. D'apres M. Roslin ; c'est le Morceau de Reception de I'Auteur. 1779 L'enlcvement de Proserpine. D'apres le Morceau de Reception de la Fosse. Cette Estampe est . . . de la suite que I'Acadimie fait graver. 196 1779 Sylvie guil'rit Philis de la piquure d'un Abeille. Lem- L'Amour ranime Aminte dans les bras de Sylvie. pereur Sylvie fuit le loup qu'elle a blessc. (Louis- Ces trois Sujcts tires de TAminte du Tasse, sont d'aprcs M. Boucher. Simon). 1781 Une Vdnus. Estampe gravde d'apres Annibal Carrache. 1789 Les Graces lutin&s par les Amours. D'apres M. de la Grenie. Les Amours enchainds par les Graces. D'apres le meme. MOREAU LE JEUNE (JEAN-MICHEL), Dess. et Gr. 1777 Deux quadres contenant chacun six petits Sujets. D'apres MM. Cochin, Monnet et Moreau, pour les dditions de Roland Furieux, Teldmaque, etc. Par M. Delaunay. 1 78 1 Deux Cadres contenant chacun 35 sujets de figures de i'Histoire de France, dessinces par M. Moreau, le jeune. Nota. II a paru 6 livraisons de 18 Estampes chacune de cet Ouvrage, propose par souscription, la septieme paroit aftuellement. Par M. Le Bas. C^r6monie du Sacre de Louis XVL Ce Dessin a etc ordonne par M. le Marechal Due de Duras ; c'est le moment ou Sa Majeste prononce le serment. Estampe grav^e d'apres la meme Dessin. L'Estampe de meme grandeur que le Dessin, a 30 pouces de long, sur 19 de haut. Dessin de I'lllumination, ordonnee par M. le Due d'Aumont, pour le mariage du Roi. Cette vue est prise du bas du tapis vert, d'ou Ton voit toute I'etendue du Canal. Cette Estampe et ces deux Dessins precedents appartiennent au Roi. Dessin repr&entant Louis XV a la Plaine des Sablons, passant en revue les Regimens des Gardes-Francoises et Suisses, I'instant est celui ou les troupes ddfilent devant Sa Majest(5. * Ce Dessin a i pied de haut, sur 2 pieds 3 pouces de long. Trois Etudes au pastel, une tete de Femme et deux de Vieillards. Le Portrait de Paul-Jones, dessin(5 d'apres nature, en 1780. Vingt-neuf Dessins in-4" des CEuvres de J. J. Rousseau, pour I'Wition de Bruxelles. Un cadre renfermant plusieurs Dessins pour I'Histoire de France, graves sous la diredtion de M. Lebas a qui ils appartiennent. Autre cadre contenant cinq Dessins in-8" pour les CEuvres de I'Abbe Metastase, et une grande vignette pour mettre a la tete de la Description generale de la France; le sujet est I'etablissement de I'Ordre de la Toison d'Or, par Philippe le Bon, Due de Bourgogne. Une vue de I'Orangerie de Saint-Cloud. Plusieurs Dessins in-4°, sujets de la Henriade, qui formeront la premiere livraison des Estampes proposees par souscription, pour I'ornement des Editions de M. de Voltaire. Cette livraison paroitra en Janvier 1782. Arrivee de J. J. Rousseau au sejour des Grands Hommes ; sur le devant, Diogene souffle sa lanterne. Cette Estampe paroitra au jour dans trois mois. Plusieurs Dessins et Esquisses. 197 Tragedies. Moreau '7^3 Quatre Dessins des Fetes de la Ville, a I'occasion de la naissance de Mgr. le lejeune Dauphin: (Jean- Le premier, I'arrivce de la Reine a I'Hotel-de-Ville. Michel). Le second, le Feu d'Artifice^ Ces deux dessins out 27 pouces de long sur i 7 de haut. Le troisieme, le Repas donnd- par la Ville a leurs Majestcs. Le quatrieme, le Bal Masqu6. Dessin alldgorique pour la convalescence de Madame Comtesse d'Artois. 14 pouces de long, sur 10 de haut. Autre Dessin all(^gorique. 12 pouces de haut, sur 9 de large. Douze Dessins pour les CEuvres de Voltaire, dont la colledtion est dd'di^e a S. A. R. Frcddric-Guillaume, Prince de Prusse. Fabricius recevant des D^putds au moment qu'il fait cuire des Idgumes. Ce Dessin appartient a M. le Due de Chabot. Fete projett(5e sur I'emplacement de I'Orangerie et de la piice des Suisses a Versailles pour la Naissance de Mgr. le Dauphin, en deux Dessins de trente-trois pouces de long sur treize de haut ; le premier repr^sente le plan et la coupe sur la plus grande longueur; le second la vue perspective prise de I'Orangerie. Portrait de Madame de la Ferti. 1785 Dix-huit Dessins pour les Qiiuvres de Voltaire: Catilina Olympic Oreste Addlai'de du Guesclin Don Pedro Irene Agathocle Les Guesbres Les Scythes Les Loix de Minos Socrate, drame L'Ecossaise Le Baron d'Otrante Le Dcpositaire Memnon Zadig. 2 dessins. Le Frontispice pour les Estampes des CEuvres de Voltaire. Portraits, Dessins. M. Renou, Adjoint a Secretaire de I'Academie. M. Martini, Graveur. M. Guillotin, Dofteur en Medecine de la Faculte de Paris. Mile, le Prince. Mile. Saugrain, Graveur. Mile. De Corances. Dessins. Caius Marius qui, par son seul regard, arrete le Soldat qui veut le tuer. Mort de Caton d'Utique. Un quadre contenant 15 Dessins, pour les Figures de I'Histoire de France, Ouvrage d6di6 au Roi. 1787 Un grand Dessin representant I'Assemblee des Notables. Dessin ordonn6 par le Roi. 198 Comedies. > Contes. 1787 Autre, repr^sentant Tullie, faisant passer son Char sur Ic corps de son Perc ; il Moreau doit ctre grave pour la rc^ception de I'Auteur. le jeune Ce Dessin appartient a M"'" des Entelles. (Jean- Sept Dessins destind-s a orner I'cdition do Voltaire: Michel). Sophonisbe "1 .,, , ,. Eriphilc I I ■•^g'^-d.es. L'Inginu Candide La Princesse de Babylone \ Contes. Jeannot et Colin La F^e-Urgelle 1789 Quatre Estampes pour les fetes de la Ville. Ouverture des Etats-Gdndraux, du 5 Mai 1789. Constitution de I'Assemblde Nationale, du 17 Juin suivant. Tullie faisant passer son char sur le corps de son pere. C'est le morceau de reception de I'auteur. Patriotisme et fiddlitd au Roi. Le 24 Fdvrier 1525, Jean le Sdndchal, Seigneur de Molac et de Carcado, Capitaine de cent hommes d'Armes, Gentilhomme de la Chambre de Francois premier, sauva la vie a ce Prince par le sacrifice de la sienne. Voyant un Arquebusier pret a tirer sur le Roi, il se precipita au-devant du coup et fut tu6. Estampe dddiee a M. le Marquis de Molac, Chef de nom et armes des^grands Sdndchaux feodds et herdditaires en Bretagne. 1 79 1 Douze Cadres, Portraits de Deputes. Par MM. Moreau et Labadie. Cadre contenant dix Dessins. Sujet du Nouveau Testament. Un Cadre contenant dix Dessins. Sujet tird du Nouveau Testament. Autre cadre reprdsentant la Procession d'Isis. Le Dessin du Frontispice des Cdrdmonies Religieuses. Deux Estampes, reprdsentans les Etats-Gdndraux. Un Cadre contenant dix Dessins. Sujet tird du Nouveau-Tcstament. Une Tete de Femme, dessein. 1793 Une Estampe reprdsentant la Comddie et la Tragedie, d'apris les dessins du Citoyen Moreau. Par Ponce. Un Cadre contenant six Vignettes, d'aprcs Cochin, Moreau, Monnet, Eisen et Marillier, pour diffdrens Ouvrages. Par Ponce. Deux Cadres contenant chacun dix Dessins pour les Evangeles. Les Fundrailles d'une Reine d'Egypte. 2 pieds de large, sur I pied 7 pouces de haut. Pour I'Histoire gdndrale et particuli^re des Religions et du Culte de tous les Peuples. 1796 Un cadre contenant cinq vignettes d'apres les dessins des citoyens Cochin, Regnault, Monsiau, Moreau et Marillier, destinies a orner les oeuvres de Virgile, de Rousseau, de Montesquieu et de Deshoulieres. Par Ponce. Ces objets appartiennent a I'auteur. Un cadre renfermant dix dessins des a6les des Apotres. Un Idem, renfermant six dessins du voyage d'Anacharsis. Un cadre renfermant quatre dessins, deux de I'lliade, et deux de Juvdnal. Deux Dessins de la vie de Phocion, et deux de celle de Marc-Aurelle. 1798 Cadre contenant 47 dessins faits pour une Edition de Gesner, en quatre volumes in-8°, que le C. Renouard publiera le I"' Vendemiaire prochain. Cadre contenant 18 dessins, Adtes des Apotres, pour I'edition in-8° du nouveau Testament de Saugrain. Un Dessin pour Anacharsis. 199 Moreau 1798 Un Dessin reprdsentant R<5gul!'.s retournant a Carthage, pour les ceuvres de le jeune Montesquieu, in-4°. (Jean- Michel). '799 L^ Comddie et la Tragddic, d'apres Moreau par Ponce. 1800 La reception de Mirabeau au Champs-Elysdes d'apres Moreau, le jeune. Par Masquelier. SAINT-AUBIN (AUGUSTIN DE), Gr. I 77 1 Ouatre Portraits et Etudes, dessinds d'apres nature. \/ertumne et Pomone. D'aprts feu M. Boucher. Ouatre Sujets des Metamorphoses. Dont trois d'apres M. Boucher, et un d'apris M. le Prince. Quatre Estampes ; deux pour les Comedies de Terence, une pour le Poeme de la Peinture, et une pour le Prontispice des quatre Pod'tiques, traduites par M. I'Abbd' Batteux. D'apres M. Cochin. Une Estampe de la Suite des Conquetes de I'Empereur de la Chine. Dix-huit Portraits en M(^-daillon. D'apres M. Cochin. Cinq Portraits en Medaillon. Le Portrait de feu M. de Crebillon. D'apres le Buste de M. le Moyne. Le Portrait de M. Diderot, en Medaillon. D'apres le Dessin de M. Greuze. Une Estampe representant un ancien usage Russe. D'apres le Dessin de M. le Prince, tire du voyage de feu M. I'Abbd Chappe de Haute-Roche. 1773 Le Portrait de feu M. Helvetius. D'apres L. M. Vanloo. Les Portraits de MM. Piron, Philidor, Beaumdet Cochin. D'apres les Dessins de M. Cochin. Frontispice pour I'Histoire de la Maison de Bourbon. D'apres F. Boucher. Frontispice du Livre intitule, Essai sur le cara(^ere, les Moeun et f Esprit des Fannies : par Monsieur Thomas. D'apres le Dessin de M. Cochin. Dessins. Portraits et Etudes. Autres Portraits en Mddaillon. Un Concert Bourgeois, et un Bal Pare. 1 775 Six Portraits en Medaillon : M. de Trudaine, M. Pierre, M. I'Abbd Raynal, etc, D'apres les Dessins de M. Cochin. Telemaque aborde dans I'lsle de Calipso. D'apres le Dessin de M. Cochin. Cette Estampe est pour I'Edition projettde in-8", dont le texte doit etre grav^. Deux Cadres; ils renferment chacun douze Sujets et Tetes ; d'apres les Pierres gravies du Cabinet de M. le Due d'Orldans. Dessins. Plusieurs Portraits et Etudes, d'apres Nature. 1777 Dessins. Douze Dessins a la Sanguine et douze lav6s a I'encre de la Chine et au bistre; d'apres les Pierres gravdes antiques du Cabinet de M. le Due d'Orldans, dont on se propose de donner une Colleftion. Ils sont renfermds sous deux quadres. Plusieurs Portraits en Medallions, et Etudes de Tetes dessindes a la mine de plomb, melees d'un peu de pastel. Estampes. V6nus. D'apres le Tableau du Titien, qui est au Palais Royal. Un Frontispice AUegorique. D'apres les Dessins de M. Cochin. Alexis Piron. D'apres le Buste, en marbre, de M. Caffieri. 200 de). 1777 Plusieurs Portraits en Medallions. D'aprds las Dessins de M. Cochin. Saint- 1779 Sujet All(5gorique, dans lequel doit fitre plac^ le Portrait de Mgr. ie Due /A!iJ„gtjn d'Orl6ans. Ce Morceau doit servir de Frontispice a I'Ouvrage, intituli^ : Descrip- tion des Pierres gravks de S. A. S. Mgr. le Due d''OrUans. Ouvrage petit in-folio. Vignette destint^e pour le meme Ouvrage. Les deux Estampes sont faites d'apris les Dessins de M. Cochin. Portrait. J. J. Caffieri, Sculpteur du Roi. D'apris M. Cochin. L. E. Baronne de * * *. A. S. Marquise de * * *. Dessinds et grav& par Augustin de Saint Aubin. 1783 Un cadre renfermant quatre ovales, dans chacun desquels est representee une figure de Femme vue a mi-corps, dessin6e au crayon noir, mt\h d'un peu de pastel. Plusieurs Portraits, dessinds a la mine de plomb melde de pastel. Deux cadres contenant chacun douze Dessins a la sanguine, d'apris les pierres grav6es antiques, du cabinet de Monseigneur le Due d'Orl(5ans. Gravures. Le Portrait de M. Perronnet, Chevalier de I'Ordre du Roi, premier Ingdnieur des Ponts et ChaussL-es. D'apres M. Cochin. Portrait de M. de la Motte-Piquet, Chef d'Escadre. Portrait de M. Pigalle, Chevalier de I'Ordre du Roi. D'apres M. Cochin. Portrait de M. Linguet. D'apres M. Greuze. Portrait de M. Pdlerin, savant Antiquaire. 