PARIS—ITS PUBLIC BUILDINGS.
Withwhatever sentiments a stranger might enter Paris at the time we did, his feelings must have been the same with regard to the monuments of ancient magnificence, or of modern taste, which it contained. All that the vanity or patriotism of a long series of Sovereigns could effect for the embellishment of the capital in which they resided; all that the conquests of an ambitious and unprincipled Army could accumulate from the spoils of the nations whom they had subdued, were there presented to the eye of the stranger with a profusion which obliterated every former prejudice, and stifled the feelings of national emulation in exultation at the greatness of human genius.
The ordinary buildings of Paris, as every traveller has observed, and as all the world knows, are in general mean and uncomfortable. The height and gloomy aspect of the houses; the narrowness of the streets, and the want of pavement for foot passengers, convey an idea of antiquity, which ill accords with what the imagination had anticipated of the modern capital of the French empire. This circumstance renders the admiration of the spectator greater when he first comes in sight of itspublic edifices; when he is conducted to the Place Louis Quinze, or the Pont Neuf, from whence he has a general view of the principal buildings of this celebrated capital. With the single exception of the view of London from the terrace of the Adelphi, there is no point in our own country where the effect of architectural design is so great as in the situations which have now been mentioned. The view from the former of these combines many of the most striking objects which Paris has to present. To the east, the long front of the Thuilleries rises over the dark mass of foliage which covers its gardens; to the south, the picturesque aspect of the town is broken by the varied objects which the river presents, and the fine perspective of the Bridge of Peace, terminating in the noble front of the palace of the Legislative Body; to the west, the long avenues of the Elysian Fields are closed by the pillars of a triumphal arch which Napoleon had commenced; while to the north, the beautiful façade of the Palace itself, leaves the spectator only room to discover at a greater distance the foundation of the Temple of Glory, which he had commenced, and in the execution of which he was interrupted by those ambitious enterprises to which his subsequent downfall was owing. To a painter's eye, the effect of the whole scene is increased by the rich and varied foreground which everywhere presents itself, composed of the shrubs with which the skirts of the square are adorned, and the lofty poplars which rise amidst the splendour of architectural beauty; while recent events give a greater interest to the spot from which this beauty is surveyed, by the remembrance, that it was here that Louis XVI. fell a martyr to the revolutionary principles, and that it was here that the Emperor Alexander and the other princes of Europe took their station, when their armies passed in triumph through the walls of Paris.
The view from the Pont Neuf, though not so striking upon the whole, embraces objects of greater individual beauty. The gay and animated quays of the city covered with foot-passengers, and with all the varied exhibitions of industrious occupation, which, from the warmth of the climate, are carried on in the open air;—the long and splendid front of the Louvre and Thuilleries;—the bold projection of the Palais des Arts, of the Hotel de la Monnaie, and other public buildings on the opposite side of the river;—the beautiful perspective of the bridges, adorned by the magnificent colonnade which fronts the Palace of the Legislative Body;—and the lofty picturesque buildings of the centre of Paris surrounding the more elevated towers of Notre Dame, form a scene, which, though less perfect, is more striking, and more characteristic, than the scene from the centre of the Place Louis Quinze, which has been just described. It conveys at once a general idea of the French capital; of that mixture of poverty and splendour by which it is so remarkably distinguished; of that grandeur of national power, and that degradation of individual importance, which marked the ancient dynasty of the French nation. It marks too, in a historical view, the changes of the public feeling which the people of this country have undergone, from the distant period when the towers of Notre Dame rose amidst the austerity of Gothic taste, and were loaded with the riches of Catholic superstition, to that boasted æra, when the loyalty of the French people exhausted the wealth and the genius of the country, to decorate with classic taste the residence of their Sovereigns; and lastly, to those later days, when the names of religion and of loyalty have alike been forgotten; when the national exultation reposed only on the trophies of military greatness, and the iron yoke of imperial power was forgotten in the monuments which record the deeds of imperial glory.
To the general observation on the inferiority of the common buildings in Paris, there are some remarkable exceptions. The Boulevards, the remains of the ancient ramparts of the city, are in general beautiful, from their circular form, from their uniform breadth, from the magnificence of the detached palaces with which they abound, and from the rows of fine trees with which they are shaded. In the skirts of the town, and more especially in the Fauxbourg St Germain, the beauty of the streets is greatly increased by the detached hotels or villas, surrounded by gardens, which are everywhere to be met with, in which the lilac, the laburnum, the Bois de Judeé, and the acacia, grow in the most luxuriant manner, and on the green foliage of which the eye reposes with singular delight amidst the bright and dazzling whiteness of the stone with which they are surrounded.
