[This bust is by Piericcini.]
182.Christopher Columbus.The Discoverer of the New World.
[Born at Genoa, 1436. Died at Valladolid, in Spain, 1506. Aged 70.]
Lord Bacon says, that he, who unites the faculties of speculation and of action, is like one born, according to the faith of the astrologers, under Saturn and Jupiter in conjunction, and may command the world. Columbus—profound in thought, intense in action—did even more. To one world he gave another. He was essentially an intellectual hero; for he dared to believe, on grounds sufficing to reason, that which the world disbelieves, and scoffs, and scorns. He was essentially a practical hero: witness his persevering urgency of kings and states to undertake the first visiting of a world which his instructed spirit already discerned in the far off seas. Witness also his conduct of his fleet, wearied with vain expectation on the silent main, and rising to mutiny on the apparently confirmed disappointment of its hopes. His services to man no human gratitude could repay, yet he died overwhelmed with affliction, great vexation and bodily infirmity. In 1492, he discovered San Salvador, Cuba, and St. Domingo. In 1493, his eager foot first trod the Antilles. In 1498, America opened to his importunate gaze. His fourth voyage of discovery was delayed by an event that merits record in every history of the world’s progress. He was thrown into prison. Obtaining liberty, his eager and mysteriously informed spirit was brooding again on the wide ocean. He reached the Gulf of Darien. We witness to-day, in the prosperity, might, and civilization of the American people, the latest glorious results of the restless intrepidity and bright intelligence of Christopher Columbus. Before the dazzling spectacle we may yet learn humility, if we will only remember the sorrow of those upon whom the unveiling of America instantly let in the sword and the fire. Columbus was the first observer of the variation and the dip of the needle.
[By Raimondo Trentanove.]
183.Niccolo Machiavelli.Political Writer and Historian.
[Born at Florence, 1469. Died there, 1527. Aged 58.]
For fourteen years, Machiavelli, born of a noble family, acted as Secretary of the Florentine Republic, and was charged with several important missions. Upon the return of the Medici to Florence in 1512, he was implicated in a conspiracy formed against them, was imprisoned and put to the torture. Subsequently released by Pope Leo X., he was reinstated in his office. It was after his liberation that he wrote his Discourses upon Livy, his books on the Art of War, and his celebrated essay, called “The Prince.” Machiavelli, to our imagination, embodies in his individual person the Idea of Italian political subtlety. His chief work, already mentioned, “The Prince,” expounds the art of Reigning:i. e.of acquiring and preserving Power;—of which art perfidy and murder are, in this exposition, two accepted instruments. The prevalent assumption has been that Machiavelli recommends the practice of the art, such as he expounds it. Later vindicators have said that he describes, without approving, the Art of Reigning as exercised by the Italian princes of his day, and that his book is to be regarded as containing a satire, and not a doctrine.The bust before the visitor may furnish materials for the study of this curious question.
[From the bust in the Florence Gallery. A most interesting work of the time, bearing the date 1495. An undoubted likeness of this celebrated man. Full of character, with every indication of having been done from the life, although the author is now unknown. Machiavelli’s tomb is in Sta. Croce at Florence. Two centuries after his death, Lord Cowper, in 1787, placed over it a bas-relief portrait which was paid for by public subscription set on foot by Lord Cowper, and was executed by Innocenzo Spinazzi.]
184.Annibale Caro.Writer.
[Born at Città-Nuova, in Illyria, 1507. Died, 1566. Aged 59.]
His chief work was a free translation of the Æneid in blank verse: the style is pure, and the sense faithful. Also wrote humorous pieces in the purest Tuscan.
[The work of Antonio d’Este, at the expense of Elizabeth, Duchess of Devonshire, the second wife of the late Duke, a lady to whom we are indebted for originating the excavations in the Forum at Rome.]
185.Galileo Galilei.Philosopher.
[Born at Pisa, 1564. Died 1642. Aged 78.]
One of the self-dedicated inquiring spirits, to whom to behold Truth is—to live:—a hierophant of Nature! Whilst Bacon in England was laying down, in form, and theoretically, the laws of experimental philosophy, Galileo in Italy, led by instinct or intuition, was putting them in force. If Bacon stands out as the legislator of our great modern students in physical science, Galileo is assuredly their most illustrious and animating exemplar. We think of the stern and strenuous observer as we do of the prophets, who stand up in the might of invincible truth, solitary against a world. In the very first sentence of the “Novum Organum” it is written that, “Man, the servant and interpreter of Nature, knoweth, and can, so much as, in the fact or in thought, he may have observed, of the order of Nature.” Of all men Galileo was essentially the one who allowed Nature to speak for herself,—and waited patiently, piously, and thoughtfully for her utterances, never imposing upon her his own wilful and imperfect conceptions. His spirit was self-sustaining. Hundreds, or thousands, have in the later time risen, who from the cradle to the grave have watched Nature. But they are the officers of an organized army. He walked like Hercules, with his club and lion’s skin cloak, alone. Because his worship was pure, his punishment was great. Suffering for truth’s sake, he was imprisoned for years; yet his only crime had been, that he had faithfully recorded the revelations that came down to him directly from the skies. To Galileo we owe, amongst other obligations, the discovery of the laws of gravity, the invention of the pendulum, of the hydrostatic balance, of the thermometer. He constructed a telescope, and with it discovered the satellites and rings of Jupiter, the phases of Venus, and the spots on the sun. Noting down what he saw, he changed the whole system of astronomy, and led men on the right track of observation for all ages to come. Italy, with her many titles to our admiration, gratitude and respect, has no prouder claim than this:—She gave us Galileo. The face before us does not belie the soul. Upon it are stamped the rigid signs of robust and intrepid intellect.
[From the marble, by Domenico Manera, which was placed in the Capitoline Museum at the cost of Canova. About a century after Galileo’s death, in the year 1737, leave was at last granted to erect a monument to his memory inSanta Croce, at Florence; it was placed opposite to that of Michelangelo, and the bones of the great philosopher were removed into it. In the Museum of the Florence Gallery is preserved the small telescope which he used. The bust, No. 185A, is a cast from that on his tomb.]
185A.Galileo Galilei.Philosopher.
187.Cosmo de’ Medici.Merchant and Statesman.
[Born 1389. Died, 1464. Aged 75.]
The grandfather of Lorenzo de’ Medici, surnamed the Magnificent: himself illustrious for the services which he rendered to the Florentine Republic, of which he was a member, and for his munificent encouragement of art, science, and literature. Upon his death, the grateful Florentine people inscribed on his tomb the title of “Father of his Country.” A member of the Signory, which legislated for the Florentine Republic, he strove to curb the oligarchy in the State. Accordingly, many of the chief families combined against him, and it was only by the most admirable judgment and consummate prudence that he was enabled to elude their toils, and to advance the popular cause. Possessed of immense wealth, he parted freely with his riches for the glory of his country, and for the promotion of all those arts that add dignity to human nature and beautify the world.