1785 M. Necker, ancien Direfleur-G^ndral des Finances. D'apris M. Duplessis. M. de Fenelon, Archeveque de Cambray. D'apres Vivien. Un quadre renfermant 8 Portraits. Autre quadre, contenant 6 vignettes et frontispices. 1789 Portrait de M. Necker. D'apres M. Duplessis. Format in-12, gravd en Juillet 1789. Lekain, dans le role d'Orosmane. D'apres M. le Noir, Peintre du Roi. Un Cadre renfermant plusieurs petits Portraits d'Artistes de la Socidtd des Enfans d'Apollon. Deux demi-figures dans des ovales et faisant pendant, dessindes et gravies par I'Auteur. Plusieurs Portraits dessinds a la mine de plomb, mel6s d'un peu de pastel. 1793 Jupiter et L6da, d'apres le Tableau original de Paul Vdron^se, qui 6tait dans la Colledtion du ci-devant Palais-Royal. Grandeur du Cadre, 17 pouces de haut, sur 14 pouces de long. Un petit Portrait en Mddaillon imitant le Camee, d'apres Sauvage. V<5nus Anadyomene, d'apres le Tableau original du Titien, qui etoit dans la Colleftion du ci-devant Palais Royal. Hauteur 11 pouces, sur 8 de arge. 201 D D SAINT-AUBiN (GABRIEL DE) Expositions de l'Academie de St. Luc. Par M. de Saint-Aubin, Adjoint a Professeur. 1 774 Le Triomphe de I'Amour sur tous les Dieux. Plafond de 3 pieds de haut, sur 4 pieds de large. L'Ecole de Zeuxis. . . . L'an du monde 3564. Hauteur, i pied 10 pouces, largeur, I pied 6 pouces. Effet du Tremblement de terre de Lisbonne. Hauteur, 2 pieds 6 pouces, largeur, 2 pieds. Un Sujet des Contes de la Fontaine. Hauteur, i pied 3 pouces, largeur, 1 pied. Fete de Village et Pendant. Hauteur, 2 pieds, largeur, 2 pieds 8 pouces. L'Amour maternel et filial, repr^sentd par une Femme allaitant son enfant. [See sketch of " Mere donnant de la bouillie a son enfant," rep. de Goncourt, "L'Art du XVIH. Siecle."] Hauteur, i pied 4 pouces, largeur, i pied 2 pouces. Une jeune Dame faisant reciter la le^on a un petit gar^on. Hauteur, 12 pouces, sur 9 pouces de large. Plusieurs Tableaux. Exposition au Colysee. 1776 Son portrait fait par lui-meme, de 14 pouces de haut sur 1 1 de large. La Tentation de Saint Antoine de forme ronde. Deux pendants de dix pouces de haut sur dix de large : I'un est une sc^ne tragique, I'autre un concert. Esquisses. Une mere allaitant son enfant en peinture ^ludorique, de 17 pouces de haut sur treize de large. Le Triomphe de Pomp6e, meme peinture de dix pouces de haut sur treize de large. Le trait de bienfaisance de la Reine a Fontainebleau de 5 pouces de haut sur 7 pouces de large, esquisse a gouache. Une Sevreuse et des enfants, deux pastels de quinze pouces de haut sur quatorze de large. La Rentree du Parlement. Le Roi posant la premidre pierre de I'amphith^atre des ecoles de Chirurgie. Ces deux pendants sont de 9 pouces de haut sur 6 de large. Vue de I'intdrieur de la rotonde du Colys6e. Un Paysage. Ces deux pendants de forme ronde sont de 5 pouces de diametre. Nouveau trait de bienfaisance de la Reine arrive au village de Saint Michel, de 6 pouces de haut sur 8 de large. Le Carnaval du Parnasse, repr&entant le caracStere des 3 theatres, de 9 pouces de haut sur douze de large. Ces deux num^ros sont des gouaches. Note. — I have not seen the livret of this exhibition, which is described by M. Guifirey (" Expositions de l'Academie de Saint-Luc," p. xv) as nothing more than " un Salon posthume de l'Academie de Saint-Luc." Theextraft given above is taken from the de Goncourt ("L'Art du XVIIL Siecle," pp. 417, 418). They add that, three years after the death of Gabriel, Pahin de la Blancherie re-exhibited, at his famous Salon de la Correspondance, the little sketch for a "plafond projet6 en 1752" and " Un Paysage avec figures dans le genre de Watteau." 202 WILLE (JEAN-GEORGES) 1757 La Devideuse, mere de Gerard Daw, d'apris G(5rard Daw. La M^nagere Hollandoise, d'apres le m6me. La Tricotteuse Hollandoise, d'apris Mieris. 1759 Le Portrait de M. de Boullongne, Controleur General des Finances, Com- mandeur et Grand Tr^sorier des Ordres du Roi, d'apris le Tableau de feu M. Rigaud. 1 76 1 Le Portrait de M. le Marquis de Marigny, d'apris le Tableau de M. Tocqui. Le petit Physicien, d'apres Gaspard Netscher. 1763 La Liseuse. D'apres Gerard Dow. Le Jeune Joueur d'Instrumens. D'aprds Schalken. 1765 Les Musiciens ambulans. D'apres M. Dietrich, Peintre de S. A. Ele6torale de Saxe. 1767 L'Instruflion Paternelle. D'apres G. Therburg. L'Observateur distrait. D'apres F. Mieris. I 769 Le Concert de Famille. D'apres le tableau de Scalken. 1 77 1 Les OfFres r^ciproques. D'apres le Tableau de M. Dietricy, Peintre de I'Eledleur de Saxe. 1777 Les bons Amis. D'apres A. Ostade. Agar prdsentee a Abraham. D'apres Dietricy. Le repos de la Vierge. D'apres le meme. 1779 Mort de Marc Antoine. D'apres Pompeo Battoni. 203 INDEX Abbreviations. Arch. = architeii. dess. = dessinateur. id. = iditeur. gr. =graveur. illus. = illustrated by, n. = note, p, =peintre. sc. = sculpteur. Titles of works are printed in italics : names of artists after whom they have been engraved are placed in brackets after them. Abbeville, 51 n. 2, 62, 86 n. 2. Abonne.nc, Justine, 19 n. 3. Acad^mie d'Architefture, 159. Acaddmie Royale, 8, 45, 47 n. 3, 48, 56, 61, 63, 66 n. 3, 76, 88, 96 n. 2, 130, 135 n. 5, 141 n. 3, 143, 144; acquisition of engravings by, 163-168; admission of members, 6, 11, 14, 26 and n. 5, 27, 28, 43> 44, 54, 58, 61 "■ 2, 73, 75, 79, 81, 87, 93, '23, 136, 144, 145, 152, 155; — and colour engraving, 149-151 ; posi- tion of engravers in, 2, 158-168. Acad^mie de St. Luc, 14, 85, 120 n. 5, 121, 122, 123, 125, 127, 133 and n. 3. Academy of Florence, 27. Academy of Rouen, 128. Academy of St. Petersburg, 139. Accident imprcvu, U (Lavreince), by Darcis, 92 n. I. Accord parfait (Moreau), by Helman, 142 n. I. Accordee de Village (Greuze), by Flipart, 88, 89, 167. Adtc de partage, famille Mariette, 20 n. i , 23, 28. Adam and Eve (Natoire), by Flipart, 88. Adieu to Susan, by Gravelot, 113 n. 3. Adieux, Les (Moreau), by R. Delaunay, 142 n. I. Adrienne Lecouvreur (Coypel), by P. -I. Drevet, 59, 60, 69. Adrienne-Sophie, Marquise de . . ., hy A, de St.-Aubin, 136. iEsop, early editions of, 98. A femme avare, galant escroc, after Lancret, 71 n. 5. Aiglonne et les paons, Z,', by Le Gouaz, 109, Albani, Cardinal, 12. Aliamet, gr., 34 n. i, 49 n. 3, 91, 107 and nn. 2 and 3, 139. AUx malade, by Le Veau, 102. Allegoric sur la vie du Dauphin (Cochin), by Demarteau, 150 n. 9. Abnanach de r Ecole Royale, 1760, by Gra- velot, 117; — iconologique, by Cochin and Gravelot, 119 n. 2; — national, by Debucourt, 156 n. i. Amants decouverts, — poursuivis, by Debu- court, 155 n. 4. Amour, L\ after Fragonard, 154. Amour desarmi (Boucher), by Fessard, 163. Amour en ribotte (Eisen pere), by Halbou, 121 n. 5. Amour Medecin, by Baquoy, 108. Amours des Dieux, by Schmidt, 76 n, 2. Amours du Bocage (Lancret), by Larmessin, 164. 205 Index. Amours en gayete (Boucher), by Daulld, 64 and n. 3, Amsterdam, B. Picart at, 81 n. 7, 99 n. 4, 105. Anacreon, illus. Massard, 78 n. I. Anastasle^ La princesse (Roslin), by DaulI6, 27, 65, 66. Anchin, work of Bellegambe at, 125 n. i. Andri^ collection, 77. Angivillcr, d', 151 n. 4, 159, 160. Anguier^ Michel (Revel), by Cars, 84 n. I. "Annales dii Regne de Marie-Thdr^se," 104. Annette et Lubin, by Gravelot, 1 16. Annonciation^ by Eisen, 125 ; — (Solimen), by Le Mire, 100 n. I. Apollo and the Python (Gravelot), by Le Veau, 106. Aprh-dine., V (Berghem), by Le Bas, 90 n. I. Argenson, Marquis d', 2, 122. Argenville, d', 136, 168. Armada, Spanish, 112 n. 7. Armand colleftion, 134. Armoire, L\ by Fragonard, 4. Arnaud, Baculard d', 107 n. 2, 126 n. 2. Arrivee de la Reine, etc., by Moreau, 143 Arrivee de Rousseau au sejour des Grands Hommes, by Moreau, 143. Arrivee d''une Diligence, by L. Boilly, 146. Arrivet, gr., 108. Arsenal, exhibition at the, 122. "Ars Poetica," translation by Colman, 119 n. 9. "Art de Peindre," by Watclet, 10 n. 4, 13 and n. 2. Artois, Allegory on the Countess d\ by Moreau, 142 and n. 3. Arundel, Z,«r«/(Vandyck), by P. A. Tardieu, 78 n. 2. Asia Minor, visit of de Caylus to, 5 and n. 2. Assemblee au Concert, — au Salon, by Lavreince, 154 n. I. Assemblee de brocanteurs, by Charles Coypel, Assemblee des Notables, by Moreau, 143, 144. " Astree, L'," illus. Gravelot, 1 1 3. Aubert, Anne. See Mme. Eisen. Aubert, Michel, gr., 163 and n. 4. Audouin, gr., 87 n. 4. Audran, Benoit, gr,, 57 and n. i, 161 n. I. Audran, Benoit IE, gr., 57 and n. 2. Audran, Claude, p.-ddc, 56, 57 and n. I. Audran, Claude le pdre, 58 n. 2. Audran, Gerard, gr., 56, 57, 58 and n. 2, 61. Audran, Germain, gr., 58 and n. 2. Audran, Jean, gr., 56 and n. 2. Augsburg, Imperial Academy of, 14. Augustus HE of Poland (Eledtor of Saxony), 28, 64 n. 4, 82 n. 1, 94 n. 3 ; portrait of (Rigaud), by Balechou, 160, 161. Aumale, Duke d', 13. Au moins soyez discret, by A. de St.-Aubin, 130. 136, 138, 149- Aumont, Duke d', 40, 143. Austria, Empress of, 28 ; Empress Dowager of, 80. Automne (Eisen), by Mme. de Pompadour, 122. Avare, U, by N6e, 108. Aved, Mme., by Balechou, 1 60. Aveline, Fran^ois-Antoine, gr., no and n. I. Aveline, Pierre, gr., 31 and n. 4, 99 n. I. Aventures de Don ^uichotte, by Charles Coypel, 3 n. 3. Aveu difficile, L' (Lavreince), by Janinet, 154- Avignon, Balechou at, 161, 162. Avril, gr., 78 and n. 4. Babel, gr., 103 n. i. Babuty, M., 84 11. 3. Bacchanales, by Fragonard, 4. Bacciarelli, Mme., p., 14 n. 4. " Bachaumont, Mdmoires secrets de," 2, 84, 86, 93, 115 n. I, 118, 121 and n. 2, 165. Bachelay, gr., 93 and n. 3. Bachelier, gr., 168. Badeii-Durlauch, Margrave of, 80. Baigneuses (Vernet), by Balechou, 162. Bain de Zelis, by Eisen, 125. "Baisers, Les," by Dorat, 103, 126. Bal d'Auteuil, by G. de St.-Aubin, 131, 132. Balmasqui, by Cochin, 143 ; — by Moreau, 143 n. 4. Bal Pare, by Cochin fils, 49 ; — by A. de St. Aubin, 1 37 and n. 2 ; Invitation au — , by Cochin fils, 49 and n. 6. Balechou, Jean-Joseph, gr., 160 and n. 4, 161, 162. Balvay. See Berwic. Banier, abbe, 105. 206 Bapst colledlion, Ii6 n. i. Bapteme suivant le rite Grec, by Le Prince, 152. Baquoy, Charles, gr., 33, lOl and n. 3, 106, 107, 108, 109, 142 n. I. Barathier, Gentnil (Choffard), by Miger, 103 n. I. Barrois, portiait of, ordered of Drevut fils, 59- Bartolozzi, gr., 92 n. i, 157, 168. Basan, Mme., 32 and n. 5, 34. Basan, Pierre-Francois, gr., 29-36, 81, 82, 89, III, 135 n. I; his commerce, 30, 32 "■ 3, 35, 36, 51, 121 n. 5; en- gravings by, 31, 32, 33 n. 3, 132 ; publications of, 98 ; — Catalogue Mari- ette, 7 n. 2, 29, 33, 34 ; Di£tionnairc des Graveurs, 30 n. 2, 36, 150 n. 5; Ovid, 33, 34, 105, 106, 140 ; Recueil, 31, 32 ; sales conducted by, 34 and n. I, 35- Basseporte, Madeleine, p., 53 n. 2. Bastille, 6 n. 2. Batailles tC Alexandre, by G. Audran, 56. Baudouin, p., 78 n. i, 97 n. 2, 106 nii. 4 and 9, 107 n. 2, 140. Baudouin, Count, 94 n. 3. Bayeux, Mus^e, 142 n. 3. Beau Clhn, Le (Watteau), by de Caylus, 6. Beaumarchais, 143 n. 5. Beauvais, gr., 61 n. 3. Beauvarlet, gr., 2, 31 and n. 3, 86 and n. 2, 87, III, 160. Becket, M., 115 n. 2. Bel, avocat, 51. Belle, p., 38. Belle, Mme., 37. Bellegambe, Jean, 125 n. I. Belle-Isle, Marechal de, 74, 75 n. 1, 151 ; portrait (Rigaud), by Wille, 64, 65, 66 n- 3, 72, 74, 75- Belloy, Marquise de, 2. Benazech, p., 168 n. i. Benedicite (Chardin), by L^picie, 165. BenediSl XIV., by Subleyras, 37 n. I. Berger NapoUtain (Boucher), by Daulle, 67- Bergkre des Alpes, by Gravelot, 1 16. Berghem, p., 90 n. i. Bernard, Samuel (Rigaud), by Drevet fils, 60 and n. I, 67, 68. Berryer, Rene, 46 and n. 2. Berthault, gr., 147 and n. 3. Berlin, Mile., by Janinet, 153. Bertinazzi dit Carlin, 2. Berwic, C, gr., 51, 78 and n. 5. Index. Betsky, General, 27, 65, 66 ; portrait (Roslin), by J^ujiiiis, 65 n. 4. Bibliothcqiie de rUniversit(f', Paris, 6 n. i. Bibliothcque Nationale (Print Room). See Cabinet des Estampes. Billti Doux (Boucher), by Migcr, 47 n. i. Binet, gr., 106 and n. 5. Black Horse, Cortihill, 113 n. 3. Blanchisseuse, La (Chardin), by Cnchin pere, 165. Bletterie, M., 70. Blue-coat Boys, by Gravelot, i 13. Boccaccio, early editions, 98 ; illus. Grave- lot, 85 n. I, 100 and n. 4, loi, 103, 1 16 and n. 5, 117, 136. Boileau, illus. Cochin, 49 ; — Eisen, 49 n. I, no, 122, 124; — B. Picart, 49 and n. 2. Boilly, Louis-Leopold, p.