The Hotel des Invalides, the Chelsea Hospital of France, is one of the objects on which the Parisians principally pride themselves, and to which a stranger is conducted immediately after his arrival in that capital. The institution itself appears to be well conducted, and to give general satisfaction to the wounded men who have there found an asylum from the miseries of war. We were informed that these men live in habits of perfect harmony among each other; a state of things widely different from that of our veterans in Greenwich Hospital, and which is probably chiefly owing to the cheerfulness and equanimity of temper which form the best feature in the French character. There is something in the style of the architecture of this building, which accords well with the object to which it is devoted. The front is distinguished by a simple manly portico, and a dome of the finest proportion rises above its centre, which is visible from all parts of the city. This dome was gilded by order of Bonaparte: and however much a fastidious taste may regret the addition, it certainly gave an air of splendour to the whole, which was in perfect unison with the feelings of exultation which the sight of this monument of military glory was then fitted to awaken among the French people. The exterior of this edifice was formerly surrounded by cannon captured by the armies of France at different periods: and ten thousand standards, the trophies of victory during the wars of two centuries, waved under its splendid dome, and enveloped the sword of Frederic the Great, which hung from the centre, until the 31st of March 1814, when, as already observed, they were all burnt by order of Maria Louisa, to prevent their falling into the victorious hands of the allied powers.
If the character of the architecture of the Hotel des Invalides accords well with the object to which that building is destined, the character of the Louvre is not less in unison with the spirit of the fine arts, to which it is consecrated. It is impossible for language to convey any adequate idea of the impression which this exquisite building awakens in the mind of a stranger. The beautiful proportions, and the fine symmetry of the great façade, give an air of simplicity to the distant view of this edifice, which is not diminished, on nearer approach, by the unrivalled beauty of its ornaments and detail; but when you cross the threshold of the portico, and pass under its noble archway into the inner-court, all considerations are absorbed in the throb of admiration which is excited by the sudden display of all that is lovely and harmonious in Grecian architecture. You find yourself in the midst of the noblest and yet chastest display of architectural beauty, where every ornament possesses the character by which the whole is distinguished, and where the whole possesses the grace and elegance which every ornament presents:—You find yourself on the spot where all the monuments of ancient art are deposited;—where the greatest exertions of mortal genius are preserved—and where a palace has at last been raised worthy of being the depository of the collected genius of the human race.—It bears a higher character than that of being the residence of imperial power; it seems destined to loftier purposes than to be the abode of earthly greatness; and the only forms by which its halls would not be degraded, are those models of ideal perfection which the genius of ancient Greece created to exalt the character of a heathen world.
Placed in a more elevated spot, and destined to a still higher object, the Pantheon bears in its front the traces of the noble purpose for which it was intended.—It was intended to be the cemetery of all the great men who had deserved well of their country; and it bears the inscription, above its entrance,Aux grands Hommes La Patrie reconnoissante. The character of its architecture is well adapted to the impression it is intended to convey, and suits the simplicity of the inscription which its portico presents. Its situation has been selected with singular taste, to aid the effect which was thus intended. It is placed at the top of an eminence, which shelves in a declivity on every side; and the immediate approach is by an immense flight of steps, which form the base of the building, and increase the effect which its magnitude produces. Over the entrance is placed a portico of lofty pillars, finely proportioned, supporting a magnificent entablature of the simplest order; and the whole terminates in a dome of vast dimensions, forming the highest object in the whole city. The impression which every one must feel in crossing its threshold, is that of religious awe; the individual is lost in the greatness of the objects with which he is surrounded, and he dreads to enter what seems the abode of a greater Power, and to have been framed for the purposes of more elevated worship. The Louvre might have been fitted for the gay scenes of ancient sacrifice; it suits the brilliant conceptions of heathen mythology; and seems the fit abode of those ideal forms, in which the imagination of ancient times embodied their conception of divine perfection; but the Pantheon is adapted for a holier worship, and accords with the character of a purer belief; and the vastness and solitude of its untrodden chambers awaken those feelings of human weakness, and that sentiment of human immortality, which befit the temple of a spiritual faith.