[From the bust in the Florence Gallery, a most characteristic head.]
188.Bartolomeo Coleoni.Soldier of Fortune.
[Born at Bergamo, in Italy, 1400. Died at Venice, 1475. Aged 75.]
Remarkable for his unstable loyalty. Served at first under Sforza and De Montone in the army of Queen Joan of Naples. Then passed into the service of Venice. Fighting against and nearly destroying the army of the ambitious Duke of Milan, he went over to the enemy with 500 soldiers. He now fought against the Venetians; but in 1446, was thrown into prison on a charge of treason. Released by the Milanese, he deserted to the Venetians, whom he again led on against his latest employers. Instead of fighting Sforza, the Milanese general, he deserted to his side, and assisted him to gain the sovereignty of Milan. Immediately afterwards he returned to the Venetians, and, strange to say, continued their generalissimo for twenty-one years. The Senate, upon his death, employed the celebrated Andrea Verrocchio to raise an equestrian statue in bronze to his memory, of which the one before the visitor is a cast. Shortly before his death, Coleoni, not without reason, warned the Venetian Senate not to trust another man with such power as they had confided to him.
[For account of this fine equestrian statue, see Handbook to the Renaissance Court.]
189.Stefano Gattamelata.Warrior.
[Born at Narni, in Italy. Died at Venice, 1443.]
First served in the army of the Church: but in 1434 passed over to the Venetians, and was made Captain-General of their army. A zealous servant of the State. He was raised to the rank of Venetian noble in 1438; rich pensions were conferred upon him, and a palace was given him in the city.The equestrian statue of which the one in the Crystal Palace is a cast, is by Donatello, and is at Padua.
[For account of this equestrian statue, see Handbook to the Renaissance Court.]
190.Giovanni Medici, surnamedBandineri.Italian Soldier.
[Born 1498. Died near Borgo-Forte, in Italy, 1526. Aged 28.]
A descendant of Cosmo, “the father of his country,” and the son of the celebrated Catharine Sforza. Passionately fond of arms, he was employed, in 1521, by the Florentines against the Duke of Urbino. In 1524, he entered the service of France, and a year or two afterwards died of a wound. He was ferocious, and mercilessly cruel. After his death his soldiers, who had profited by his instruction and example, styled themselves “The Black Bands”—“Bandineri.” The chief of the butchers is distinguished in history by the unenviable title.
[A very finely-formed head, from the figure in the Piazza San Lorenzo, Florence.]
191.Francesco Pico della Mirandola.
[Died, 1321.]
A gentleman of Modena, at the head of the Ghibelline faction, in fighting whose battles with the Guelphs he passed his life. In 1312, he filled the office of Podestà of Modena, but was expelled from the city the very same year by the Guelph party. Returning, he sold his authority for 50,000 florins to Bonacossi, Lord of Mantua, and retired to his estates at Mirandola, whither Bonacossi followed him, assassinated him and his two sons, and made off with the purchase money.
[From a terracotta in the Berlin Museum. A youthful portrait.]
192.François Eugène of Savoy, calledPrince Eugène.Military Commander.
[Born in Paris, 1663. Died at Vienna, 1736. Aged 73.]
One of the world’s great and successful generals. The great-grandson of Emanuel, Duke of Savoy, his mother being niece of Cardinal Mazarin. Refused a regiment by Louis XIV., he offered his services to the flag of Austria, and fought as a volunteer for the Emperor against the Turks. The deeds of the young soldier caused Louis XIV. to repent of his former refusal, but the most tempting offers came in vain to Eugene. He took part with Marlborough in all his great victories in the Low Countries, expelled the French from Italy, and overthrew the Turks, from whom he took the city of Belgrade. His renown at the peace of 1718, when he retired from active service, stood as high as any soldier’s of the age. In retirement Prince Eugene cultivated literature and the arts. His services had extended through the reigns of three Emperors, and he fought with almost unvarying success. He was ambitious of glory, and of nothing else. He was never married. He invented no system of military tactics, and he followed none. He had the faculty of discerning the right thing to do at the right time, and of arranging his plans quickly and ably in conformity with the circumstances by which he was surrounded. His mind once made up, his intrepidity was boundless. He was rigid in disposition; his figure was well made, though not tall; his eye was black and piercing, and his complexion dark.
[A fine portrait statue by Canigia, a Piedmontese sculptor lately dead.]
193.Francisco Ximenez de Cisneros.Cardinal and Regent of Spain.
[Born in Castile, 1437. Died, 1517. Aged 80.]
A learned priest who had withdrawn to a convent, and was in his fifty-sixth year, when Queen Isabella of Spain brought him from his retirement, and appointed him Archbishop of Toledo, and her own Confessor. His power over the queen was used, according to the ideas of his time, in the interests of his country, for the benefit of the Spanish people, and for the advancement of learning and religion. After the death of Isabella, in 1504, he was made Governor of Spain, in the absence of the King, and he managed to steer his political course with consummate skill and prudence. In 1516, he became Governor of Castille for the young Emperor, Charles V. He possessed in an eminent degree the genius of government, and his rule paved the way for the greatness of Charles V.’s reign. He was unbending in authority, and organized with a rigid sense of justice, that amounted to cruelty. As Inquisitor-General, he had suffered, during eleven years of office, 50,000 condemnations to be passed, and 2500 human beings to be consigned to the flames. Shortly before his own death he fell into disgrace, and he closed his eyes in grief. He was a fanatic without passion. Pious with sword in hand; austere in his way of life, sagacious, imperious, and a profound politician.
194.Carlo Rezzonico, afterwardsPope Clement XIII.Pope.
[Born at Venice, 1693. Died at Rome, 1769. Aged 76.]
Commenced his pontifical reign by an endeavour to improve the morals of his clergy and his people; but, later, he created displeasure in Europe by protecting the Jesuits, who had been expelled from France and Portugal. He consented at last to the suppression of the Order, and expired almost as soon as the consent was given. It is rather surprising that he did not die shortly before. A man of sincere piety, pure intentions, and great charity.
[From the celebrated monument by Canova. Although the bust is of colossal proportions, the features preserve their natural, harmonious expression.]
194*.Padre Ventura.Italian Priest.
[Still living.]