-dess., 146, 147. Boily, C, gr., 105 and n. 2. Boissieu, p., 166 and n. 4. Bolingbroke, Lord, 4 n. i. Bolswert, gr., 42 n. 3, 89. Bombarde, M., 45, 46. Bon.ic, M. de, 5. Bonne Education, after Greuze, 139. Bonne Mere, La (f'ragonard), by Delaunay, 99 n. 2. Bonnet, gr., 150 and n. 4. Bonneval, Count de, controleur des menus, 39, 40, 41 and n. 2.» Bontemps, M., 132. Bordeaux, engraving of Lemoyne's statue at, 61 n. 4. Borghese, Princess, 12. Bossuet (Rigaud), by Drevet fils, 59 and n. 3, 60, 63 ; by Grateloup, 104 n. 2. Bott, p., 93 n. 5. Bottari, 19, 21 and n. 2, 24 and n. 4, 25 and n. 2. Bouchardon, Edme, sc, 6, 8, 18, 34, 40, 48 n. I ; portrait (Drouais), by Beau- varlet, 86 n. 2, 87. Boucher, Francois, p., 50, 112, 115, 127, 151; engravings after, 33, 47 n. i, 74 n. I, 99 n. 4, 100; by A. de St.-Aubin, 106, 136 n. 3 ; by Cars, 85, 91 ; by Daull^, 64 and n. 3, 67 ; by Fessard, . 162, 163; by Flipart, 88, 89; by In- gram, 164 ; by Larmessin, 71 n. 5, 97 ; by Simonet, 106 n. 9; colour engraving after, 150, 151, 153. Bouchot, M., 102. Bouhier, President, 121. lOJ Index. Bouillon, Duke de, 71 n. 4. Boullogne, de, p., 1 5, 59. Boullogne phe, portrait, by L. Surugue, 81 n. 7. Bourdon^ Sebastien (Rigaud), by Cars, 84 n. I. Bourgeois, Francois, co/nmissaire, 127, 128. Bourguignon. See Gravelot. Bowles, John, 6d., 113 n. 3. Boydeil, John, gr., 81. Boyer d'Aguilles colleftion, 27 and n. 3. Brandt, Count, 83. Brenet, p., 131, 156 n. 3. Breteuil, Count de, 2. British Museum, 43 n. i , 44 ; Print Room, 67, 103 n. 2, 113 and n. 4, 166 n. 4. Brochant family, 20 and n. i. Briihl, Count de, 64 nn. 3 and 4, 82 n. i ; portrait (Silvestre), by Balechou, 160. Brunoy, Marquis de, 94 n. 3. Brussels, Eisen at, 127. Buchelay, Savalette de, 1 1. Bullion, hotel, 34. Byrne, William, gr., 81. "Cabinet Crozat," by Mariette, 27 and n. 2, 29. Cabinet des Dessins, 48 n. i ; — des Estampes (Print Room, Bibliotheque Nationale), 6, 7, 32, 48 n. 2, 89, 102 n. 3, 113 n. 2, 132 n. 3, 133 n. 2, 135, 140 ; — des M(?dailles, 7 j — des Me- dailles (Vatican), 21 n. 2 ; — du Roi, 6, _ 7 n. 2, 28, 29, 39, 89, 163, 164. Cachette decouverte (Fragonard), by De- launay, 99 n. 2. Cadeau delicat, by L. Boilly, 1 46. Caffieri, Jean-Jacques, sc, 164. Cahiers d^images pour les enfants, by Grave- lot, n2 n. 5. Calendrier de la Repuhllque, by Debucourt, 156 n. I. Callet, p., 78. Calme, Le (Veriiet), by Balechou, 161, 162. Carnargo dansant (Lancret), by Cars, 85. Cambrai, Archbishop of, 75 and n. 2. Camligue, gr., 142 n. 2. Campion, Controleur-gl'ncral, 3 and n. I. Canadlens au tombeau de lew enfant, after Le Barbier, 168 n. i. Caracci, Annibal, p., 8, 21. Caravage, p., 150 n. 9. Careme, dess., 164 n. 6. Carmontelle, Louis Carrogis dit de, dess., 2, 13. 14- Carnarvon, colledlion of Lord, 104. Carnaval du Parnasse (Gab. de St.-Aubin), by Basan, 33 n. 3, 132 and n. i. Carriera, Rosalba, p., 25, 43, 57 n. 4. Carrogis, Louis. See Carmontelle. Cars, Laurent, gr., 2, 40 n. 3, 84-87, 93, 97, 99, 161 n. I, 165; engravings after Boucher, 85, 91 ; after Le Moine, 85, 91, III; Mile. Clairon as Medea, 79, 86; his pupils, 85 and n. i, 86, 87, 88, 89, 136 and n. 3 ; portrait (Perronneau), by Miger, 167. Cars pcre, gr., 84 and n. 2. Casanova, p., 156 n. 2. Castillon, P^re, 95. Cathelin, gr., 91, 108 and n. I, 126 n. 4. Caylus, Comte de, I, 4-10, 16, 21 n. 1,25 and n. 6, 26 and n. 3, 56, 81 ; — and the Academy, 5, 6, 8, 48 and n. i, 50 ; colleftion of, 7 and n. i, 8 ; as a con- noisseur, 4, 5, 8, 10, 19, 20, 81 ; etchings by, 5, 6, 7 and n. i, 9, 21 nn. i and 7, 25, 164; relations with: Coypel, 6; Daull^, 27, 65, 66 ; Diderot, 9 ; Le Bas, 94 ; Mariette, 1 8 and nn. 2 and 5, 19, 20, 25, 26, 27, 66; Marmontel, 9; Watelet, 9, 10 ; Watteau, 4, 6, 8. Caylus, Comtesse de, 4 n. I, 5; portrait, by Daull^, 63. Caylus, Duke de, 7. Cazes, portrait, by Le Bas, 93. Cazin, ^d., 99 n. 2. " C^'rdmonies religieuses de tous les peuples," 1 12, 114. Ccrnel, la citoyenne, gr., 48. Cest unfils. Monsieur {M.ort2iu),hy Baquoy, 109, 142 and n. i. Chagrins de r Amour, by L. Boilly, 146. Chaises miscs aux Thuilleries, by G. de St.- Aubin, 132 and n. 3. Chalcographie. See Louvre. Challe,"MM., p. et sc, 66 n. 3. Chameau et les batons flottans (Oudry), by Aveline, 99 n. i. Champagne, Ph. de, p., 14 n. 4. Chancey, Claude de, 6 n. 2. " Chansons de la Borde," illus. Moreau, 109 and n. 3, 141 and n. i. Chantilly colleflion, 13 and n. 4, 141 n. i. Chardin fils, p., 131. Chardin, J.-B.-S., p., 37 and n. 4, 81 n. 7, 88, 146, 164, 165, 166. Charles VII., election of, 75 and n. i. Charnou, Catherine, 58. Charost, Duke de, 2. 208 Charricre, Mme. dc, 145 n. 6. Chartres, Duke de, 2, 105 11. 3. Chartres, Views of, by Serge lit, 156 n. 4. Chasse a POurs (Van Loo), by Flipart, 88. Chaise au Tigre (Boucher), by Flipart, 88, 89. Chaste Suzanne (Santerre), by Porporati, 166 and n. 6. ChStelet, 55. Chat Panterre, Li; after Oudry, 32. Chauchard colleftion, 140 n. 2. Chaulnes, Duke de, 2. Chedel, gr., 87 and n. 6. Chenneviires, M. de, 24, 26 and n. 4, 52, 91 n. I, 92. Chenu, gr., 93 and n. i. Ch^reau, Francois, e;r., 33, 35, 61 and n. 2, 67, 68. Chateau, Jacques, gr., 61 and n. 3. Chevreuse, Duchess de, 130 n. 3 ; Duke de, 2. Children of Rubens (Rubens), by DauUe, 67. China, drawings for Emperor of, 95 and n. 2. Chinese figures (Boucher), by Ingram, 164. ChofFard, Pierre-Philippe, gr., 35 and n. 4, 51, 56, 91, 103 nn. I and 2, 136, 137, 140, 145, 146; books illustrated by, 16, 103, 104; Contes de la Fontaine, 103; Ovid, 33, 105 and n. 3; Terence, no n. 2. Choiseul, Duke de, coUeflion of, 34, 94 n- 3> 95-^ Choiseul-Gouffier, 168. Chouchou, Mile., 126 n. 2. Christ couronne d'' Epines (Van Dyck), by Bolswert, 42 n. 3. " Christiade," illus. Eisen, 122. Christian, Prince, of Denmark, 89 n. i. Christina, Queen, of Sweden, 7. Christophe, portrait, by L. Surugue, 81 n. 7. Clairon, Mile., 53; — en Medee (Van Loo), 79, 86, 87 ; medallion of, by Gravelot, 118 and nn. i and 2. "Clandestine Marriage," by Garrick and Colman, 119 n. 9. Claude le Lorrain, p., 165. Clause, Sr. J.- J., 127 and n. 6, 128. Cleopatre (Netscher), by Berwic, 78 n. 5. Clermont, Count de, 2 ; Duke de, 161 ; Princess de, 25 n. 6. Cochin, Charles-Nicolas fils., dess. et gr., 29j 34, 37-55, 79, 88, 94 n. 2, 106 n": 4, 108 n. 3, 119 n. 2, 122, 148, 161 n. I, Index. 163, 167 ; — and the Academy, 43, 45, 48, 136, 140; — and Caylus, 4, 5, 6 n. I, 9, 18 and nn. 2 and 5, 65, 66; — and Le Bas, 39, 89, 91 ; — and Marigny, 2, 30, 37, 42, 43, 45, 47, 48 ; — and Mariette, 20, 26, 27 ; visit to Italy, 41-44, 52, 112. Work of : book- illustrations, 49 and nn. 3 and 4, 99 n. 4, 100, 109 n. 5, I II, 136 n. I ; Fables de la Fontaine, 45, 46, 99 ; Histoire de France, 45 and n. I ; Lutrin, 49 ; Pastor Fido, 49 and n. 5, no, 139; Terence, 1 10 n. 2. Drawings: Bal Part\ invita- tion to, 49; Fetes, 38-41, 49, 52, in, 143, 164 n. 2; Lycurgue blessi, 37 n. i, 133, 151, 166; Ri'aption de PAmbassa- deur turc, 40 and n. l, 45 ; Testes d' Ex- pression, 8, 50; allegories, 45, 49, 127, 150 n. 9. Engravings, 31, 46 and n. 5 ; Ports de France, 50-52, 95, 96, 103 n. i. Portraits by, 50 ; Al/ne. Le Comte, 1 1 ; Louis XV., 38 n. I, 108 ; Mariette, 137; Marigny, 10 ; Les Slodt-z,, 40 n. 3. Cochin, C.-N. pire, gr., 37-39, 42 n. 3, 45 n. 3, 46, 161 n. I, 165; Fetes, after Cochin fils, 38,41; Potnpes funebres, 37, 38, 39,41- Cochin, Mme., gr., 37, 39, 47 and n. 3. Cocu irnaginaire, by Delaunay, 108. Coigny, Marquis de, 2. Colbert, Jrchbishop of Rouen (Rigaud), by P. Drevet, 57; his sale, 24. Colbert, system of, 169. Colman, George, 119 and n. 9. Colle, 119; M^moires, 13. ColleSions : Andre, 77; Armand, 134; Bapst, 116 n. I; Boyer d'Aguilles, 27 and n. 3; Carnarvon, 104; Caylus, 7 and n. 1,8; Chantilly, 13 and n. 4, 141 n. 1; Chauchard, 140 n. 2; Choiseul, 34, 94 n. 3, 95 ; Crozat, 5, 6, 21 and n. 7, 22, 25, 27 and n. 2, 29 and n. 2; Doucet, 134 ; Duriez de Verninac, 126 n. 3 ; Esterhazy, 77 and n. 5 ; de Gon- court, 125, 132 n. 2, 134, 140 n. 2; Heseltine, 50, 115, 132 n. 2, 133 n. 2, 136 n. I, 144; Lacroix, 104 n. 3; Lehmann, 146 ; de Lignerolles, lOI n. i ; Lion, 155 ; Mariette, 6 n. 5, 7 n. 2, 19, 21 and nn. I and 7, 22, 28 and n. 6, 29 and n. 2, 33, 34, 35, 42 n. 3, 60 ; Nera, 1 50 ; Pichon, 1 1 n. I ; Piogey, 146 n. 4 ; Rothschild, Baronne J. de, 124 n. i, 126 ; Valton, 134; Wallace, 146; Warneck, 209 E E Index. i33i''5> VVonuim, 1 15. See also under Cabinets, Galleries and Sales. Colleur (C Ajfficbei (Bouchardoii), by de Cay 1 us, 7. Colysee, exhibition at the, 132, 133 n. 3. Comi-die Fran^aise, 8 n. 6, 70. Comiti du Salut Publique, 146. Commune des Arts, 2, 168 n. 4. Comparn'non, La (Lavreince), by Janinet, 154- CoinpteT. sur mes serments, by A. de St.-Aubin, 130, 136,, 138- Comtesse d^ Escarbagnas, by Delaunay, 108. Concert bourgeois, by A. de St.-Aubin, 135, 137 and n. 2. Conde, Prince de, 94 n. 3; Princesse de, 2. Condivi, 21, 26. Confident e. La (Van Loo), by Beauvarlet, 87 n. 3. Confidente sans le savoir, La, by Le Veau, 102. Connoisseur, Le, by Gravelot, 116. Conquetes ou Chhnonies Chinoises (Castillon), by Le Bas, 95 and n. 2. Constantine, History of (Rubens), by Tar- dieu pire, 86 n. i. Conspiration de Catalinat (Moitte), by Janinet, 155. Consultation redouth, by Debucourt, 155. " Contes de la Fontaine" {i']2b), 121 n. I ; (1738) 71 and n. 5, 77, 97; (1762, Fermiers g6n6raux) 68, lOi and n. 4, 102 and n. 2, 103, 105, 106, 121, 122, 123 and n. 2, 124 and n. I, 127, 128, 155- " Contes de ma mere I'Oye," 98. "Contes Moraux," by Marmontel, 9, 105, 107, 115, 116 and n. i, 137. Conti, abbe de, 5. Conversation de Matelots (Claude), by Moy- reau, 165. Conversation Espagnole (Van Loo), by Beauvarlet, 87 and n. 3. Conversation galante (Lancret), by Le Bas, 93- . . . n • Conversation ivith a Romish Priest, by Gravelot, 114. Cooper, gr., 81 n. I. Copenhagen, statue of Frederick V. at, 73 "• 3- Copia, gr., 157 and n. I. Coppette, abbe, 11, 12 n. i. Cordeliers de Catalone (Eisen), by Baquoy, lOI. Cordeliers, district of the, 54. Cordonnier liollandais (Schoumann), by Basan, 31. Corneille,illus. Gravelot, loi n. 3, 1 1 5 and n. I, 119 n. 6, 120. Corneille, Mile., 115 n. I. Cornelia, by Coy pel. See Adrienne Le- couvreur. Coronation ofjosephine, by David, 142. Correr, Mus6e, 24 n. 3. Cortona, Pietra de, p., 150 n. 9. Cossd', Duke de, 94 n 3. Costumes des filles suisses, by Sergent, 1 56 n. 4. Costume Republicain, by Sergent, 156 n. 4. Cotte, Robert de (Rigaud), by P. Drevet, 58. CoucM de la Marih, after Baudouin, 106 ^ n. 9, 140. Coupe enchantee. La, by Delafosse, 1 02. Couronnement du buste de Voltaire (Moreau), by Gaucher, 104 and n. 3. Courrier de Flandres (Bott), by Le Bas, 93 n. 5. Course des Chevaux (Moreau), by Gutten- berg, 142 n. 2. Courtin, Jean, p.