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 FRENCH ENGRAVERS. 
 AND DRAUGHTSMEN 
 OF THE XVIII CENTURY 
 
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 UNIVERSITY OF CALIFORNIA 
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 t^ ANGELA 
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 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.
 
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 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
 
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 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
 
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 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
 
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 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
 
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 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. 
 
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 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
 
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 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
 
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 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- 
 
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 «
 
 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
 
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 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.)
 
 
 
 
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 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." 
 
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 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
 
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 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
 
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