Born at Palermo, towards the close of the last century. At an early age, entered the order of the Teatini: subsequently appointed Professor of the University of Rome. When, in 1821, Naples, Piedmont, and Spain rose for the recovery of freedom, and the hopes of the liberal party were raised to the highest pitch in Italy, Ventura sympathized with the popular voice. He was instantly dismissed from his office, and his writings were denounced. When, in 1831, the Italian liberals were crushed by Austria, the Padre took counsel of his judgment, craved to be reconciled with the clerical party, and was made supreme head of his Order. Deceived by the early policy and promises of Pius IX., Ventura, in 1846, again gave rein to his liberal ideas, and returned to his original sympathies. His oration on the death of O’Connell, delivered at Rome, was bold and pathetic, and so far won for him theregard of his ancient allies, that on the success of the Sicilians, who threw off the Neapolitan yoke, he was named their representative at the court of Rome. Another change came over the spirit of Ventura’s life. The Pope—his friend—was chased from Rome; and he himself prudently awaited, in Cività Vecchia, the result of the French invasion undertaken on the Pope’s behalf. Upon the fall of Rome he repaired to France, and there speedily wrote a formal recantation of all his “errors.” At this hour he preaches in Paris in favour of Ultra-montane doctrines, and is surrounded by admirers. He is learned, polished, courtier-like, and very eloquent: not a popular preacher like Gavazzi, but with a style and manner adapted to a cultivated audience.
[By Rinaldo Rinaldi, of Rome.]
195.Charles Albert.King of Sardinia.
[Born 1798. Died at Oporto, 1849. Aged 51.]
A man of unstable principles. Inclined to liberal views, but unequal to the effort of steadily maintaining them. At the time of his birth, seven male heirs stood between him and the Sardinian throne, but in his thirty-third year he found himself king. Received his education in Paris. In 1821, headed a conspiracy in order to force more liberal measures upon his sovereign; but betrayed the design before it was ripe for execution. In 1823, entered the French service under the Duc d’Angoulême, and attached himself to the cause of despotism in France. From the date of his ascending the throne, 1831, until his death, he continually vacillated between the extremes of absolutism, and downright radicalism. In 1848—the year of revolution—he gave his subjects a constitution, and the eyes of Italy were turned anxiously towards him as to a deliverer and friend. Discontent rose against Austria, and he became the champion of Italy against the foreign intruder. Success at first crowned his arms; but weakness and indecision again visited him at the crisis of his career, and he suffered defeat at Novara, at the hands of the Austrian general, Radetzky. Abdicating in favour of his eldest son, Charles Albert quitted Italy, crossed Spain, and reached Oporto, where he soon died, a disappointed, vexed, and broken-hearted man.
[By Canigia, a Piedmontese sculptor of the time.]
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France surpasses all modern nations in awarding monumental honours to her illustrious sons. The feeling which prompts the grateful act is more akin to noble patriotism than to the littleness of personal display. The magnificent illustration of the national disposition at Versailles commands our respect by the important historical interest which it creates, and by the instruction and benefit which it confers upon the world.
The buildings of all the great institutions of France are adorned with portrait statues and busts of the men who have earned distinction in connexion with them. “The Institute,” which corresponds to our Royal Society, has its statues of philosophers and scientific men. The Mazarin Library possesses a collection of those most distinguished in literature, generally. The Théâtre Français has an exceedingly interesting gallery of dramatists and theatrical celebrities, which is only feebly reflected in the collection—valuable in some respects—of theatrical portraits at the Garrick Club in London, which we owe chiefly to the late Mr. Charles Mathews, the comedian.
The collection of the Théâtre Français is composed of statues and busts representing the greatest dramatic writers and the most celebrated comedians of the French stage, of pictures of actors or of paintings having reference to the dramatic art. The library is rich in autograph manuscripts, and in the letters of nearly all the authors who have illustrated the French stage. It contains also the registers and account books of the several theatrical administrations, without a single interruption, from the 24th of October, 1658—the date of Molière’s first representation in Paris—down to the present time.
The collection of statues and busts dates from only the last century, when the sculptor Caffieri laid its foundation. He proposed to the actors, in 1773, to present to their green-room the bust of his friend Alexis Piron, the poet (seeNo. 231in our collection)—who had died a few months before—on the condition that he should be allowed free entrance to the theatre for the rest of his life. It appears, from the letter of Caffieri, preserved in the library of the theatre, that the usual price of his marble busts was £120, and that the right of entrance to thetheatre for life was fixed by the comedians at the same sum. The proposition was accepted, and Caffieri continued for some time to present busts to the theatre upon the same terms—that is to say, for every bust the right of an entreé for one of his relatives or friends. Other sculptors followed the example of Caffieri. The practice still continues, and the collection is yearly augmented, not only by this means, but also by the frequent gifts of the Minister of the Interior, and by the still larger donations of private individuals.
The collection of paintings dates as far back as the death of the tragedian Lekain. His comrades, to honour his memory, decided that his likeness should be hung in their green-room. Later came the portrait of Baron, and afterwards that of Mademoiselle Duclos by Largillière, a celebrated portrait painter of the time of Louis XIV. This portrait of Mdlle. Duclos is a masterpiece. At the present moment, in consequence of the frequent additions to this triple collection, there is not space enough in the interior of the theatre properly to display it; and it is proposed to transport it to a more commodious receptacle, and to give to theréunionof all these treasures of the drama the name of the Molière Museum. The busts, which we are enabled to exhibit in the Crystal Palace, form only a small selection from the gallery of the Théâtre Français.
The Louvre, which in Paris corresponds to our British Museum, National Gallery, and Hampton Court combined, has long been one of the world’s great treasuries of history and art. Resting upon ancient walls, founded certainly as far back as the 9th century—when it was a strong fortress in the midst of a forest—the Louvre has been gradually changing its form and appearance since the time of Philippe Auguste. In 1527, Francis I., with the aid of the architect Pierre Lescot, entirely remodelled it, and gave to it the character of splendour and vastness which has ever since attached to this great national structure. All succeeding kings—Charles, Henri, Louis, whatever the name—have done something to uphold its magnificence. In addition to the other numberless works of art contained in the Louvre there are some 300 antique portrait busts and statues, and an immense collection of rare cameos and medals, amongst which are many valuable portraits of antiquity, and about 200 statues and busts of great men of modern time, half of these being representations of military men, with some admirals, and about 50 portraits of sculptors and painters.
The Palace of Versailles is entirely devoted to the illustration ofthe glory of France. Here, in addition to many pictures, representing the great military achievements of the French, there are saloons filled with statues and busts of the kings, princes, marshals, and admirals, and portraits of nearly every great man of the country from the time of Clovis the First and Clotilde, a king and queen of the 5th century, down to Louis Philippe of our own time. There are more than 600 statues, busts and medallions, many of them fine works of art, and all possessing the very highest interest. A considerable portion being duplicates of works at the Louvre or Tuileries. In such an extensive series there are, as may be supposed, many arbitrary portraits executed to complete a series, but though not taken from the life, they have for the most part been derived from trustworthy authority. There are also upwards of 600 memorial tablets in bronze, placed in the Gallery of Battles, inscribed with the names of all officers killed or wounded in the service of the country, beginning with Prince Robert le Fort, Comte d’Outre-Maine, killed at the combat of Brissarthe, in 866, and ending with the heroes of Waterloo.
The Historical Gallery at Versailles contains portrait busts and statues by 146 different sculptors of France, commencing with Germain Pilon and Jean Goujon, who flourished in the middle of the 16th century.
From all these great collections our Portrait Gallery has been enriched, as the Catalogue will show.