-gr., 163 and n. 3. Courtois, gr., 136. Cousinet, Elizabeth, gr., 100. Coustelier, Antoine-Urbain, ^d., 23. Coustou, sc, 167 and n. 2. Coutant, Jean-Baptiste, 35. Coypel, Charles, p., 3 and n. 3,6 and n. 2, 7> 43, 44, 59, 81 n. 7, 98 n. 2, 99 n. 4, 164. Cozens, 168. Cramer, dd., 1 19. Crayen, 71 n. 5, 76. Cr^billon, 118 n. 2; illus. Marillier, 109 n. 5 ; — Moreau, 145 n. 5 ; portrait (La Tour), by F.-R. Ingouf, 88 n. i. Cris de Paris (Bouchardon), by de Caylus, Critique de PEcole des Femmes, by Moreau, 141. Croisy, house of Mariette at, 28. Cromwell, by Wille, 73. Crozat, Mile., 71 n. 4. Crozat, Pierre, 24 n. 5, 25, 26, 57 n. 4, 90, 97 ; cabinet de, 5, 6, 21 and n. 7, 22, 25, 27 and n. 2, 29 and n. 2. Cruche cassie (Debucourt), by Le Veau, 102 n. I, 155 and n. 3; — (Greuze), by Massard, 78. Crucifix, by A. de St.-Aubin, 135. 210 Cumberland, Duke of, 120. Cupid, statue by MichaL-l Angelo, 21. Cypierre, Mme. de, 3. Czartoriski, Prince, 80. Dagotti. See Gautier. Dambrun, gr., 142 n. 2. Dame allant au Bal (Boucher), by Petit, 74 n. I. Dame bienfaisante (Greuze), by Massard, Damiens in his cell, by G. de St.-Aubiii, i34n. 2. ^ ^ Danger du Tete-a-tete (Baudouin), by Si- monet, 106 n. 9. Danton, 54, 55. D'Anville, iii n. i, 116 n. 3, 117. "Daphnis et Chlo6," illus. B. Audran after Philip of Orleans, 9, 57. Darcis, gr., 92 atul 11. i. Darcy, M., financier, 45 ; — Mme., 47. Daudet, Etienne, gr., 16, 28. Daull^', Jean, gr., 2, 30, 31, 32 n. 4, 62-68, 73, III, 161 and n. i ; engravings after Boucher, 64, 67 ; — Rigaud, 62, 63, 65, 67; — Rubens, 67; Princesse Jnastasie, 27, 65, 66. Dauphin (1729), 39; — (Louis XVII.), I53-. Dauphine (Marie - Therese d'Autriche), marriage fetes, 38, 40, 41 ; Pompes funebres, 37, 38. David, p., 30, 78, 142, 144, 147, 158, 169. David and Bathsheba (Rembrandt), by Moreau, 139. Dayot, M. Armand, 146 n. 4. Debucourt, L.-P., gr., 102 n. i, 155-157. "Decameron." See Boccaccio. Declaration de la grossesse (Moreau), by Martini, 109, 142 and n. I. Decoration de l' illumination, etc., Fersailles, by Cochin fils, 39. Deforge, Marie (Mme. Wille), 83, 123. Dejanira (Moreau), by Le Veau, 106. Dejeuner de Ferney, by Denon, 14 n. i. Delafosse, gr., 13 and n. 4, 102. De la Fosse, p., 167. Delatour, Louis-Francois, ed., 13 n. 2, 19 n- 3) 23, 24, 26 and n. 4, 27. Delaunay, Nicolas, gr., 48, 99 and nn. i and 2, 106 n. 4, 146, 160 ; books illus. by, 49 n. 3, 103, 106, 108, 115 n. 3, 140 n. I ; — Moliere (1773), 99 n. 2, 107, 108, 157. Delaunay, Robert, le jeune, gr., 142 n. i. Delices de la Maternite (Moreau), by Hel- Index. man, 142 and n. i. Delignon, gr., 142 n. 2. Delia Mura, p., 42. Delvaux, gr., 99 n. 2. Demarteau, Gilles, gr., 45 n. 2, 150 and nn. 3 and 9, 166, 167. Denon, Vivant, 3 and n. 2, 14 n. I, 16. Depart de Marie dr Medicis. See ^ms Ego. Depart des Conscrits, by L. Boilly, 146. " De Praesulibus Angliae," illus. Gravelot, "3- Dequevauviller, gr., 154 n. I. Desaileurs, M., 5. Desbordes, Jacques, ed., 98 n. 2. Descamps, Jean-Baptiste, dess., 50, 51 n. 1, 102 n. I, 104 n. I, 109 n. i, 123, 168. Descente de Croix (Pierre), by Demarteau, 151. Descourtis, gr., 156 and n. 2. " Description g6n6rale de la France," illus. Moreau, 143, 168. Desfriches, St.-Aignan, 52. Desmaiseaux, 149 n. i. Desormeaux, 141. Desplaces, gr., 99 n. 3. Dessau, Prince of, by Wille, 73. Deux Baisers. See La feinte Caresse. Deux-Ponts, Duke de, 80. Devideuse, La (Dou), by Wille, 79, 80 and n. 3. Diane, by Goujon, 124. " Diftionnaire des Artistes," by abbe de Fontenai, 62 n. i ; " — beaux arts," by Watelet and L^vesque, 10 n. 4; " — Graveurs," by Basan, 30 n. 2, 36. Diderot, criticism of Balechou, 161 ; — de Caylus, 9 and n. 2; — Cochin, 51,52 ; — Le Bas, 93, 94 and n. 2 ; — Le Prince, 152 ; — Watelet, 13 n. 2 ; — Wille, 73, 77 ; portrait (Greuze), by A. de St.- Aubin, 137 n. 3. Didot, dd., 26 n. 3. Dietrich, C.-G., p., 82 and n. i. Dietsch, Mile., p., 81. Differens jeux des petits polissons de Paris, by A. de St.-Aubin, 136. Dimanches de St.-Cloud, by G. de St.-Aubin, I 32 and n. 2. Diner dans une Orangerie, by G. de St.- Aubin, 134. Dites done s'il vous plait (Fragonard), by Delaunay, 99 n. 2. 21 I Index. Dlverses Charges dcs Rues de Paris, by Cochin fils, 38. Dog and Fox, by Gravelot, 113. Don Juan (Moreau), by Le Bas, 93. Dolomieu, dc Gratet de, i6 n. i. " Don Quichotte " (1746), 98 n. 2, 99 and n. 4. Dorat, 103, 105 n. 1, 106 n. 4, 126. Dorigny, p., 3 and n. 4. Dorigny, Sir Nicolas, 112 n. 6. Dou, Gerard, p., 79. Douai, work of Eisen for, 125. Douce Rhistance, by L. Boilly, 146. Doucet colleftion, 134. Doyen, p., 151. Doyen, Angelique-Catherine (Mme. Mari- ette), 26 n. 4. Dubarry, Madame (Drouais), by Beauvarlet, 87 ; by Gaucher, 104. Dubois de St.-Gelais, 165. Dubosc, Claude, gr., 61 n. 3, 112 and n. 6. Duchange, gr., 164. Duclos, gr., 107 and n. 5, 108, 133, 137 n. 2. Dugazon, Mile. See Nina. Dugourc, Jean-Demosthene, 87 n. 4, 109 n. 5, 112. Dumeril, p., 31 n. 2, 98. Dumont, Francois, p., 78, 89 n. i, 137 n. I. Dumont de Luneville, p., 54 and n. 3. Dumont le Romain, p., 39. Dupin fils, gr., 136 n. 2. Duplessi-Bertaux, gr., 16. Duplessis, J.-S., p., 137 n. 5, 160, 166. Duplessis, M., 51, 145, 165. Duplessis, ojficicr-general, 74. Dupuis, Charles, gr., 62, 86 n. 2, 99 n. 3. Dupuis, Nicolas, gr., 46, 61 and n. 4, 62, 65 n. 4, 68, 99 n. 3, 149. Duret, Elizabeth. See Mme. Le Bas. Duriez de Verninac collection, 126 n. 3. Duronceray, Signora, ion. 5. Dusdjour, Mile. Dionis, 49 n. 3. Dragons de Venus (Eisen pere), by Halbou, 121 n. 5. Drevet, Claude, gr., 57, 59 n i. Drevet, Etienne, 58. Drevet, Pierre, gr., 2, 56-59, 68, 84, 1 1 1 ; work after Largilliere, 57 ; after Rigaud, 57, 58, 62. Drevet, Pierre-Imbert, gr., 2, 56, 59-61, 68, 69, 84 ; work after Rigaud, 59, 60, 62, 63, 69. Droits de Phomme, etc., by Debucourt, 156 n. I. Drouais, Hubert, p., 32 n. 4, 86 n. 2. Drouet, Marie (Mme. Basan), 32 n. 5, 34. Eberts, id., 141, 146. Eckhardt, J.-G., gr., 71 and n. i. Ecole de France a Rome, 10, 12 and n. i, 158. Ecole des Maris (Moreau), by Masquelier, 107. Ecole de Zeuxis, by G. de St.-Aubin, 133. " Ecole du Jardinier-Fleuriste," illus. Gra- velot, 115. Ecoles Centrales (Paris), 145 and n. 4. Ecureuse, Z,'(Chardin), by Cochin, 37 n. 4, 165. Edelinck, gr., 56, 58. Egerton MSS. (British Museum), 43 n. i, 44- Eisen, Charles, dess., 2, 91, loi n. 3, 104 n. I, 120-129, 130, 141 ; book-illustra- tions: Boileau, 49 n. i, no, 122, 124; Contes de la Fontaine, loi, 121, 122, 123 and n. 2, 124 and n. I, 127, 128, 155; Eloge de la Folic, 85 n. i, 100, 121, 122, 124, 135; Ovid, 33, 106, 107, 124; Rousseau, 107 n. 2, 120, 121 and n. 2; Les Sens, 125, 126; Temple de Gnide, loi and n. i, 126 and n. 3 ; sacred pictures by, 125, 127 ; portrait of, by Ficquet, 68, 104 ; his family, 122 n. 3, 123, 125, 126, 127, 128. Eisen, Mme., 122 n. 3, 125, 127, 128. Eisen pere, p., 121 and n. 5. Elements (Boucher), by Daull^, 64 n. 3. Elisabeth de Gouy. See Rigaud et son epouse. Elizabeth, Empress of Russia, 65 n. 2, 66, 77 n- 4, 95- Elluin, gr., 87 n. 4. " Eloge de la Folie," illus. Eisen, 85 n. i, 100, 121, 122, 124, 135. Embarquement pour Cythere (Watteau), by Larmessin, 164; by Tardieu pere, 86. " Emile," illus. Eisen, 120, I2i and n. 2. "Emilie" (Mme. de Chatelet), 11. Encyclopaedists, 9, 149. Ence portant son pere (Van Loo), by N. Dupuis, 62, 149. Enfants imitateurs, by Gravelot, 117. England, French engravers in, 61 n. 3, 71 n. I, 112 and n. 6. England, ^een of^ portrait, 79. 212 Enlevement noHurne (Baudouin), by Ponce, io6 n. 4. Enlevement cle Proserpine (de la Fosse), by Lempereur, 167 and n. 4. Enlevement des Sahlnes (Jordaens), by Sor- nique and Beauvarlet, 31 n. 3. Entrie du Rhipiendaire, by Le Bas, 94. " Epitre aux poctes," by Marmontel, 119 n- 4- "Epreuves du Sentiment," by Baculard d'Arnaud, 107 n. 2, 127 and n. I. Esperendieu, M., 77. Esope montrant le buste de la Fontaine (Oudry), by Cochin and Dupuis, 46. " Essai sur les jardins," by Watelet, 10 n. 4. Esterhazy coiledlion, 77 and n. 5. Esther, Story of (de Troy), by Beauvarlet, 87 n. 2. Etourdi, L\ by Simonet, 108. Eu, Count d', 2. Eugene, Prince of Savoy, 22, 23, 24. £ttrfl/)(7 (Boucher), by A. deSt.-Aubin, 106. Evanouissement d" Esther (AeTroy), by Beau- varlet, 87 n. 2. Evreux, Count d^ (Rigaud), by Schmidt, 71, 72,73, 75-. Exercices de rinfanterie, by Gravelot, 1 1 6. Exhibitions, 1888 (Paris), 77 n. 6 ; 1890 (Centennale), 146 n. 4 ; 1902 (Guild- hall), 133 and n. 5. Experience de Chimie, by G. de St.-Aubin, 134- "Fables de Dorat," 105 n. i, 106 n. 4, 108, 109. " Fables de la Fontaine," illus. Fessard, 30, 33; illus. Gravelot, 112 n. 5; illus. Oudry, 45 and n. 3, 46, 47, 99 and n. I, 100, 102 n. 3, 103, 163 n. 4. Fabre sale, 34 n. i. " Fabricant de Londres, Le," illus. Grave- lot, 50 n. I, 115. Fdcheux, Les, by de Ghendt, 107. Falconnet, Etienne, sc, 65 n. 4. Famille du Fermier (Fragonard), by Maril- lier, 105 n. i. Famille Mozart (Carmontelle), by Dela- fosse, 14. Farvaques sale, 82. Faucon, Le (Eisen), by Delafosse, 102; — after Lancret, 71 n. 5. Feinte Caresse, by Debucourt, 155. Filibien des Avaux (Le Brun), by P. Drevet, 57- Fe^nme a la tulipe (Wille fils), by Wille, Index. 82 11. 2. Femme comme il y en a pen, by Gravelot, 1 1 6. Femme couchie sur le ventre (Boucher), by Demarteau, 150. Femme en courroux (Zick), by Basan, 32. Fetnme en robe grise, by L. Boilly, 146 n. 4. Fenouillot de Falbaire, 50 n. i, 115 and n. 3 ; portrait, by Cochin fils, 50. Fessard, Etienne, gr., 30 and n. i, 33, 135, 136, 137, 162, 163." Festin de Pierre, by Le Bas, 107. Festin Royal, by Moreau, 143 n. 4. Fete de Village, by G. de St.-Aubin, 133. Fetes, by Cochin pcre and fils, 38-41, 53, III, 143- Fetes donnees pour le second manage du Dauphin (M.-A. Slodtz), by Flipart, 88. Fetes Flamandes (Teniers), by Le Bas, 95 and n. i. Fetes pour la naissance du Dauphin, by Moreau, 143 and n. 4. Fetes Fcnitiennes (Watteau), by Cars, 85. Feu d^ Artifice, by Moreau, 143 n. 4. Feuquieres, Countess de (Mignard), by Daulld, 62, 63 and n. i, 67. Ficquet, Etienne, gr., 56, 68, 79, 91, 104 and n. i, 145. Fielding, illus. Gravelot, i 14. Fille enlevee, by Debucourt, 155 n. 4. Fillceul, gr., 165. Firmin-Didot, M. Ambroise, 57. Fitz- James sale, 133 n. 2. Fletcher, Henry, gr., 99 n. 3. Fleury, Cardinal (Rigaud), by F. Chereau, 68. Flipart, Jean- Jacques, gr., 31, 88, 89, 105, 139, 146 ; engravings after Greuze, 88, 89, 167; book-illustrations, 99, 100, 102. Florence, Galerie de, 97, 106 nn. 2 and 3. Florence, Mile., 75 n. 2. Foire, La (Taunay), by Descourtis, 156. Fokke, gr., 98 n. 2. Folie, La, after Fragonard, 1 53. Fontaine, La (Chardin), by Cochin, 165. Fontenai, abb6 de, 62 n. i, 85. Fontenoy, battle of, 120. Fouquier-Tinville, 147. Four Ages (Lancret), by Larmessin, 97. Fourberies de Scapin (Moreau), by Le Veau, 107. Fournelle, de, sale, 133 n. 2. Four Seasons (Lancret), by Larmessin, 97. 