As works of art the French portraits cannot be placed in the highest rank. The style, as in French works of ideal sculpture, is rather picturesque, than antique and severe; and few of the portraits are free from a certain affectation of attitude or assumed expression of countenance, for which it may readily be conceived, the artist, rather than the subject, is to blame. It is rare to find a French bust treated with the seriousness and intensity of the antique, or with the unaffected naturalness of the best busts of the English school: too many indeed verge upon the common and fatal error of portraiture—caricature.
We must, however, take these portraits as the characteristic works of the country to which they belong; all of them bear the stamp of truthfulness, if some should be found tainted with exaggeration. Many are models in the art of marble portraiture. Those of Madame Dubarry (No. 235), and Marie Antoinette (No. 310), are especially beautiful; that of Gaston de Foix (No. 258) is also a very noble portrait; and the bust of Thomas Corneille (No. 222), is one of the finest productions of the school. The heads aregenerally rather larger than life: and the visitor cannot fail to remark the exceeding care bestowed upon the wigs and elaborate embroidery of the time.
(The French Portraits commence immediately behind the Statue of Admiral Duquesne, in the Great Transept.)
196.Jean Goujon.Sculptor.
[Born in Paris. Died there, 1572.]
Many of his works were destroyed in the French Revolution, but the Tribune of the “Salle des Cent Suisses,” in the Louvre, the “Diana of Poictiers,” and the “Fountain of the Innocents,” in Paris, are left to attest the artist’s superiority. At Malmaison, in France, is another statue by him of Diana, remarkable for the beauty of the pose, the suppleness of the limbs, and the extraordinary lightness of the drapery. The two caryatides in the Renaissance Court are examples of his style. Killed by a shot from an arquebuse during the massacre of Saint Bartholomew, and whilst he was at work on the decoration of the Louvre.
[This is considered to be a bust of the time, and perhaps by his own hand.]
197.Simon Vouet.Painter.
[Born in Paris, 1582. Died there, 1641. Aged 59.]
Is generally regarded as the founder of the French school of painting. He received his first instruction from his father, who was also an artist. When a mere youth, he acquired great fame as a portrait painter. He visited Constantinople, where he painted Achmet I. At Rome he worked for Pope Urban VIII. at St. Peter’s. Recalled to France by Louis XIII. in 1637, he was appointed chief painter to the king. His colouring is fine, and he possesses great boldness of touch; but his drawing is marked by mannerism, and he is not happy in perspective, or in his effects of light and shade. He accomplished, however, for French painting, what Corneille effected for the drama. He created and raised the national taste.
[From a marble in the Louvre.]
198.Nicolas Poussin.Painter.
[Born at Andelys, in France, 1594. Died in Rome, 1665. Aged 71.]
The greatest master of the French school of painting. His taste for art was revealed at a very early period. As a child, he drew upon his lesson books and the walls of the school-room. At eighteen, he went to Paris, where he frequented schools from which he learned but little. Genius and self-tuition did more for him. At thirty he painted the “Death of the Virgin” for a chapel at Nôtre-Dame, and so well, that the poet Marino took the painter to Rome, and recommended him to Cardinal Barberini with the energetic words, “You will see a youth who has the spirit of one possessed.”[31]The Italian syllables are yet stronger. In Rome he fell into poverty, and sold his pictures for a mere trifle. He worked against the spirit and taste of the age in both France and Italy: throwing himself, with his faithful comrade in art, the sculptor Fiamingo, entirely into the study ofthe ancient Greek sculpture. He was recalled to his own country by Richelieu, in 1640, and was created Court Painter. In 1643, he returned to Rome, whence no solicitations could again draw him. He lived twenty-five years in great calm and happiness, married to the sister of Caspar Poussin, without children, without a pupil, without a man-servant—esteeming quiet in the house above everything. He was devoted to his art, a great student in it, and of all science bearing upon it. His genius was altogether antique. He transported himself into an elder world, and lived there. Thus in religious subjects he seems to lean towards the Old Testament; and he revels in the wealth of Greek mythology. His classical spirit ennobled landscape both in its own forms and by the poetical significance and treatment of the figures. His art, like poetry, seemed to open to him an escape from the world about him. A style of severe simplicity, truth, high beauty, harmony.
[31]Vederete un giovane che ha la furia del diavolo.
[31]Vederete un giovane che ha la furia del diavolo.
[From the marble in the Louvre, by Blaise.]
199.Pierre Mignard.Painter.
[Born at Troyes, in France, 1610. Died in Paris, 1695. Aged 85.]
Called “The Roman Mignard,” in contradistinction to his brother Nicolas, also a painter, and styled “Mignard of Avignon.” The works of Pierre are not remarkable for originality of invention or peculiar facility of execution; but they exhibit correct design, beauty of form, and excellence of colouring. The French regard him as the best colourist of the age of Louis XIV. The “Grand Monarque” sat ten times to this painter, who also painted the portraits of the Popes Urban VIII. and Alexander VII. Mignard was first intended for the profession of medicine, but his taste for drawing led him to the arts. He passed twenty-two years in Italy, where he acquired fame. He was recalled to France by his own sovereign, and by him also appointed chief painter to the court.
[From a marble in the Louvre, by Antoine Coysevox.]
200.André le Nôtre.Architect and Gardener.
[Born in Paris, 1613. Died there, 1700. Aged 87.]
The designer of the magnificent gardens at Versailles; the projector of its grand fountains, grottos, porticos, and bowers. He also laid out the gardens of St. Cloud, the Tuileries, Meudon, and several others. Louis XIV. heaped favours upon this great gardener, but Le Nôtre could not be spoiled by royal indulgence. He travelled into Italy and was received by Pope Innocent XI. “I care not how soon I die now,” said Le Nôtre to the Pope, “since I have seen the two greatest potentates in the world—your Holiness and the King, my master.” Le Nôtre was simple, honest, and disinterested: possessed a fertile genius and lively imagination; in many respects the prototype of our own Paxton.
[From the marble in the Louvre, by Gourdel, which was taken from the one in the Church of St. Roch.]
201.Eustache le Sueur.Painter.
[Born in Paris, 1617. Died 1655. Aged 38.]
One of the greatest French painters. First taught by his father, a sculptor; then a pupil in the studio of Vouet. His fame established by the pictures, twenty-two in number, which he painted for the Chartreuse inParis, and which represent the chief events in the life of St. Bruno, the founder of the Order. He took delight in sacred subjects, and in simple religious affection he left Lebrun and Poussin far behind him. He scarcely ever quitted Paris, never France; and his sole studies were the few exemplars from the antique which he could find in his native city. Raffaelle he could worship only through the engravings of Marcantonio. But the love of his art was boundless, his study intense, his industry inexhaustible. He excelled in purity of form, and his pictures reveal a tenderness of feeling and a spiritual grace, wholly wanting in the productions of the majority of his contemporaries. He was himself a man of mild and blameless nature. He died very early, worn out by his labours and by the active jealousy of his brother artists.
[The costume is that of the time of Louis XIII. From a marble by P. L. Laurent, done in 1806. Laurent was a pupil of Pajou, and died in 1816.]
202.Charles Lebrun.Painter.
[Born in Paris, 1619. Died 1690. Aged 71.]
One of the most celebrated painters of the French school. The Chancellor, Séguier, struck by his talent when a boy, placed him in the studio of Vouet, and subsequently sent him to Rome, where he maintained him during six years. In 1648, Lebrun was recalled to France, and admitted into the Academy. Mazarin, charmed by his works, presented him to the king, by whom he was favourably received and largely patronized. It is said that Louis XIV. would spend two hours at a time in Lebrun’s studio, whilst the artist was painting his “Battles of Alexander,” Alexander being Louis by allusion. For fourteen years, engaged in painting the great gallery of Versailles. Received many distinguished appointments in connexion with the Fine Arts, and at his instigation Louis XIV. instituted the French Academy at Rome. For many years Lebrun was as absolute in the republic of Art, as his master in the kingdom over which he ruled. He was styled “Dictator,” and his influence is perceptible in the works of his time. He was one of the vainest of men, and the most pompous, artificial, and theatrical of painters; his works, though they might swell the pride of a Court, would hardly flatter the pride of a country. His best picture is “The Stoning of Stephen,” in the Louvre.
[From the marble in the Louvre, by A. Coysevox. Extremely interesting, both on account of its being taken from the life, and having once surmounted the tomb of the great painter which was erected by order of his widow in the Church of St. Nicholas, in Paris, the tomb being also the work of Coysevox. The monument was removed at the time of the Revolution. The bust at Versailles, by Bosio (1837), takes its authority from this.]
203.André Félibien, Sieur des Avaux et de Javercy.Writer on Art.
[Born at Chartres, in France, 1619. Died in Paris, 1695. Aged 76.]
Held various appointments in connexion with art. Amongst others, those of Historiographer to the King, and Secretary to the Academy of Architecture. His best known work is “Lives of Ancient and Modern Painters,” which is translated into English. Grave and serious in character, but, right-minded and good-hearted, he preferred virtue to the favours of fortune.
204.Jean Mabillon.Antiquary.
[Born at Pierre-Mont, in France, 1632. Died in Paris, 1707. Aged 75.]
A Benedictine monk, who employed his life in collecting materials andwriting on monastic history and antiquities. Entitled to high rank for his extensive learning and great virtues; his style clear, masculine, and methodical; his mind free from bigotry.
205.Jean Baptiste de Lully.Violinist and Musical Composer.
[Born near Florence, 1633. Died 1687. Aged 54.]
A musical genius; who began life as a scullery-boy, and, in soul, continued a scullery-boy to the last. It was whilst playing the fiddle in the kitchen of Mademoiselle de Montpensier that his musical faculty was detected and rescued. Subsequently playing some airs of his own composition to Louis XIV. he was made, at the age of 19, “Inspecteur Général des Violons.” In 1672, letters-patent were granted him to establish a Royal Academy of Music: that academy was the Opera. He performed marvels at his theatre. He was at once composer, director, ballet-master, leader of the band, and even machinist. Nothing came amiss to him; and his activity, his popularity, his success were enormous. In less than fifteen years he had composed nineteen operas, which continued in high favour until put out of fashion by Gluck a century afterwards. To appreciate the merits of Lully as a composer, we must look at him from the point of view of his own time. So regarded, he is an artist of great spirit and dramatic power. He found France without any dramatic music whatever. He left works which formed the style of later masters, and became the foundation of a national opera. He had wit, energy, versatility, and was a great favourite with the Court. His moral character was detestable. To the great he was grovelling; to his earliest benefactress he was ungrateful; towards his dependants he was overbearing, insolent and brutal.
[From the bust in the Church of Petits Pères.]
206.Antoine Coysevox.Sculptor.
[Born at Lyons, in France, 1640. Died in Paris, 1720. Aged 80.]
Of Spanish origin. Employed for four years on the decoration of Cardinal de Furstenburg’s palace, at Saverne, in Alsace. Executed also for Paris, a statue of Louis XIV., and the bronze winged horse placed in the Tuileries gardens. The Revolution destroyed most of his works; but amongst those left is one of the finest—the monument of Colbert. A persevering and painstaking artist.
[From a marble in the Louvre, by himself. The original bears the following inscription:—“Ch: Ant: Coysevox Sculpteur du Roi, Chancelier de l’Académie; par lui-même. Donné à l’Académie par Ch. Pierre Couston architecte du Roi, son petit neveu.”]
207.Jules Hardouin Mansart.Architect.
[Born in Paris, 1645. Died at Marly, in France, 1708. Aged 63.]
The builder of the Palace of Versailles, and of the Hôtel des Invalides in Paris: indebted for his celebrity more to the good-will of his sovereign, Louis XIV., than to his own genius. His works noble and striking, but his style not chaste, and apt to fall into extravagance. A vain man, proud of the favours of the king and jealous of retaining them.
[From a marble in the Louvre, by T. L. Lemoyne, a pupil of Coysevox, who died in 1755; and doubtless from the life. He wears a damask dress with the cordon of St. Michel.]
207*.Claude Joseph Vernet.Painter.
[Born at Avignon in France, 1714. Died 1789. Aged 75.]
He received his first instruction from his father, who was an historical painter. He set out for Italy in his eighteenth year, and continued there for many years, studying and painting for small remuneration. He returned to France in 1753, on the invitation of Louis XV., was elected a member of the French Academy, and commissioned by the government to paint the principal ports of France. He excelled in marine subjects. It is related of him that during a terrible storm at sea, when all on board his ship were trembling for their lives, he caused himself to be lashed to the mast of the vessel, that he might watch the boiling ocean. The Louvre contains several of his pictures, which display a consummate management of light and shade. He had no rival in France whilst he lived, and he died pencil in hand. He was a modest man, and never so happy as when at work.
[Bust to come.]
208.Jacques Germain Soufflot.Architect.
[Born at Irancy, in France, 1714. Died in Paris, 1781. Aged 67.]
When the Carthusians rebuilt their church at Lyons, Soufflot’s design for the dome was accepted, and he achieved celebrity in consequence. Then settling in Lyons, built several edifices there, including the theatre (one of the finest in France), and theHôtel-Dieu(the hospital). Invited to Paris, he became architect to the king. His designs for the Church of Sainte Généviève were adopted; but the cupola exciting much adverse criticism, the architect fell into despondency, languished and died. Blunt in his manners, but of a generous and noble mind. He was called the “benevolent cross-patch.”
[From the marble in the Louvre, by Prévot.]
208*.Marie-Anne-Botol Dangeville.French Comic Actress.
[Born 1714. Died 1796. Aged 82.]