21 Index. Fragments de peintures, etc.^ by Saint-Non, 15- Fragonard, Jean-Honor(5, p., 3, 4, 15, 78 n. 5, 99 n. 2, 105 n. i, 153. France t'emolgne son affeSiion a la ville de Liege (Cochin fils), by Demarteau, 45 n. 2, 151. Franciscus Georgius, 169 11. i. Francois, gr. en couleur, 150. Franklin, Benjamin, 16. Freart dc Castel, 115. Frederick II. of Prussia (Pesne), by Wille, 74. . Frederick F., engraving of Saly's statue of, by Preisier, 73 n. 3. Fr6d(5ric-GuiIIaume, prince de Prusse, 143. Frhnin, R^ne, portrait, by P.-L. Suruijue, Bi n. 7. Frere Luc (Wlcughels), by Larmessin, 164. Frdret, 164 n. 6. Fr^ron, 118. Frise a fantique (Moitte), by Janinet, i 55. Fuite en Egypt e^ by Eisen pere, 121. Gaburri, 8 and n. 1,21 n. 7, 24. Gaignat sale, 28 and n. 2. Gaillard, gr.,-65, 1 15. Galerie de Dresde, 31 n. 3 and 4, 64 and n. 4, 88, 97, 160 ; — de Dusseldorf, 97 and n. 2, 168 ; — de Florence, 97, 106 nn. 2 and 3 ; — de Luxembourg, 164; — de Versailles, 46 and nn. 4 and 5, 53 n. 2, 62,97. Galerie du Palais (Gravelot), by Le Mire, "5: Galitzin, Prince, 80 ; Princess, 86. Gallery, National (London), 64. Galles, Prince de (Tocque), by Wille, 77. Garfon Cabaretier (Chardin), by Cochin pere, 37 n. 4, 165. Garriclc, David, 115 n. 3, 118, 119 n. 9, 120. Gateau dcs Rois (Greuze), by Flipart, 89, 167. Gaucher, Etienne, gr., 56,62 and n. 1,85, 88, 91, 104, 105, 140, 145. Gautier, Jean and Dagotti, grs., 150 and n. 5. Gay's Fables, illus. Gravelot, 113. Gazette des Beaux Arts, 87 n. 2. Gazette Litteraire, given to the Academy, 168. Gendron, portrait (Rigaud), by Daulle, 63, 67. Genlis, Mme. de, 13 n. 3. GeofFrin, Mme., 8, 9, 10, 27, 45, 47, 48, 66. George I. (Kneller), by J. Chdreau, 61 n. 3. Georges Dandin (Moreau), by Le Veau, 107. Germain, gr., 163. "Gerusalemme liberata," illus. Cochin, 109 n. 5, 136 n. I. Gessner, illus. Le Barbier, 164 n. 6; — Moreau, 144 n. 3. Ghendt, de, gr., 107 and n. 2, 108. Gier, M., 8r. " Gil Bias," illus. Fokke, 98 and n, 2. Gillberg, gr., 136 n. 2. Gillot, Claude, p., 7, 89 n. 4. Girl feeding a Turkey^ by Gravelot, 113. Givors, 57. Glairon, gr., 155 n. 2. Glorieux, Le (Lancret), by N. Dupuis, 62. Gluck, 80; portrait (Duplessis), 166. Gobelins, Jean Audran at, 57 n. 2 ; de S^ve at, loi n. 2. Godeau, Louise-Nicole. See Mme. de St.- Aubin. Godefroy, gr., 91, 108, 109 n. i. Godwin, 113. Goldini, 80. Goncourt, MM. de, 82 ; coliedion, 125, 132 n. 2, 134, 140 n. 2. Gori, 21, 26. Goujon, Jean, sc, 124. Gout^ Le (Eisen), by de Longueil, 126. Gouvernante^ La (Chardin), by Ldpici6, Gouverneur du serail, by Le Mire, 100 n. I. "Graces, Les," by du Querlon, 78 n. i, 100 n. 5, 103, 106 n. 9, 140 n. i. Graces vengees (Moreau), by Simonet, 106 n.9. Grande Toilette, after Moreau, 142 n. 2. Grateloup, J.-B. de, gr., 104 and n. 2. Gratiano, Ercole, p., 42. Gravedigger, by Gravelot, 113 n. 4. Gravelot, Hubert, dess., 2, 107, 111-120, 130, 141 ; book-illustrations, 112-114, 119; Boccaccio, 85 n. i, 100, 116, 117, 136; Contes Moraux, 9, 105, 115, 116; Corneille, 115 and n. i, 119 n. 6, 120; Fenouillot de Falbaire, 50 n. 1,115 ; Manon Lescaut, 100 n. 5 ; Ovid, 33, 106; Rousseau, loi, 119 n. 6, 120 ; Voltaire, 116, 119 and n. 6, 120 ; medal- lion of Clairon, 118 and nn. I and 2; work in England, 112-115, 1 18-120. 214 Greuze, portraits by, 77, 137 nn. i and 3 ; : engravings after, 139; — by Flipart, 88^ 89, 167 ; — by Massard, 78. Greuze, Mme., 84 n. 3. Grignon, gr., 120 and n. i. Grimaldi, abW de, 80, 119 and n. I. Grimm, Correspondance littcraire, 13 and "• 4, 33) ^6)95 n. 2, 137 n. 3, 162. Gribeauval, M. de, 1 12. Gruyer, M., 13. Guarini, 49 n. 5, 139. Guiffrey, M. Jean, 147. Guildhall, exhibition 1902, 133 and n. 5. Giailtiin, portrait, by P.-L. Surugue, 81 n. 7. Guillonville, Mme. de, 3. Guinguette, La (Gab. de St.-Aubin), by Basan, 33 n. 3. Gustavus III., work of Lavreince for, 154 n. I. Guttenberg, gr., 142 nn. I and 2, 153 ; les fr^res — , 97 n. 2. Guyard, Mme. Labille, p., 159. Guyoi), /ermitr-genc'ral, 1 28. Habillernents a la mode de Paris (A. de St.-Aubin), by Gillberg, 136 n. 2. Halbou, gr., 121 n. 5, 142 n. 2. Ha?neau de Flandre (Teniers), by Basan, 31- Hamilton, Lady, 3. Hampton Court, cartoons at, 61 n. 3, 1 12 n. 6. Hanmer, ed., 114. Harcourt, Marquis d', 2. Hartlaub, M. I'Assesseur, 29 n. 2. " Harmonia Mundi," by Franciscus Geor- gius, 169 and n. I. Harrach, Count, 80. Hazards de P Escarpolette (Fragonaifl), by Delaunay, 99 n. 2. Havre, Port de (Cochin), by Le Bas, 50. Hayman, dess., 1 14. Haymarlcet Theatre, 119 n. 9. Hecquet, M., 51 and n. 2. Hecquet, Pierre, 51 n. 2. Hecquet, Robert, gr., 62, 86 n. 2. Heineclcen, direftor of Gallery at Dresden, 64 n. 4. Helman, gr., 107 and n. 4, 142 and nn. I and 2. " H61oise." See " Nouvelle Hdloise." H6nault, President, 45 and n. i, 104, 140. " Henriade" (1728), 99 and n. 3; (1770) Index. 125 and n. 4, (iUus. Moreau) 143. Henriette, Mme., 122. Henriquez, gr., 160. Hercule et Omphah (Le Moine), by Cars, 85 and n. 2. H(5risset, gr., 89. Heseltine collection, 50, 115, 132 n. 2, 133 "• 2, 136 n. I, 144. Hesse - Hombourg, Landgravine de. See Anastasie. Heureux Divorce., L\ by Gravelot, 1 1 6. Heureuse ficonditi (Fragonard), by De- launay, 99 n. 2. " Histoire de France," illus. Cochin, 45 n. I, 53, 104, 140 ; — Moreau, 95, 96 and n. 2, 143, 168. " Histoire de la Maison de Bourbon," illus. Moreau, 141. " Histoire de I'Univers," illus. Eiscn, 122. " Histoire de Miss Jenny," illus. Gravelot, 115 and n. 2. Histoire dhme Devote, by C. Coypel, 3 "•.3-. " Histoire romaine," illus. G. de St.- Aubin, 134 and n. i . " Historiens des Gaules et de France," 23, 27. " History of England," illus. Gravelot, 113 and n. 5. Hochschild, Baron de, 91 n. i. Hohendorff, Baron von, 22. Hoin, Claude, p. 154. " Honnete Criminel, L'," illus. Gravelot, 50 n. I, 115 n. 3. Horace, illus. Gravelot, 116 n. 4. Horthemels, Louise-Madelaine. See Mme. Cochin. House of Commons, by Gravelot, 113. Huber, 99 n. I. Huber, M., 13 n. i. Hubert, gr., 87 n. 4. Huet, Christophe, p., 130. Huet, J.-B., p., 151, 153 n. i. Hume, 115 n. 2. hare et DMak, by Eisen, 121. " Id6es sur le geste theatrale," illus. Copia, 157 n. I. // est trop tard, by Sergent, 156 and n. 4. Illu?nination pour le mariage du Rot, by Moreau, 143 ; — le second mariage du Dauphin (Cochin), by Ingram, 164 n. 2. Imbert, 140. 21 Index. Incroyables, Les (C. Vernet), by Darcis, 92 n. I. Indiscrhioriy U (Lavreiiice), by Janiiiet, 154- Indiscrhion vengh, by A. de St.-Aubin, 135, i3«- Ingoldsby, General, 120. Ingouf, les, grs., 88 n. i, 168 and n. i ; — Pierre-Charles, gr., 139. Ingram, John, gr., 164 and n. 2. Inttrieur Flamand, by Debucourt, 155. Interior of a theatre^ by Gravelot, 113 n. 4. Imtrutlion paternelle (Terburg), by Wille, 80. lmtru£1ion vUlageoise^ by Debucourt, 155 and n. 2. Iris entrant au Bain (Le Moine), by Cars, 85 and n. 2. Ivan, Emperor, 65 n. 2. Jabach, Evrard, 21. Jabach, Hotel, exhibition of maitrcs at, 127. Janinet, Francois, gr. en couleur, 152- 155, 156 n. 2. Jardinier, gr., 87 and n. 7. Jeaurat, Edme, gr., 99 n. 3. Jeaurat, Etienne, p., 64. J^en accepte Fheureux prhage (Moreau), by Triere, 142 n. i. Jeu de pied de boeuf (Lancret), by Le Bas, 93 n- 7-. 'Jcu du Roi^ by Cochin, 143. Jeune Corinthienne (Vien), by Flipart, 89 and n. i. Jeune Dessinateur (Chardin), by Flipart, 88. Jeune fille qui pelotte du coton (Greuze), by Flipart, 89. Jeux de Satyrs, by Fragonard, 4. Jogan, gr., 87 n. 4. Joly, 28 and n. 6, 29. Jombert, Charles-Antoine, 37 n. i, 38 and n. 2, 99. Jordaens, p., 31 n. 3, 87. Joseph II. (Moreau), by Gaucher, 104. Jouissance, La (Eisen), by de Longueil, 126. Joullain, gr., 89 n. 4. Joullain fils, 89 and n. 4, 90, 95. Jouvenet, Jean, p., 56. Jiige de Mesle, by Flipart, 102. Juge, ou la cruche cassh (Debucourt), by Le Veau, 102 n. i, 155 and n. 3. "Jugement de Paris," illus. Moreau, 140 n. I. "Julie." See « Nouvelle Hdloise." Julienne, de, 26, 79, 81, 163 ; portrait (de Troy), by Balcchou, 160. Justice protege les Arts (Cochin), by Dc- marteau, 45 n. 2, 150 n. 9. Kaunitz, Prince de, 80. Kehl, 6d., 109 n. 5. Keller and Mme. Keller (Rigaud), by P. Drevet, 58 n. 3. Kinslci, Princess, 80. "Kit-Cat Club," illus. Gravelot, 113. Knapton, W., 113. Kneller, Godfrey, p., 61 n. 3, 99 n. 4. Knobelsdorf, von, 75. Lahan seeking his Gods, by G. de St.-Aubin, 131 and n. 3. La Borde, de, 141. Lacaze, Galerie, 57 n. 5. Lacroix, collection of M. H., 104 n. 3. Lady making her Will, by Charles Coypel, 3 "• 3- La Fontaine, portrait of by licquet, 68, 104; Contes (1726), 121 n. I ; — (1738), 71 and n. 5, 77,97; — (Fermiers-gdndraux, 1762), loi and n. 4, 102 and n. 2, 103, 105, 106, 121, 122, 123 and n. 2, 124 and n. i, 127, 128, 155 ; Fables (illus. Fessard), 30, 33 ; — (illus. Gravelot), 112 n. 5 ; — (illus. Oudry), 45 and n. 3, 46, 47, 99 and n. I, 100, I02 n. 3, 103, 163 n. 4. Laitiere, La (Huet), by Demar^eau, 151. La Live, M. de, 137. " Lamantation de Geremye," illus. Eisen, 126 n. 2. La Mdsangere sale, 13 n. 4. Lancftt, p., engravings after, 62, 74 n. 1,77, 85, 93 and n. 7 ; — by Larmessin, 71 n. 5, 97, 164, 165. Langlois, dit Chartres, 19 n. 3. Langlois, Mme., 87 n. 4. Largilliere, p., 70, 71 n. 2 ; engravings after : by Edelinck, 58; by Pierre Drevet, 57 ; by Wille, 70, 72, 73 ; portrait of Mile. , by Wille, after Largilliere, 71 and n. 2. Larmessin, Nicolas de, gr., 71 and n. 5, 97 and n. 4, 161 n. I, 164. Larmessin pere, 97 n. 4. Lasalle, 115. La Tour, p., 88 n. i. 16 Latour d'Aigucs sale, 34 n. 1. Launay, Nicolas de (Rigaud), by F. CliL-rcau, 67, 68. Laurensen. See Lavreince. Laurette, by Gravelot, 1 1 6. Lavis, graviire au, 15, 151 and 11. 4, 152. La Vallidre, Duke de, 132. La Fallihf, portrait, by A. de St.-Aubin, 138. Lavreince, Nicolas, p., 92 n. i, 154 and nn. I and 2, 155. l.e Barbier, dess., 109, 164 n. 6, 168 n. I. Le Bas, Jacques-Philippe, gr., 86, 89-96, III, 123, 146, 161 and n. I; his pub- lications : Ceremonies Chinoises, 95 and n. 2 ; Fables de la Fontaine (■755"i759)) 99' Histoire de France, 95, 96, 143, 168; Ports de France, 50, 94, 95, 96, 103 n. I; his pupils, 39, 62 n. I, 81 n. I, 85 n. i, 99, lOO, 102, 104 and n. i, 108, I09nn.i and 6, 122 and n. 2; relations with Lc Prince, 94j '33 J — with Mme. de Pompadour, 95; — with Rehn, 91-93, 100 ; his school, 2, 85, 89-91,97, gS, 107, no n. 2, 139, 140 ; work by, 86, 90 n. I, 93, 94 n. 3, 95 n. I, 109 n. 6, 140, 165 ; — for book-illustration, 94, 99 n. 4, 100 n. 5, 107. Le Bas, Mme., 90, 92. Le Beau, 7 n. 2, 10 n. i. Le Beau, gr., 108 and n. 4. Le Blanc, abbe, 42. Leblond, gr., 149 and n. I. Le Bouteux, dess., 109. Le Brun, p., 166 ; portrait (Largilliere), by Edelinck, 58. Lebrun, Mme. Vig^e, p., 3, 12, 159. Le Cat, M., 79. Le Comte, Marguerite, gr., 10-12, 15; portraits of, by Watelet, 11 and n. i. Le Comte, M., 11, 12 and n. 2. Lecouvreur, Adrienne (Coypel), by Drevet fils, 59, 60, 69. Leckzinskl, portrait of Stanislas (Baccia- relli), by Marcenay de Ghuy, 14 and n. 4. Le Clerc, Sebastian, gr., 38. Le£icur^ Lc (Gravelot), by Gaillard, 114, 115. LeBure^ La (Van Loo), by Beauvarlet, 87 and n. 3. Le Gouaz, gr., 109 and n. 2. Legrand, Louis, gr., 1 06 and n. 6, 1 09, Index. 