Actress at the Théâtre Français, and perhaps one of the most perfect mistresses of her division of the art that have trodden the French stage. The original of this bust, in the Théâtre Français, has not the name of the sculptor, but is a work of singular delicacy of expression, and evidently from the hand of a master.
[Bust to come.]
208**.Mademoiselle Clairon.French Tragic Actress.
[Born 1723. Died 1803. Aged 80.]
The most accomplished French tragic actress of her time. Born of poor and illiterate parents. Made her first appearance on the stage in her thirteenth year. At first unsuccessful, she proved eventually a sublime tragedian, and during twenty-two years held possession of the public. Disraeli the elder has a curious story from her life. He relates that as a child she was cruelly treated by a violent mother, and driven all day to manual labour. One day when locked in a room for punishment, she climbed upon a chair to look about her. In the house opposite she saw a celebrated actress amidst her family; one daughter performing her dancing lesson. Clairon noticed with excitement every motion: not one was lostupon her. The lesson over, the rest of the children applauded, and the mother embraced her clever dancer. The scene melted the heart of Clairon, reflecting on her own bitter lot, and she burst into tears. She ascended the chair again, but the vision had vanished. Henceforth she was a new child, and never so happy as when locked in that room: from her chair she watched again and again the happy dancer—imitated her gestures—reflected her grace. She worshipped a divinity. She had never been to a theatre; yet, without knowing what an actress meant, she had herself become an actress. Her ardent studies were soon manifest. Her first victory was over her barbarous mother, whom she softened. Her later conquest was the subjection of all Paris, and in Paris, of all polite France and Europe. The anecdote lives, how Voltaire, when his tragedy of “Oreste” was to be brought out, insisted that his Electra, compelled in the palace of her fathers to the discharge of menial offices, should appear habited as a slave. Mademoiselle Clairon, to whom the character fell, resisted. She shrank from flying in the face of the artificial French taste, and of the traditional stage decorum—both expecting a princess arrayed in proper theatrical splendour. The poet persisted. The piece over, she came to him and said, “Ah! M. de Voltaire, you have ruined me. All my gorgeous wardrobe is no longer worth a sou.” She had been released for once to act up to the truth, nature, and simple reality of her part; and had astonished audience, actors, herself—all save the poet—by her self-excelling success.
[This bust, which is to come, is from a marble by Lemoyne, dated 1761.]
209.Jacques Louis David.Painter.
[Born in Paris, 1748. Died at Brussels, 1825. Aged 77.]
The founder of the modern or classical school of French painters. Pupil of Vien, with whom he passed several years in Italy. Returning to France in 1780, opened a school, which attracted many pupils. In 1784, paid a second visit to Italy, and on his return was hailed with the title of Regenerator of Art. Was now admitted into the Academy and lodged in the Louvre, with the appointment of “Painter to the King.” His pictures proved eminently successful. His drawing was perfect, and the correctness of his design revealed the pure antique fount from which he had quaffed his inspiration. For a time David forsook the easel, to take part in the fury of Revolutionary politics. He forgot his apartments in the Louvre, joined hands with Robespierre, to whom he was personally attached, and became one of the loudest clamourers for the blood of Louis XVI. The painter was present at the mock trial of the monarch, whom he grossly insulted as the wretched king passed in front of him. After the fall of Robespierre, David owed the preservation of his own neck solely to his great reputation as an artist. He ceased to be a politician to become a dictator in art. During the Consulate his influence was supreme. He not only immortalized some of its heroic passages, but he designed its official costumes. Buonaparte heaped favours upon his artistic panegyrist, and the painter added grace and dignity to the deeds of the First Consul. The last work of David in Paris was “Leonidas,” painted in 1814. In that year, it is written that Wellington, accompanied by some English officers, visited the artist’s studio, and expressed a wish to be painted. The story adds, that David replied coldly that “he did not paint Englishmen,” and turned his back upon his visitor. Upon the return of Napoleon from Elba, David was made Commanderof the Legion of Honour. The next year he was banished as a regicide, and took up his residence in Brussels. “Napoleon crossing St. Bernard” and “The Coronation of Napoleon” are amongst his offerings to the triumphs of the Emperor. Classical and correct in design, David fails in colour, and in picturesque expression. His figures, too, have a hard and marble-like appearance. A large swelling at the side of his face was caused by a blow he received, when young. It has been justly said that opinions of David will vary, accordingly as they are expressed by Frenchmen or by foreigners.
[From the marble in the Louvre, by Rude, 1831.]
210.Charles Percier.Architect.
[Born in Paris, 1764. Died, 1838. Aged 74.]
Known by his works in conjunction with Fontaine. The influence of the labours of both is matter of history in art. To them is due the completion of the Louvre and the erection of the arch in thePlace du Carrouselat Paris. Percier wrote several works on art. In his youth sent to Rome to study, where he gained the friendship of Flaxman and Canova. Modest and retiring; and in the pursuit of his art most persevering.
[From a marble in the Louvre, by Pradier.]
211.Girodet-Trioson.Painter.
[Born at Montargis, in France, 1767. Died in Paris, 1824. Aged 57.]
The real name of this artist was Anne-Louis Girodet de Coussy; but he took the name of Trioson from his adopted father and benefactor, a physician, to whom he was indebted for his education. He was the son of the Duke of Orleans’ steward, and intended for the army, but evincing a great taste for painting, was placed in the studio of David. Afterwards proceeding to Rome, he received the first prize for a work of art in that city. At the end of five years returned to Paris, where an apartment was assigned him in the Louvre. In 1806, he gained a prize by his picture of “The Deluge,” competing with his old master, David. Girodet did not produce many works, habitual ill-health disabling his pencil; but he left enough behind him to maintain his reputation. His chief pictures are “Endymion,” “Hippocrates,” “The Revolt in Cairo,” and “Napoleon Receiving the Keys of Vienna.” The colouring of Girodet is cold and earthy; and his figures, whilst revealing the classic form and correct drawing that characterize the labours of all David’s pupils, lose the expression of inward life. In spite of obvious deficiencies in truthful representation, his paintings produce a deep, and occasionally a powerful impression.
[From a marble in the Louvre—the author unknown. One by M. Roman was in the French Exhibition of 1827.]
212.François Gérard.Painter.
[Born at Rome, 1770. Died in Paris, 1837. Aged 67.]
Studied under Pajou the sculptor, then with Brenet, and finally with David, whom he assisted in several works, until 1794, when he exhibited his own picture of “The Tenth of August” (the day of the storming of the Tuileries in 1792). Under the influence of David, Gérard became one of the jury of the Revolutionary Tribunal—an office from which he subsequently shrunk. He received great honour and distinction at the hands of Napoleon; and the Emperor Alexander, and the Duke of Wellington, becamehis friends. A man of extensive knowledge, and, as a painter, to be recommended for taste and refinement, rather than for invention or sublimity. His colouring, though harmonious, is not always true. His subjects were chiefly historical, and in these the arrangement of the figures and the selection of costume are always pleasing. He was also successful as a portrait painter.