145 n. 6. Lehmann collection, 146. Leleu, agent of King of Poland, 160. Le Lorrain, L., p., 138, 139. Lc Lorrain^ portrait, by Le Bas, 93. Le Mire, Noel, gr., 91, 93, lOO n. I, 103, 162 n. 3; book-illustrations: Boccaccio, 100, 1 01; Contes dc la Fontaine, 102, 123 and n. 2, 124 and n. I ; Contes Moraux, 105; Corneille, 115; Fables de la Fontaine, 100 ; Ovid, 33, 105 n. 3, 106, 107, 140; Temple de Gnide, 1 01 and n. I, 126 ; relations with Eisen, 107, 123, 124. Le Mire frere, gr., lOO. Le Moine, p., 85 and n. 2, 91, 99 n. 3, 1 1 1. Lemoyne, J.-B., sc, 61 n. 4. Le Moyne pcre^ by Tocqu(5, 137 n. I. Lempereur, Louis-Simon, gr., 29, 99 and n. I, 100, 105 n. 2, 146, 167, 168. Lendel, 66 n. 3. Lenoir, 159. Le Paon, dess., 140. Lepici^, Bernard, 44, 61 n. 3, 96, 99 n- n. 7. 3, 160, 161 and n. i, 165 and LepelUticr de St.-Fargeau mort (David), by Tardieu, 78. Le Prince, Jean, dess. et gr., 78, 94, 95, 133, 151, 152; gravurc au lavis in- vented by, 15, 151 and n. 4, 152. Le Roy, arch., 94. Lesdiguihes., Duke de (Rigaud), by P. Dre- vet, 57 and n. 5, 58 n. 3 ; Duchess de — , by the same, 58 n. 3. Lesutur, Eustache, by Cochin pere, 37 n. 2. Litine^ Mme.^ by A. de St.-Aubin, 137 and n. 6. " Lettres d'Heloise et Abailard," illus. Moreau, 144 and n. 4. Leucothea and Apollo (Monnet), by Simonet, 106. Levasseur, gr., 168. Le Veau, gr., 31, 102 n. i, 155 n. 3, 162 n. 3 ; book-illustrations : Contes de la Fontaine, 102; Contes Moraux, 105, 107; Fables de Dorat, 108; Moliere, 107, 157; Ovid, 106, 107. Lever, ic(Baudouin), by Massard, 78 n. i ; — (Moreau), by Halbou, 142 n. 2. Lever de la Mariee (Dugourc), by Tricre, 109 n. 5. 17 F F Index. L^vesque, lo n. 4. L'Hopital, Marquise de, 95. Liaisons dangereuses^ by Triire, 1 09 11. 5. Libertl: du Braconnier (Benazech), by F.-R. Ingouf, J 68 n. i. Li(^-nard, gr., 140 n. 2. Light of the JVorld (Boucher), by Fessard, 162. Lignerac, Marquis de. See Duke de Caylus. Lignerolles collection, loi n. I. Ling(5e, gr., 108 and n. 5. Linguet, portrait, by A. de St.-Aubin, .137- Lion, collection of M., 155. Liotard, p., 14 n. 4. Lisbon^ Earthquake at, by G. de St.-Aubin, 133 and n. 4. Liseuse, La (Dou), by Wille, 79 and n. 5. Livry, de, 53 and n. 2. Loire, the Drevet at, 57, 61. Loixerolles, Mile., by Balechou, 160. Lomazzo, Paul, p., 42. Longueil, Joseph de, gr., 91, 102 and 11.2 ; engravings after Eisen, 121, 124, 126; — for Banier Ovid, 33, 106. Longus, 9. Lorraine, EIizabeth-Th6rese of, 39. Loss, Count de, 161. Louis XIV., 4 and n. 2, 5, 56, 97 n. 4, 138 ; portrait of, 84 n. 2 ; — (Rigaud), by P. Drevet, 57 and n. 6. Louis XV., 7, 40, 43, 48 ; portrait of, by Cochin tils, 38 n. I, 108; by Fessard, 163 ; by P. Drevet after Rigaud, 57 ; statues of engd. by N. Dupuis, 61 n. 4 ; — a la Plaine des Sab/ons, see Revue de la Plaine des Sablons ; — dormant la paix a r Europe (Le Moine), by Cars, 85. Louis XVI., 46 n. 3, 54, 83, 109, 142, 143, 144, 148 ; portrait of (Callet), by Ber- wic, 78. Louis XVin., 145. Louise- Emilie, Baronne d^ . . ., by A. de St.- Aubin, 136. Louvre, 3 n. 2, 21 and n. 7, 37 n. i, 40, 57 "• ^ 591- 3> 1441-2, 145,146, 147; Chalcographie du — , 6 n. 4, 21 n. i, 37 nn. 2 and 5, 39 nn. 2, 3 and 4, 40 n. 4, 46 n. 5, 47 n. I, 49 n. 6, 56 n. 3, 63 n. 3, 69 nn. i and 2, 76 n. i, 78 n. 3, 79 n. I, 84 n. I, 85 n. 2, 93 n. 5, 99 n. I, 164 n. 2, 167 nn. 4 and 5; Galerie Lacaze, 57 n. 5; lodgings of artists at, 47 ^"'1 "■ 3, 53, 54, 59 n- i- 2 " Lucain," illus. Gravelot, 116 n. 4, 119. Lucas, gr., 31 and n. 2, 98. " Lucrice," illus. Gravelot, 116 n. 4. Lutma, Jean, gr., 149. " Lutrin, Le," illus. Cochin fils, 49 and n. I ; — B. Picart, 49. Luxembourg, 57 and n. I, 153, 164; Petit — , 5 and n. 3. Lycurgue blcssi dans une sMition, by Cochin fils, 37 n. I, 133; by Demarteau after Cochin, 151, 166. Lyons, the Audran at, 58 and n. 2. Magdalen (Correggio), by DauUe, 67 and n. 2. Magny, gr. en couleur, 150. Maintenon, Mme. de, 4 and nn. I and 2, 97 n. 4. Maison de Ville de Paris, prints at, 163. Maitre Galant (Lancret), by Le Bas, 93 Malade imaginaire (Boucher), by Cars, 85; — by Helman, 107. Malbeste, gr., 91, 109 and n. 7, 140 n. 2, 142 and n. 2. Malesherbes, Lamoignon de, 28 n. 6, 46 and n. 2. Malhcureuse Famille Calas (Carmontelle), by Delafosse, 13 and n. 4, 14 n. i. Maloeuvre, gr., 87 n. 4. Malplaquet, 4 n. 2. Manoeuvre de St. -Cloud (Carmontelle), by the Duke de Chartres, 2 n. i. " Manon Lescaut "(1753), 93, 98 and n. I, 100 n. 5. Man with Dog and Cat, by Gravelot, 1 1 3. Maratti, Carlo, p., 21, 88 n. 2. Marccau, General., by Sergent, 156 n. 4. Marcenay de Ghuy, Antoine de, p. et gr., 14, IS- Mari Confisseur, Le, by de Longueil, 102. Mari Sylphe, by Gravelot, 116. Mariage, Le (Moreau), by Malbeste, 109, 142 and n. 2. Mariagi' force, by Nee, 107. Marie-Antoinette, 54, 83, 148 ; portrait by Janinet, 153 and n. I ; — (Moreau), by Gaucher, 104 ; — en vestale (Dumont), by Tardieu, 78 and n. 3, 89 n. I. Marie- Lec%inska (Nattier), by Gaucher, 104, 140 ; — by J.-N. Tardieu, 166; — (Van Loo), by J. Ch^reau, 61. Marih de Village {W zt.te2iU),\iy Cochm pere, 37 n- 3- Marietta, Angelique-Genevieve, 20 n. i. 18 Mariette, Denys, 19 n. 3. Mariette, Jean, 19 and n. 3, 23, 165 n. 7. Mariette, Mme., 25 and n. 4. Mariette, Percy, ig n. 3, 23 n. 4. Mariette, Pierre-Jean, i, 8, 18-30, 31, 33, 36, 56, 87 n. 4 ; colledion of, 6 n. 5, 7 n.2, 19,21 and nn. i and 7, 22, 28 and n. 6, 29 and n. 2, 35, 42 n. 3, 60 ; sale of — , 28, 29, 33, 34; family of, 19 and n. 3, 20, 28, 29; letters, 19, 21, 22, 23 n. 3, 24 and nn. 3 and 4, 25 n. 4, 28 ; portrait of, by A.deSt.-Aubin, after Cochin, 137; publications of: Abecedario, 24 and n. 5, 25 ; Catalogue Boyer-d'Aguillcs, 27 and n. 3 ; Catalogue Crozat, 27 and n. 2, 29; Historiens des Gaules et dc France, 23, 27 ; Lettre sur L<5onard de Vinci, 21 and n. i, 26; Peintures Anciennes, 26 and n. 3 ; Traite des pierres gravees, 27 ; relations with the Academy, 26 and n. 5, 28 ; — with de Caylus, 18 and nn. 2 and 5, 19, 20, 25, 26, 27, 66. Marigny, Marquis de, 27, 34, 38, 66 n. 3, 87 n. 3, 94 n. I, 150, 158, 159; relations with Cochin, 2, 30, 37, 45, 47, 48, 52 and n. I ; visit to Italy, 42, 43 ; por- trait (Cochin fits), by Watclct, 10; — (Tocqu^), by Willc, 14, 69 n. i, 77, 79-. Marillier, dess. et gr., 16, 105 and n. i, 108, 109 n. 5, 130 n. 3. Marin, sc, 168 n. i. Marines (Vernet), by Le Veau, 102 n. i. Marlborough^ Battles of Duke of, by Dii- bosc, 112 n. 6. Marmontel, 9, 119 and n. 4; Contes Moraux, by — , 9, 101 n. 3, 105, 107, 115, I 16 and n. i, 137 ; portrait of, by A. de St.-Aubin, 137. Marriage of the Virgin, by Eisen, 125. Marseille, engraving for town of, 80. Martin, p., 35. Martini, gr., 16, 91, 109 and n. 6, 141 nn. I and 2. Martenasie, Pierre-Francois, gr., 85 n. i, 93 and n. 2. Masquelier, gr., 33, 49 n. 3, 91, 106 and nn. 2 and 3, 107, 108, 109, 141 n. I, 168. Massard, Jean, gr., 78 and n. I. Mass6, J.-B., gr., 46 and n. 4, 53 n. 2,62, 79 n. I, 161 n. I. Mass^, J.-B. (Tocqud), by Wille, 77, 79. Maupertuis (Tourniere), by Daull6 and Wille, 64 and 11. 2. MausoUe de M. Languet de Gergy, by A. Index. de St.-Aubin, 136. Mayence, Elector of, 75 n. 1. Mazet, by Le Mire, 1 01. Minagcre, La (Dou), by Wille, 80 and n. 3. Mechel, Christian de, gr., 97 n. 2. "Memoiresde BrandebourL':,"illus. Schmidt, 77 n. 3- Mengs, Raphael, p., 81. Menuct de la Marih', by Debucourt, 156. Menus Plaisirs, 40, 41, 140 ; prints at. Mere hien-airnee (Greuze), by Massard, 78. Mes Gens, by A. dc St.-Aubin, 136. Mes petits bouquets, by Ger. de St.-Aubin, 130 n. 3. Metastasio, illus. Moreau, 143. Meudon, fete at, 39 and n. 3. Michael Angelo, 7, 21, 26. Micheiix, p., 99 n. 3. Midi, Le (Berghem), by Le Bas, 90 n. i. Miger, Simon, gr., 47 and n. i, 48, 103 n. I, 106, 167. Mignard, Pierre, p., 62; portrait (Rigaud), by Schmidt, 69 n. 2, 76. Miollan, abb6, aeronaut, 153. Mme. de * * * en habit de Bal (Coypel), by P.-L. Surugue, 81 n. 7. Modele honnete (Baudouin), by Simonet, 106 n. 9. Moitte, sc, 155. Moliere, illus. Boucher, 85, 91 ; (1739) 98 and n. 3; (1773) 93, 99 n. 2, 102 and n. 3, 107, 108, 141, 157 ; portrait of, by Cathelin, 108. Moltke, Count, 80. Monaco, Prince de, 80, 119 n. i. Monce, M. de la, 74, 75. Monnet, dess., 33, 96, 105, 106 and n. i, 130 and n. 5, 131. Montaiglon, M. de, 24. Montenault, M. de, 45, 46, 47. Montenoy, Palissot de, 114 n. 2. Montesquieu, 126 n. 3. Montespan, Mme. de, by A. de St.-Aubin, 138. Monument de Costume, by Moreau, 109, no, 141, 142. j Moreau le jeune, gr., 2, 52, 91, 112, 138- I 145, 147, 148, 168 ; — and the Academy, 1 143. 144, 145; engravings after, 104, 109 n. I, 136 n. I ; Monument de Cos- I tume, 109 and n. 4, 141 and n. 4, 142 i and nn. I and 2 ; Revue de la plaine des 19 Index. Stiblons, 140, 142, 143; engravings by, 139, 140, 162 n. 3 ; Couchi de la Maril:i\ 106 n. 9, 1 40; Revue au Trou (TEnfer^ 14O; Sacre de Louis XV 1^ 142, 143; illustrations for books ; Chansons de la Borde, 109 and n. 3, F41 and n. i; Cr<5- biUon, 145 n. 5 ; Les (Jraces, 140 n. I ; Histoire de France, 96 and n. 2, 140 ; Molicre, 93, 102, 107, 141 ; Nouvelle Heloise, 105 n. l, 141 ; Ovid, 33, 106, 140; Pastor Kido, 49 n. 5, 139 ; Tempio di Gnido, 139; Voltair^, 141 and n. 3, Mort de Lucrke (Moitte), by Janincr, i 55. Moulin-Joli, Le, 11 and n. 3, 12, 15. Mouton, Le^ after Oudry, 32. Moyreau, J., gr., 161 n. I, 165 and n. 3. Miihlbacher sale, 40 n. I, 154 and nn. 1 and 2. Miintz, M. Eugene, 5 n. 2, 24 nn. 3 and 4. Museums, Bayeux, 142 n. 3; British, 43 n. I, 44, 103 n. 2, 113 and n. 4, 166 n. 4 ; Corner, 24 n. 3 ; Reims, 57 n. 6 ; Stockholm, I 54 n. i. Nabucodonosar qui ordonne Ic massacre^ etc., by Gab. de St.-Aubiii, 131. Naissance et Tr-iomphr de Fenus (Boucher), by Daulle, 64 n. 3. Nanteuil, Robert, gr., 2, 56, 78. Napoleon, 3 n. 2, 142. Narcisse, by (jr.ivelot, 116. Nassau-Saarbruck, Prince de, 103. National Assembly suppresses the Acad- emies, 168 and n. 4. National Gallery, London, 64. Natoire, p., 12, 88, 133 n. 2, 158. Nattier, p., 104, 162, 166. N'ayez pas peur (Moreau), by Helman, 142 and n. 1. Necker, portrait (Duplessis), by A. de St.- Aubin, 137 and n. 5, 160. N6e, gr., 49 n. 3, 91, 106 and n. 3, 107, 108, 109, 140 n. 2, 168. Nemours, Duchesse de (Rigaud), by P. Drevet, 58 n. 3. Nera colledtion, 150. Netscher, p., 78 n. 5. Neyman, 34 and n. i. Nicaise, after Laiicret, 71 n. 5, 77. Nicol, Mrs., 8i. Nina [Mile. Dugazon) (Hoin), by Janinet, 154. Nivernais, Duke de, 94 n. 3, 161. Noce au Chateau, by Debucourt, 1 56. I Noce de Village (Taunay), by Dcscourtis, .56. " Notice sur la gravure," by ChofFard, 145. Notre Dame, 37, 39. Notre Seigneur au Tombeau (Caravage), by Deniarteau, 150 n. 9. Notre Seigneur qui fait la Cene, by Eisen, 125. Nouveau sujets de peinture et de sculpture, by de Caylus, 7 n. I . ! Nouvelle affligeante (Wille fils), by Cathe- lin, 126 n. 4. "Nouvelle Heloise," illus.Gravelot, loi and n. 5, 119 n. 6, 120; — Marillier, 105 n. I, 107 n. 2 ; — Moreau, 141. Nouvellistes au Caft, by G. de St.-Aubin, 131-. Nouvelliste, Un (Watteau), by de Caylus, 6. Nozze di Figaro, by G. de St.