[From a marble in the Louvre, by Pradier, 1838.]
213.Antoine Jean Gros.Painter.
[Born in Paris, 1771. Died there, 1835. Aged 64.]
One of the most distinguished of David’s pupils. Appalled by the horrors of the first Revolution, he quitted France, and withdrew to Geneva; thence to Milan, where he became known to Buonaparte, by whom he was countenanced and employed. He followed the army for six years, and returned to France in 1801. Then painted several pictures commemorative of Napoleon’s military achievements. He enjoyed ample patronage under both the Emperor, and the Restoration; but in his later years he fell into melancholy; and one morning his body was found in the Seine. His compositions are remarkable for boldness and facility of invention; but his colouring is frequently exaggerated. His subjects, too, though invariably treated with power, degenerate occasionally into vulgarity and theatrical display. His best picture is “The Plague at Jaffa.” He was a man of cultivated mind, and passionately fond of music.
[From the marble in the Louvre, by Debay Sen., 1827.]
214.Pierre Narcisse Guérin.Painter.
[Born in Paris, 1774. Died at Rome, 1833. Aged 59.]
The son of an humble shopkeeper, and in early years self-instructed. As a painter he was the pupil of Regnault, under whom he soon became distinguished for facility of execution and refined composition. He subsequently studied several years in Rome. In 1822, appointed Director of the French Academy. He was not distinguished either for design or colour; but his figures are full of expression. His subjects chiefly mythological and classical.
[From the marble in the Louvre, by Auguste Dumont, 1831, author of the statue of Louis Philippe, at Versailles, and lately deceased.]
215.Comte D’Orsay.
[Born in Paris, 1798. Died there, 1852. Aged 54.]
A man of fashion, endowed with exquisite taste and with great talent for the cultivation of art. He resided many years in England, where he influenced the taste of a portion of society, and practised sculpture and painting as an amateur. Towards the close of his life he withdrew to Paris, and there received an appointment in connexion with the fine arts, from his former friend the Emperor of France. He had engaging manners, a kind heart, and an open hand. Possessed of great personal beauty, he was not wanting in manly attributes, being athletic, and skilled in arms and horsemanship.
[This excellent work and admirable likeness is by W. Behnes.]
216.Mademoiselle Felix Rachel.Tragic Actress.
[Born at Munf, in Switzerland, 1821. Still living.]
The daughter of poor Hebrew parents. In 1831, this famous actress made her debût at the Theâtre Molière, in Paris, as Hermione in “Andromaque;” but without giving indication of the genius she has subsequently displayed. In 1841, she first appeared in England, and from that time has won unbounded admiration, and maintained an undivided supremacy both here and in France. French dramatic poetry, which ordinarily finds no welcome in English ears, is reconciled to our taste as it falls from her lips. Her excellence consists in the emphatic expression of deep feeling and passion, in the thrilling effects which she is able to produce, even by a whisper, and in her independent superiority over the traditions and conventionalities of the stage. She is the least unnatural of French tragedians; yet is not so natural as to be able altogether to conceal her art. The spectator never forgets that an actress is before him; is never carried away by an irresistible impulse. Rachel, great as she is, is always the same, even to the motion of a garment, and the raising of her hand. Hence, the impression made by a first representation is far more potent than any that may follow. She lacks ideality and refinement. Her temperament stands between her and her ability to inspire the spectator with a perfect belief in her earnestness, and in her love of the beautiful and good.
[Bust by Ludwig Wichmann. Plaster. 1844. The original in possession of the artist.]
217.Diane de Poitiers.
[Born 1499. Died at Arret, in France, 1566. Aged 67.]
At 13, married Louis de Brézé, Grand Sénéchal of Normandy, who died in 1531. At the age of 48 she became the favourite mistress of Henry II. of France. Her influence was used, except where she was herself biassed by religious prejudices, invariably for good and commendable objects. Her talents were commanding, and her beauty continued unimpaired by age. She was created Duchess of Valentinois, and her power was well appreciated abroad. One of her daughters by De Brézé married the son of the Duc de Guise, afterwards Duc d’Aumâle.
[A portrait of the time.]
218.Pierre Corneille.Dramatist.
[Born at Rouen, in France, 1606. Died in Paris, 1684. Aged 79.]
The father of French tragedy. Educated by the Jesuits. During the early part of his career, monastic exhibitions were the only dramatic performances in vogue in France. When the French began to draw their dramatic inspirations from Spain, Corneille was the first to take real advantage of the movement. He dramatized the first youthful achievement of the Cid with extraordinary success. It soon became the custom to say of anything deserving applause, that “it was as good as the Cid.” Then followed his drama of “Les Horaces,” considered a masterpiece of French tragedy, a species of composition which isnot to be criticized by the rules that we apply to the great productions of our own stage. “Cinna” and “Polyeucte” followed, both efforts of undoubted genius. In 1642, elected member of the French Academy. The claims of Corneille upon our regard not to be over estimated. The French drama was yet in the block when he took up his artist tools. Grandeur of thought, elevation of sentiment, and heroism of character are wrought out in all his productions, which have exercised a momentous influence upon succeeding times in France. Corneille was simple and almost rustic in his manners and appearance. Very proud, but very shy. Ambitious of glory, yet disdaining the society of the great, even up to the greatest. He had a commanding person, and expressive features. When he died he was poor, almost to want. Napoleon had a lofty idea of Corneille’s knowledge of government. “Had he lived in my time,” said the Emperor, “I should have taken him into my council.”
[This is from the original marble, by Caffieri, in the Comédie Française. There is a statue of him at Versailles done in 1836, by M. Laitie. Both are taken from painted portraits.]
219.Jean de Rotrou.Dramatist.
[Born at Dreux, in France, 1609. Died there, 1650, Aged 41.]
One of the creators of French tragedy. To him Corneille is indebted for the idea of founding a tragedy upon the subject of the Cid—for it was at his instigation that the great master first looked to the Spanish stage for inspiration and guidance. Rotrou gloried in the success of Corneille, and generously maintained his superiority over all dramatic writers in France—including himself. He left thirty-seven dramatic pieces, and many of them exhibit power and great felicity of language. He enjoyed a civil office in his native town, where he was much respected. He was cut off by an epidemic.
[The original is in marble, by Caffieri. The costume is of the time of Louis XIII.; but the bust must have been done from some painted portrait, as it bears the date of 1783, and Caffieri was not born until 1723.]
220.Jean de la Fontaine.Poet.
[Born at Château Thierry, in France, 1621. Died in Paris, 1695. Aged 74.]