-Aubin, 133 and n. 5. Nymph (Boucher), by Demarteau, 150. Nymph and Love asleep, etc. (Poussin), by Daull<^-, 64. Odieuvre, ^d., 57 n. 2, 63, 70, 71, 72, 73, 74, 104 n. I. Odorat, L' (Wille fils), by de Longueil, 126. Offres seduisantes (Lavreince), by Janinet, 154. Oies de Frere Philippe (Lancret), by Lar- messin, 165. Operateur, U, by Janinet, 152. Orlandi, Pere, 24, 25. Oraison funebre de Mme. Henriette, by Eisen, 122. " Origine des Graces," illus. Cochin fils., 49 and n. 3, 1 10. Orleans, Dukes of, 39, 137 n. 4. Orry, controleur-g^neral, 73 n. i. " Ost^ologie, L'," prize for founded by de Caylus, 8. Oudry, p., 3, 32, 45, 57 n. 6, 99 and n. I, 163 n. 4. Oui ou Non (Moreau), by Thomas, 142 n. 2. Ouie, V, by Eisen, 125, 126. Ouvrier, gr., 1 10 n. 2. Ouvrier de filcuses a deux mains, by G. de St.-Aubin, 134. Ouvriere en dentelle (Van Mieris), by Basan, 31; by Cochin fils, 39 n. I. Ovid (1767-1771), 33, 34, 78 n. I, 105- 107, 124, 140 ; early editions, 98, 105. 220 Pacciaudi, 9 and n. 2. Paix du Menage^ after Greuze, 1 39. Pajou, sc, 158, I 59. " Pamela," illus. Gravelot, 114. Papelier, 6d., 146. Papillon, Jean-Michel, gr., 102 n. 3. Papillonneries humainrs, by Ger. de St.- Aubin, 130 and n. 3. Parade aux theatres du Boulevard, by G. de St.-Aubin, 133. Paralytique, Le (Greuze), by Flipart, 167. Pare, Lc, by Fragonard, 3. Pare, the Minister, 138 n. I. Pari gagne (Moreau), by Camligue, 142 n. 2. Parma, Duke of, 9 n. 2. Parme, Duchesse de (Nattier), by Ualechou, 162. "Partie de Chasse de Henri IV," illus. Gravelot, 1 19. Partie de IViuh (Moreau), by Dambrun, 142 n. 2. Pastorals (Boucher), by Ingram, 164. Pasquier, J. -J., gr., 87 and n. 8, lOO and n. 5, 121. " Pastor Fido," illus. Cochin fils and Mo- reau, 49 and n. 5, no, 139. Patas, gr., 128 and n. I, 142 nn. I and 2. Pater, p., 71 n. 5. Paulmy, Marquis de, 127. Paysanne de St.-Cloud (Carinontelle), by the Duke de Chartres, 2 n. I. Pcintures antiques trouvees a Rome, by Pietro Santi Bartoli, 7 and n. 2. Pelerins de Cythere. See Embarquement pour Cythere. Peltssier, Mile. (Drouais), by DauUc, 32 n. 4. Pelletier, gr., 134. Perrault, Claude, portrait of, 163. Perronneau, p., 88, 167. Persee delivrant Andrornede (Le Moine), by Cars, 85 and n. 2. Pesne, Antoine, p., 74. Petit, Gilles-Edme, gr., 74 and n. I. Petit Luxembourg, 5 and n. 3. Petit Physicien, Le (Netscher), by Wille, 80 and n. 4. Petite Laiticre (Baudouin), by H. Gutten- berg, 97 n. 2. Petite Loge, La (Moreau), by Patas, 142 n. 2. Petite Toilette, La (Moreau), by Martini, 142 n. 2. Petites Maisons, 6 n. 2. Petits Parrains, after Moreau, 142 n. I. Petits Pieds, Les, by de Caylus, 9. Petrarch, early editions, 98. Pezay, Marquis de, 125 and n. 2. Philemon et Baucis (St.-Gois), by Miger, 106. Philip, Don, of Spain, 39. Philippe Egalit6, 2. Phibsophe Marie (Lancret), by C. Dupuis, 62. Philosophii' Endormi,', after Greuz'j, 139. Piazzetta, p., 42. Picart, Bernard, gr., 81 n. 7, 99 and n. 4, 105, 112, 164. Pichon, Baron, collection of, 11 n. I. Pierres gravies antiques du Due d' Orleans, by A. de St.-Aubin, 137 n. 4. Pierre, J.-B.-M., p., 3, 10, 13 n. 2, 29, 42, 53, 151- Pigalle, sc, 8, 18, 155. Piles, De, portrait by B. Picart, 164. PiUes, Marquise de, 3. Pine, ed., 112, 114. Pineau, Francois-Nicolas, 145. Pineau, Fran^oise-Nicole, 139 and n. 3. Pius VII., 3. Piogey, colledtion of Dr., 146 n. 4. Pitre. See Martenasie. Place Louis XF, by Prieur, 148 ; — (Mo- reau), by Tilliard, 136 n. i. Plafond de Salle de Spe£iacle, Bordeaux, by Robin, 133. Plaideurs, Les (de Seve), by Lempereur, 99 n. I. Poignant, M. et Mme., 34 and n. 2. Poilly, Francois de, gr., 160 n. I. Poilly, J.-B. de, gr., 99 n. 3. Poilly, M., 160. Poin^ot, ed., 107 n. 2. Poniatowski, Prince, 80. Poisson, Abel. See Marigny. Poitiers, Parliament at, 15 n. 2. Polignac, Cardinal, 39 ; portrait of(Rigaud), by Cars pere, 84. Polixene de Hesse-Rhinfels, pompe funehre de, by Cochin pere, 38, 39, 41. Poltronnerie de Sancho (Coypel), by Fokke, 98 n. 2. Pompadour Mme. de, 2, 10, 27, 37, 42, 43' 45, 46 n. 2, 53, 95 ; engravings by, 122; portrait of, by A. de St.-Aubin, 137; — (Van Loo), by Beauvarlet, 87 Pompes funehres, by Cochin pere, 37, 38, 39. 41 ; by Cochin fils, 39. 21 Index. Index. Ponce, gr., 48, 106 and n. 4. Porporati, gr., 87 n. 4, 166 and n. 6, 167. Porte Enfoncic, by Debucourt, 155 n. 4. Porteur d'' Eau (Bouchaidoii), by de Caylus, 7- Ports de France (Vernet), by Cochin and Le Bas, 50-53, 94, 95, 96, 103 n. i, 161. Poullain sale, 34. Pourceaugnacy M. de, by Baquoy, 108. Poussez fermt\, by L. Boilly, 146. Poussin, Nicolas, p., 42, 57, 64. Praslin, Duke de, 94 n. 3, 168. Prault, Les, (^ds., 49 n. 5, 109, 139 and n. 3, 140. Prkaut'ions, Les (Moreau), by Martini, 142 n. I. Prkieuses ridicules, by Moreau, 141. Preisler, gr., 73 and n. 3, 153. Premier pas de P Enfance, by Janinet, I 55. Prestation du Serment Civique, by Janinet, 154. Pretender (Young), 81 n. I ; portrait of, by Daull6 and Wille, 64 and n. i, 73- Prlvost, Abbe, by Schmidt, 77 n. 2. Provost, B.-L., gr., 49 n. 5, 53, no and n. 2, 139. Prieur, Jean-Louis, dess., 147, 148. "Princesse d'Elide," illus. Moreau, 141. Principaux ivenements du regne de Louis XV, by Cochin fils, 48 and n. I. " Principles of Beauty," illus. Bartolozzi, 168. Printeml^s, by Le Veau, 106; — (Eisen), by Mme. de Pompadour, 122. Print Room, Bibliotheque Nationale. See Cabinet des Estampes. Procession of Pompey^ by G. de St.-Aubin, Projet pour une Chapelle de Communion^ by Eisen, 125. Promenade de la gallerie du Palais Royal, by Debucourt, 156. Promenade des remparts de Paris, by A. de St.-Aubin, 136, 137. Promenade du jardin du Palais Royal, by Debucourt, 156. Prud'hon, p., 30, 157, 169. Prussia, King of, 28. Psich^, by Simonet, 108. Puffendorf, 122. Purification (BouUogne), by Drevet fils, 59. " Pygmalion," illus. de Ghendt after Eisen, 107 n. 2. Quarr(? de Quentin sale, 34 n. i. ^atre heures du jour (Lancret), by Lar- messin, 165. ^atre parties du jour (Baudouin), by de Ghendt, 107 n. 2; — by Boucher, 74 n. I ; — (Eisen), by de Longueil, 124. ^atre Saisons (Eisen), by de Longueil, 124. S^ueen Caroline (Kneller), by Picart, 99 n. 4. ^ueen Elizabeth, by Henry Fletcher, 99 n. 3. Querlon, du, 103, 1 06 n. 9, 140 n. 1. ^utue au Lait, by L. Boilly, 147. Ouinault-Dufresne,Jeanne-Fran9oise, 8 and n. 6. ^iproquo, Les (Eisen), by Le Mire, loi. ^os Ego (Rubens), by Daull^, 67 and n. I. Racine (illus. de Seve), 99 n. i, loi and n. 2, 102. Radix, Mme., by A. de St.-Aubin, 137 and n. 6. Randon de Boissy sale, 133 n. 2. Raoux, p., 165. Raphael, p., 7, 61 n. 3, 97, 112 n. 6. Rapin de Thoyras, 113. Reception de V Ambassadeur turc, by Cochin fils, 39, 40 and n. I, 45. Reception de Mirabeau aux Champs-Elysees, by Moreau, 143. Reconciliation d'' Absalon, by G. de St.-Aubin, 131. n- 3- Recueil de Basan, 31, 32 ; — de Caylus, 6, 7 and n. I ; — d^ Antiquites ^gyptiennes, etc., de Caylus, 7 n. 1,8; — de peintures antiques, de Caylus, 7 n. I, 26 and n. 3 ; — de Caricatures, by de Caylus after da Vinci, 21 n. I ; — de . . . plantes des- sinees, 24 ; — de Cochin fils, 38 n. I ; — de Croxat, 97 ; — de dessins pour differens artistes, by Eisen, 122 and n.4; — de Chiffres, by Ger. de St.-Aubin, 130 n. 3 ; — de plantes, by Ger. de St.- Aubin, 133 n. 4. Regent (Philip of Orleans), 57, 75 n. 2, 149 n. I. Regnault-Delalande, 35, 87 n. 4. Rehn, gr., 91 and n. i, 92, 100, 104 n. I. Reims, Mus6e de, 57 n., 6. Rembrandt, p., 7, 139. Rencontre au bois de Boulogne (Moreau), by Guttenberg, 142 n. i. 222 RendeiL-voui pour Marly (Moreau), by Gut- tenbcrg, 142 n. I. Rennes, statue of Louis XV. at, 61 n. 4. Renou, gr., 168. Renouard, ^d., 138, 144 n. 3. R^pas des Gardes du corps, by Prieur, 148. Repentir tardif, Z,^ (Lavreince), by Janinet, 154 and n. 2. Rcpos en Egypt e, by Eisen p6re, 121. Restif de la Bretonne, 48. Restout, Jean, p., 38, 39, 112. Restout de la joue, p., 165. Retour du Bal (de Troy), by Beauvariet, 87 and n. 2. Retour du Laboureur, by F. - R. Ingouf, 168 n. I. Reunion dans un Pare, by G. de St.-Aubin, 132. Reuss, Count, 80. Revel, Gabriel, p., 84 n. i. Revolution, 83, 146 ; Academy during the, 159, 168 ; influence on artists, 137, 144, 156; work of Prieur during;, 147, 148. Revue de la Mai son du Roi au Trou d'' Enfer (Le Paon), by Moreau, 140. Revue de la Plaine des Sablons, by Moreau, 140, 142, 143. Riccoboni, Mme., 115 and n. 2. Richard Minutolo, by Le Mire, 10 1. Richelieu, system of, 169. Rigaud, Hyacinthe, p., 57 n. 4, 72, 75, 1 04 and n. 3 ; engravings after : by Bale- chou, 160, 161 ; by L. Cars, 84 n. i ; by Cars pere, 84; by F. Ch^reau, 61 ; by Daull6, 62, 65, 67, 68 ; by P. Drevet, 57 and n. 6, 58, 62 ; by Drevet fils, 59, 60, 63, 67, 68, 69; by Ficquet, 104 and n. 2 ; by Schmidt, 69 n. 2, 71, 76 ; by Wille, 63, 64, 74, 77. Rigaud, portrait ordered of Drevet fils, 59, Rigaud et son epouse (Rigaud), by Daull^, 63 and n. I, 67 ; by Wille, 63. Rivalz, p., 3. Robert, Hubert, p., 15, 16 n. 2. Robin, p., 133. Roche- Alard, Chevalier de, 1 12. Rochefoucauld, Alex, de la, 166 n. 4. Rode, B., p., 76 n. 3. Roger, Barthelemy, gr., 157 and n. 2. Rohan-Ventadour, Armand, Prince de, 85 n. 2. Roi a Photel de Ville, 1789, by Prieur, 148. Roi Candaule (Eisen), by de Longueil, 102, 124. Roi gouverne par lui-meme (Le Brun), by Index. Dupuis, 62. Roland, caissicr of M. Le Comte, 12 n. 2. Rolland, M., 57. Romanet, gr., 105 n. i, 142 n. 2. Rfintgens, David, 32. Rosalba. See Carriera. Rosaspina, gr., 78 n. 5. Rose mal dt^fcndue, by Debucourt, 156. Roslin, p., 65 and nii. 3 and 4, 108 n. 2, 146. Rosoi, du, 107 n. 2, 125, 126. Rossignol, Le, 10 1, 103. Rothschild, colle6lion of Baronne J. de, 124 n. I, 126. Rouen, Port et ville de (Cochin fils), by Chof- fard, 50, 51 and n. I, 103 n. i. Roullet, gr., 160 n. i. Rousseau, gr., 106 and n. 7. Rousseau, Jean-Jacques, 16, 120, 121 and n. 2; works, illus. Delaunay (1774), 99 n. 2, 108; — Eisen, 107 n. 2, 120, 121 and n. 2 ; — Gravelot, 10 1 and n. 5, 119 n. 6, 120; — Marillier, 105 n. I, 107 n. 2 ; — Moreau, 141 and n. 2, 143. Rovillio, 6d., 98. Rubens, p., 7, 42 n. 3, 67 n. i, 86 n. i. " Raines des plus beaux Monuments de la Grice," illus. Le Bas, 94. Rumpr6 sale, 34 n. i. Russia, Empress of, 28, 65 n. 2, 66, 77 n. 4, 95- Russian sketches by Le Prince, 152. Ryland, William, gr., 81 and n. 6, 91. Sacre de Louis XVI, by Moreau, 142, 143 and n. i. Said Mehemet pacha, 40. Saint- Agnan, Leroi de, 10. Saint- Albin, portrait (Rigaud), by Schmidt, .75- Saint-Auban. See Barathier. Saint-Aubin, Augustin de, dess. et gr., 2, 16, 48, 87, 107 n. 5, no n. 2, 130, 133 n. 2, 135-138, 146; book-illustrations: Boc- caccio, 13b; Origine des Graces, 49 n. 3 ; Ovid, 33, 106 ; portraits by, 105, 137, 138; Necker, 137 and n. 5, 160; Mme. de St.-Aubin, 136; Soyez discret, 130, 136, 13^, 149- Saint-Aubin, Gabriel de, dess. et gr., 2, 33 "• 3, 130-135-. Saint-Aubin, Germain de,dess., 130 and nn. 2 and 3, 133 n. 4, 134 and n. 3, 135 and nn. I and 2. 223 Index. Saint-Aubin family, 130 n. 2, 135 n. i. Saintc-Catharlne (P. de Cortoiia), by De- maiteau, i 50 n. 9. Sainte Familli', by Eisen, 127. Ste.-Genevieve, by Eisen, 125. Saint- Florentin (Tocqu^), by Wille, 80 and n. 5. Saint-Fond, Faujas dt, 16 n. I. St. -Germain I'Auxerrois, 20, 47 n. 3. St.-Gois, dess., 106. Saint-Marc, d-d., 122. Saint-Martin, Dame, 127, 128. Saint-Non, abbd de, gr., 4, 15-17, 168. Saint Petersburg, visit of Moreau to, 139 ; — of Le Prince, 151 ; — of Schmidt, 77 and n. 4. St. Petersburg., View of (Le Prince), by Le Bas, 94, 95, 133. Saint-Quentin, dess., 109. St. Sebastian, by Eisen, 125. Sales, 34 and n. I, 133 n. 2; Basan, 35 and n. 4 ; Caylus, 8 1 ; Crozat, 29 ; Daull(!', 66 ; Farvaques, 82 ; Gaburri, 8 n. 1; Gaignat, 28 and n. 2 ; de Julienne, 81 ; La Mesang^re, 13 n. 4 ; Le Bas, 96 ; Mariette, 28, 29, 33, 34 ; MiJhl- baclier, 40 n. i, 154 and nn. i and 2 ; Surugue, 81, 82 ; Vence, 31 n. 5 ; Wille, 34, 35. Salon de la Correspondance, 155 ; — des Graces, 132. Salon du Louvre en 1753, by G. de St.- Aubin, 131 and n. 2. Saly, sc, 73 n. 3. Sand, George, 11, 12. Sanglier ford (Wouvermans), by Le Bas, 92 n. 3. Santerre, p., 166 and n. 6. Santi Bartoli, Pietro, p., 7 and n. 2, 23 n. 3, 26. Santo Giorgio, Cardinal, 21. Sardinia, King of, 12 ; Elisabeth-Th6rese, Oueenof — , 39; Polix^ne, Queen of — , 39.41- . "^ Sarrazin, Jacques, by Cochin pere, 37 n. 2. Sassoferrato, p., 77 n. 5. Satin Gown (Terburg), by Wille, 63, 80 and n. 7. Satyr Marsyas (C. Van Loo), by Miger, 47 n. I, 167. Saugrain, Testament de, illus. Moreau, 144 n. 3. Saxe, Marshal, 59, 120; portrait of (Ri- gaud), by Wille, 77; — (Liotard), by Marcenay de Ghuy, 14 and n. 4. Saxe-Weimar, Prince of, 80. Saxony, Elector of. See Augustus IlL of Poland. Siance de Physique, by G. de St.-Aubin, 134- Scenes Enfantines, by Gravelot, 112 n. 5. Scenes familihes (Lavreince), by Janinet, 154. Schmidt, G.-F., gr., 69, 71 n. 5, 76 n. 2, 77, 97 n. 4, 104 and n. i ; engravings after Lancret, 71 n. 5, 77 ; — after Rigaud, 71, 72, 73. 75-77- Schmuzer, J.-M., gr., 35, 80 and n. 2. Schoumann, Arthur, p., 31 and n. 6. Sciences, Les, by Gravelot, 112 n. 5. Scotin, gr., 112 n. 6. " Secchia Rapita," illus. Gravelot, 119 and n. 3. Siguier, Chancellor, 166; portrait of, 163. Seigneur chez son Fermier (Moreau), by Delignon, 142 n. 2. " Sens, Les," by du Rosoi, 107 n. 2, 125, 126. Sentinelle en defuut (Lavieince), by Darcis, 92 n. I. Sergent-Marceau, gr., 48, 156 and n. 4. Serment, Le (Fragonard), by Berwic, 78 n. 5. Servandoni, arch., 39. Seve, de, dess., 99 n. I, 10 1 and n. 2, 102. Seven Sacraments (Poussin), by B. Audran, 57- Shakespeare, illus. Gravelot, 114 and n. I. " Siecle de Louis XIV," illus. A. de St.- Aubin, 138. Slip he et le pigmee, by Nee, I og. Silvestre, Louis de, by Greuze, 137 n. I. Silvestre, p., 160, 161. Simonet, gr., 49 n. 3, 106 n. 9, 140, 142 n. 2, 144 n. I; engravings for Ovid, 33, 106 ; — Moliere (1773), 107, 108. Skowmann. See Schoumann. Slodtz, Michel-Ange, sc, 20, 27, 34 n. i, 40 n. 3, 88 ; — freres, 39, 40 and n. 3, 14 ; portraits of, by Cars after Cochin fils, 40 n. 3. Smith, John Raphael, gr., 81. Sociite Republicaine des Arts, 146. Soir, Le (Boucher), by Petit, 74 n. i. Soirh de 12 Juillet 1789, by Sergent, 156 n- 4- . . Soiree des Thuileries (Baudouin), by Simonet, 106 n. 9. Solimen, p., 100 n. i. 224 Songe de St. Joseph, by Eisen, 127. "Songs in the Opera of Flora," illus. Grave- lot, 113. " Sophie de Francourt," illus. Gravelot, 115. Sornique, gr., 31 and n. 3. Sortie de P Opera. See Le Marlage. Soufflot, arch., 42, 43. Souper a Louveciennes, by Moreau, 144 and n. 2. Souper fin (Moreau), by Helman, 142 n. 2. Spain, funeral of King of (1750), 37. Statue equeitre dti Roi, Bordeaux (^Lemoyne), by N. Dupuis, 61 n. 4. Stockholm, Musee, 154 n. i. Strange, Robert, gr., 81 and n. i, 91. Struensee, Count, 80, 83. Subleyras, Louis, p., 12 n. I, 37 n. i, 160. Suite de dessins, etc., by Watelet, 1 1. "Sully, Mimoires de," 114 11. 2. Sultane, La (de Troy), by Beauvarlet, 87 n. 3. Supplice de Marsyas. See Satyr Marsyas. Surugue sale, 81, 82. Surugue, Louis, gr., 81 and n. 7, 82, 99 n. 3,^6i n. I. Surugue, Pierre-Louis, gr., 81 n. 7, 161 n. I, 164, 165. Suzette ma I cachk, by Debucourt, 155 n. 4. Tableau des portraits a la mode, by A, de St.-Aubin, 136. Tableaux de la Revolution, by Prieur, 147, 148. Tacite, illus. Gravelot, 116 n. 4. Tail, Le (Eisen), by de Longueil, 126. Tailler Hallemant, gr., 93. Tailleur pour fevimes, by Cochin fils, 39 n. I. Tapestries of the House of Lords, by Grave- lot, 112 and n. 7, 114. Tardieu, Jacques-Nicolas, gr., 65, 79, 108, i6i n. I, 166. Tardieu, Nicolas-Henri, gr., 86 and n. i, 88 n. 2, go, 99 n. 3. Tardieu, Pierre-Alexandre, gr., 47, 51, 78 and n. 2. Tardieu, Mme., gr., 37. Tartuffe, Le, by Simonet, 108. Tasso, illus. Gravelot, 117, 119 and n. 5, 136 "• I- Taunay, p., 156 and n. 3. " T^lemaque," illus. Grignon, 120. Temanza, arch., 22 n. 2, 24 and n. 3, 28 and n. 2. Tempete, La (Vernet), by Balechou, 160, Index. 161 ; by Flipart, 87, 88. Temple, Prieur at the, 147 and n. i. " Temple de Gnide," lOi and n. I, 126 and n. 3 ; Italian edition, illus. Moreau, 139- Tencin, Mme., 10. Feniers, p., 31 and n. 5, 93 n. 5, 95. Ferburg, p., 80. Terray, abb(5, 1 1 ; portrait of (Roslin), by Cathelin, 108 n. 2. Terence (1753, illus. Gravelot), 116, 119; (1770, illus. Cochin) I 10 n. 2. Terre, Duchesse de Parme sous la figure de la, after Nattier, 162. Testament, illus. for Old and New, by Moreau, 144 and n. 3. Tessin, Count de, 91, 92 and n. 3. " Testes d'expression," prize for, founded by de Caylus, 8 ; drawing by Cochin fils, 50. Thetis and Proteus (Monnet), by Le Mire, 106. Thiers, Baron de, 2, 90 n. I. Thomas, gr., 142 n. 2. Thomas, Antoine, by Cochin fils, 50. Ticozzi, 24 n. 3. Tieck, Louis, 155 n. 3. Tiepolo, p., 3, 42. Tilliard, J.-B., 136 and n. I. Tune and Truth, by Delaunay, 108. Titian, p., 7. Titon, Maximilien (Rigaud), by P. Drevet, 57- Tocqu6, Louis, p., 62, 69 n. I, 77, 79 and n. I, 137 n. I. Toilette, La (de Troy), by Beauvarlet, 87 and n. 2 ; — by Ponce, 106 n. 4. Toilette de V^nus (Boucher), by Janinet, 153- " Tom Jones," illus. Gravelot, 1 14. Tonneau d^arrosage, by G. de St.-Aubin, 132. Toulon, Ville et Rade de (Vernet), by Cochin and Le Bas, 52. Tournchem, De, portrait (Tocque), by N. Dupuis, 61 n. 4, 62, 68. Tournes, Jan de, 6d., 98. Tout ou rien, by Gravelot, 1 16. Traitant, Le (Dumeril), by Lucas, 31 n. 2. Trait d^humanitk de Mme. la Dauphine (Moreau), by Godefroy, 109 n. i. " Traite des pierres gravees," by Mariette, 27- Tremolieres, p., 99 n. 4. '■^5 G G Index. Tricotiuse, La (Van Mieris), by Wille, 80 and n. 3. Tricre, gr., 109 and n. 5, 142 nn. I and 2. Triomphe de V Amour, by G. de St.-Aubin, 1.33- Triomphe de Marat, by Boilly, 146. Triomphe des Graces (Boucher), by Simonet, 106 n. 9. Trois Commeres (Eisen), by Le Mire, 124 n. I. Troqueurs, Les, by Flipart, 102. Troschel, C.-L., 76 n. 3. Troy, Francois de, p., 6, 37, 43, 87 and n. 2, 99 n. 3, 160, 166. Trubetskoy, Princesse. See Anastasie. TuUia, by Moreau, 144, 145. Turenne, Marshal, portrait of (Ph. de Champagne), by Marcenay de Ghuy, 14 and n. 4. Turgot, 29. Tv'dnne Taflor en gouache, by Lavreince, 154 n. I. Twelve Months (C. Audran), by J. Audran, 56. Unlucky Glance. See Galerie du Palais. Usteri, M., 26 n. 3. Valenciennes, Eisen at, 121. Vallayer-Coster, Mme., p., 159. Vall6e-Poussin, Etienne de la, 12 n. i. Valine, Simon, gr., 61. Valory, Chevalier de, 2. Valton colleition, 134. Vandiires, M. de. See Marigny. Van Dyck, p., 7, 42 n. 3, 78 n. 2, 151. Van Loo, Carle, p., 34 and n. i, 47 n. i, 62, 79, 87 and n. 3, 88, 100 n. 5, 149, 150 n. 9, 151. Van Loo, Jean-Baptiste, p., 47 n. i, 61. Van Loo, Louis-Michel, p., 34 and n. I, 47 n. I, 108, 133 n. 2, 167 and n. 5. Van Mieris, p., 32. Varennes, Arrest of Louis XVL at, by Prieur, 148. Vasari, 25 n. 2. Vases (Pierre and Vien), by Watelet, 10 and n. 5. Vass6, Antoine, sc, 8, 20, 48 n. i. Vasselin, M., 128. Vatican library, 21 n. 2. Vence sale, 31 n. 5. Venice, school of, criticism by Cochin fils, 42. Vernet, Carle, p., 92 n. I, 156. Vernet, Mmc. Carle, 139, 140 and n. 4, 144. Vernet, Joseph, p., 32, 87, 88, 102 n. i ; Ports de France, by — , 50-52, 95, 96, 103 n. I ; engravings after, by Baie- chou, 160, 161, 162. Versailles, fetes at, 38, 39 and n. 2, 40, 41, 53, 60, III, 143, 164 n. 2; Galerie de — , 46 and nn. 4 and 5, 53 n. 2, 62, 97 ; collection of prints at, 163. Vertue, gr., 1 12. Vertueuse Ath^nienne ( Vieii), by Flipart, 88. Ferlumne et Pomone (Boucher), by A. de St.-Aubin, 136 n. 3. Vien, p., 10, 88, 144, 146, 158. Vienna, visit of Marictte to, 22, 23 and n. 3; popularity of Wille's work in, 80. Vierge (Sassoferrato), by Schmidt, 77 and Vierge assise, etc. (Maratti), by Flipart, 88 n. 2. Vierge au Linge, by F. de Poilly, 160 n. I. " Vies des Pcintres Flaniands," by Des- camps, 104 n. I, 123, 168. Vignet, gr., 105 n. i. Villageois qui cherche son ve nt, Le (Pierre), by Cochin fils, 42. Viilette, Marguerite de. See Comtesse de Caylus. Viilette, Marquise de, 4 n. 1. Vincent, p., 54. Vinci, Leonardo da, p., 8, 20, 21 n. i, 26. Virgil, 119 n. 4; illus. Cochin fils, 49. Vispr^, p., 104. Vivares, Francois, gr., 81. Vleughels, p., 71 n. 5, 99 n. 3, 164. Vasu patriotique, by Prieur, 148. Voltaire, 8 n. 6, 11, 14 n. i, 75 n. i, 115 n. I, 118 n. 2, 120; Couronnement du buste de — , 104 and n. 3; works of, illus. Gravelot, 116, 119 and n. 6, 120; — Massard, 78 n. i ; — Moreau, 141 and n. 3, 143 and n. 5 ; — pub. by Kehl, 109 n. 5. Voyage pittoresque, by Descamps, 168 ; — de la Grece, 186; — pittoresque de Naples et dans les Deux Siciles, by Saint- Non, 15-17, 168; — de l'aris,byd'Argen- ville, 136, 168. Voyez, gr., 87 n. 4. Vrai Bonheur (Moreau), by Simonet, 142 n. 2. Vue de la Ville et de la Radc de Toulon (Ver- net), by Cochin and Le Bas, 52. I Vue de Meung, by Campion, 3. 26 Fue des Environs cle Poitiers, by Saitit-Non, 15 n. 2. Fue du Chateau des Bergeries, by d'Argeii- son, 2. Fue du Champ de Mars, by Janiiiet, I 54. Fue, La (Wille fils), by de Longucil, 126. Fue prise dans les jardins de la Filla Bar- barini, Rome (Robert), by Saint-Non, 16 n. 2. Fues de Rome (Fragonard), by Saint-Non and Hubert Robert, 15. Fues des bords de la Loire et du Loirct, by Campion, 3. Wallace colledtion, 146. Walpole, "Anecdotes of Painting," 11 1 n. I, 112 and n. 3, 1 14. Warneck collection, 133 n. 5. Watelet, Claude-Henri, gr., 4, 9-13, 14, 15, 16. ^ Watelet pere, receveur-general, 10 n, 3. Watteau, p., 3, 4, 8, 42, 57, 131, 160; engravings after, 6 and n. 6, 37 and n. 3, 57 n. 2, 85, 86,97, 163, 164. Weirotter, p. et gr., 11 and n. 4. " Wilhelm Meister," no. Wille, Jean-Georges, gr., 2, 13 n. 4, 27, 29 n. 2, 31 n. 5, 51, 53 n. 2, 54, 69-83, 88 n. I, 103, III, 146, 162 and n. 3, 163 ; — and the Academy, 14, 75, 144, 158, 159, 168; — and Hasan, 32, 33, Index. 34, 35, 81 ; his collections, 42 n. 3, 60 ; sale of — , 34, 35 ; — and DauUC, 63, 64, 66 and n. 3, 67, 73 ; his journal, 72, 76 ; his pupils, 14, 47, 78, 81, 87 11. 4, 97 n. 2, 105 n. I ; engravings by, — after Dutch masters, 31, 79, 80 ; after Largilliere, 70-72 ; — • after Rigaud, 63, 65, ''68, 72, 74, 75, 77; Marigny (Tocqu(5), 14, 69 n. I, 77, 79 ; Satin Gown, 63, 80; portrait of Wille (Greuze), 77 and n. 6. Wille, Madame, 83, 123. Wille, Pierre-Alexandre, 82 and n. 2, 126 and n. 4. Winckelman, 8 i. JFolf^ Professor, by Wille, 74. WooUet, William, gr., 81. Wornum collection, 1 1 5. Wouvermans, p., 62, 92 n. 3, 165. Tork, Duke of, by Daulle and Wille, 64 and n. I, 73. Ysembourg, Prince d', 80. Zanetti, Antonio Maria, 23 n. 3. " Z61is au bain," illus. Eisen, 125. " Zerbrochene Krug," by Tieck, 155 11. j. Zick, p., 32. Ziesenis, p., 79. Zingg, gr., 32 and n. 2. 227 CHISWICK PRESS: CHARLES WHITTINGHAM AND CO. TOOKS COURT, CHANCERY LANK, LONDON. This book is DUE on the last date stamped below University of California SOUTHERN REGIONAL LIBRARY FACILITY 405 Hilgard Avenue, Los Angeles, CA 90024-1388 RenjrTi<tl)t9 material to the library '' Iroirf which it was borrowed. miSimmmii::;. D 000 191 746"" 7 m-yryr^7 '-.^ CiW /