A great French poet! His fables in verse, published when he was forty years of age, placed him at once amongst the first writers in verse that France had produced, and created an epoch in French literature. As a writer of fables he is probably not surpassed by any writer of any country. His life was full of vicissitudes. He succeeded his father, as Keeper of the Royal Domains at Château Thierry, but deserting both his wife and his occupation, he went to Paris, where he formed a lasting friendship with Molière, Racine, and Boileau. A pension saved him from starvation; and losing this with the fall of the Minister, Fouquet, who gave it, he was again rescued by the charity of Henrietta of England, daughter of Charles I., and wife to the Duke of Orleans. Upon the death of this princess, he was again fortunately provided for by Madame de Sablière, in whose house the poet lived for twenty years. In society, La Fontaine was dull, silent, and subject to absence of mind. In his youth he was remarkable for his aversion to poetry. He lies buried by the side of Molière, who ever regarded him with affection, and who discovered his genius years before it wasacknowledged by the world. His style is easy, sprightly, graceful, witty, pointed, and inimitably naïve.
[This is from the bust in terra cotta in the Théâtre Français, by Caffieri. It has served as the authority for that by Dessine, at Versailles, and the statue in the Vestibule of the Admirals, by M. Seurre, done in 1837. Unfortunately, none of these could have been modelled from the life.]
220A.Jean de la Fontaine.Poet.
[By Auguste Dumont.]
221.Molière.Dramatist.
[Born in Paris, 1622. Died there, 1673. Aged 51.]
The real name of Molière was Jean Baptiste Poquelin. That which is associated with his renown was assumed when he became an actor, and “disgraced” his family, who cut Jean Baptiste away from the genealogical tree,—the father of Molière beingvalet de chambreto Louis XIII. Like our own Shakspeare, Molière was an actor as well as a writer of plays. He forsook the study of the law for the stage, and at the age of 24 was making his way in the provinces, where he produced comedies, in which he himself acted. In 1658, he returned to Paris, and by the favour of Louis XIV. opened the theatre of the Palais Royal. His new comedies produced there attracted crowds. His latest work was “The Imaginary Invalid,” brought out in 1673. He played the principal part himself, and during the fourth representation, was carried a dying man from the stage. The rites of Christian sepulture, denied, as a matter of course, to the player, were not conceded to the author who had satirized hypocrisy in his well-known comedy of “The Hypocrite.” Molière was beloved by his contemporaries: he was generous and warm-hearted—the friend of Condé, Boileau, and Racine. He is by far the first writer of Comedy in modern times. His place is close to the side of Shakspeare, for, like the English writer, he successfully addresses all countries and all ages, appealing to no limited, local, and accidental condition of the human mind, but striking home to the universal and unchangeable heart of man, as it everywhere throbs. Beyond the humorous faculty, he possessed earnestness of feeling, and a deep tone of passion. He was a man of tender heart; and of all French writers, he is the least French.
[From the marble in the Louvre.]
222.Thomas Corneille.Dramatist.
[Born at Rouen, 1625. Died at Andelys, 1709. Aged 84.]
Younger brother of the great Corneille, with whom he lived until his death in brotherly affection. Inspired by his brother’s success, he early devoted himself to dramatic composition, and, like his illustrious brother borrowed from Spain the materials for his earliest attempts. The labours of Thomas Corneille found even more approbation with contemporary audiences than those of Pierre; but the majority of the younger brother’s many comedies are now forgotten. The services rendered by Thomas to philology are perhaps more useful and lasting than his contributions to the drama. He published a supplementary Dictionary to that of the French Academy, and wrote other works. In his old age he lost his sight. He died honoured and beloved.
[By J. J. Caffieri, 1785. There is a copy of it at Versailles, in marble, by M. Chenillion, dated 1836. The original was taken from an authentic picture by Jouvenet, which belonged to the Countess of Bouville, daughter of Corneille, a copy of which picture was given to the Comédie Française by Caffieri.]
223.Philippe Quinault.Poet.
[Born at Felletin, in France, 1635. Died in Paris, 1688. Aged 53.]
A lyrical poet of great reputation, and the most famous writer of French operas. His earliest works were tragedies and comedies, but in 1670, after his election to the Royal Academy, he allied his verse to music, and did not sever the union until he altogether eschewed dramatic composition. He furnished to Lully, the musician, the words for his first opera, and continued to aid that composer until Lully’s death. Towards the close of his days, Quinault, influenced by religious scruples, ceased to write for the stage. His lyrical productions have great tenderness, and melodious sweetness, and are happily and eminently adapted to their alliance with the sister art.
[From a bust in terra cotta, by Caffieri, which was the model for that in marble placed in the public room of the Opera, at Paris, and for another in the Bibliothèque Généviève, at Paris.]
224.Nicolas Boileau.Poet and Satirist.
[Born at Crosne, in France, 1636. Died at Paris, 1711. Aged 75.]
One of the illustrious writers of his time. His labours went far to fix the character and purity of the French language, and his sharp criticisms have exercised ever since his day a salutary influence upon the literature of his country. He ridiculed with singular acuteness the false taste of his generation, and endeavoured to point out the true principles of composition. His “Art Poétique” is considered by many, as rivalling the “Ars Poëtica” of Horace. His humorous and heroic poem of “Le Lutrin,” written to illustrate his theory that an epic ought to have a slender groundwork, abounds in fanciful and sportive wit. He was the friend of Molière, Racine, and Lafontaine, and the great Condé was his patron. A generous and charitable man, an upholder of religion, but a sworn hater of hypocrisy. Constant in his friendships, and always ready to forgive injuries.
[From a marble, by François Girardon, in the Louvre, a sculptor born at Troyes, in Champagne, 1630, and died 1715.]
225.Jean Racine.Dramatist.
[Born at La Ferté Milon, in France, 1639. Died there, 1699. Aged 60.]
Racine was the Euripides of France, as Corneille was her Æschylus. The first excelled in impassioned tenderness, the last in power and sublimity. Corneille borrowed from the Spanish stage; Racine took his inspiration from the ancients, whom he studied with ardour and effect. He published “Phèdre,” one of his best tragedies, when he was thirty-eight years old, but, disgusted with the envy which he raised, he resolved to renounce the theatre ever afterwards. He did not keep his word; for some years later, at the request of Madame de Maintenon, he wrote his beautiful drama of “Athalie,” which, it would seem, was not appreciated at the time. His versification is sweet, expressive, and harmonious; and his plays are remarkable for grace and feeling. He was himself beloved for his simplicity, modesty, and genuine character. He was too sensitive to adverse criticism.
226.Jean François Regnard.Dramatist.
[Born in Paris, 1655. Died at Dourdan, in France, 1709. Aged 54.]
A celebrated comic writer of France, and a man of many adventures. Returning from an Italian journey, he was taken by pirates, and sold to slavery in Algiers. Whilst there he was sentenced to become a Mussulman, or to be burnt alive. Ransomed by the French Consul in 1681, he resumed his travels northwards. In 1683, he took up his abode in Paris, and wrote comedies, which became very popular,—the most successful being “The Gamester,” produced in 1696. Regnard had an inexhaustible fund of humour. Voltaire has said that “he who is not pleased with Regnard, is not entitled to admire Molière.”