We were involuntarily led, by the sight of this great monument of sacred architecture in the Grecian style, to compare it with the Gothic churches which we had seen, and in particular with the Cathedral of Beauvais, the interior of which is finished with greater delicacy, and in finer proportions, than any other edifice of a similar kind in France. The impression which the inimitable choir of Beauvais produced, was widely different from that which we felt on entering the lofty dome of the Pantheon at Paris. The light pinnacles, the fretted roof, the aspiring form of the Gothic edifice, seemed to have been framed by the hands of aerial beings, and produced, even from a distance, that impression of grace and airiness which it was the peculiar object of this species of Gothic architecture to excite. On passing the high archway which covers the western door, and entering the immense aisles of the Cathedral, the sanctity of the place produces a deeper impression, and the grandeur of the forms awakens profounder feelings. The light of the day is excluded, the rays of the sun come mellowed through the splendid colours with Which the windows are stained, and cast a religious light over the marble pavement which covers the floor; while the eye reposes on the harmonious forms of the lancet windows, or is bewildered in the profusion of ornament with which the roof is adorned. The impression which the whole produces, is that of religious emotion, singularly suited to the genius of Christianity; if is seen in that obscure light which fits the solemnity of religious duty, and awakens those feelings of intense delight, which prepare the mind for the high strain of religious praise. But it is not the deep feeling of humility and weakness which is produced by the dark chambers and massy pillars of the Pantheon at Paris; it is not in the mausoleum of the dead that you seem to wander, nor on the thoughts of the great that have gone before you that the mind revolves; it is in the scene of thanksgiving that your admiration is fixed; it is with the emblems of Hope that your devotion is awakened, and with the enthusiasm of gratitude that the mind is filled. Beneath the gloomy roof of the Grecian Temple, the spirit is concentrated within itself: it seeks the repose which solitude affords, and meditates on the fate of the immortal soul; but it loves to follow the multitude into the Gothic Cathedral, to join in the song of grateful praise which peals through its lengthened aisles, and to share in the enthusiasm which belongs to the exercise of common devotion.
The Cathedral of Notre Dame is the only Gothic building of note in Paris, and it is by no means equal to the expectations we had been led to form of it. The style of its architecture is not that of the finest Gothic; it has neither the exquisite lightness of ornament which distinguishes the summit of Gloucester Cathedral, nor the fine lancet windows which give so unrivalled a beauty to the interior of Beauvais, nor the richness of roof which covers the tombs of Westminster Abbey. Its character is that of massy greatness; its ornaments are rich rather than elegant, and its interior striking more from its immense size than the beauty of the proportion in which it is formed. In spite of all these circumstances, however, the Cathedral of Notre Dame produces a deep impression on the mind of the beholder; its towers rise to a stupendous height above all the buildings which surround them; while the stone of every other edifice is of a light colour, they alone are black with the smoke of centuries; and exhibit a venerable aspect of ancient greatness in the midst of the brilliancy of modern decoration with which the city abounds. Even the crowd of ornaments with which they are loaded, and the heavy proportion in which they are built, are forgotten in the effect which their magnitude produces; they suit the gloomy character of the building they adorn, and accord with the expression of antiquated power by which its aged forms are now distinguished.
To those who have been accustomed to the form of worship which is established in Protestant countries, there is nothing so striking in the Catholic churches as the complete oblivion of rank, or any of the distinctions of established society, which there universally prevails. There are no divisions of seats, nor any places fixed for any particular classes of society. All, of whatever rank or station, kneel alike upon the marble pavement; and the whole extent of the church is open for the devotion of all classes of the people. You frequently see the poorest citizens with their children kneeling on the stone close to those of the highest rank, or the most extensive fortunes. This custom may appear painful to those who have been habituated to the forms of devotion in the English churches; but it produces an impression on the mind of the spectator which nothing in our service is capable of effecting. To see the individual form lost in the immensity of the objects with which he is surrounded; to see all ranks and ages blended in the exercise of common devotion; to see all distinction forgotten in the sense of common infirmity, suits the spirit of that religion which was addressed to the poor as well as to the rich, and fits the presence of that Being before whom all ranks are equal.
Nor is it without a good effect upon the feelings of mankind, that this custom has formed a part of the Catholic service. Amidst that degradation of the great body of the people, which marks the greater part of the Catholic countries—amidst the insolence of aristocratic power, which the doctrines of the Catholic faith are so well suited to support, it is fitting that there should be some occasions on which the distinctions of the world should be forgotten; some moments in which the rich as well as the poor should be humbled before a greater power—in which they should be reminded of the common faith in which they have been baptized, of the common duties to which they are called, and the common hopes which they have been permitted to form.
We had the good fortune to see high mass performed in Notre Dame, with all the pomp of the Catholic service, for the souls of Louis XVI. Marie Antoinette, and the Dauphin, on May 16, 1814, soon after the King's arrival in Paris. The Cathedral was hung with black in every part; the brilliancy of day wholly excluded, and it was lighted only by double rows of wax tapers, which burned round the coffins, placed in the centre of the choir. It was crowded to excess in every part; all the Marshals, Peers, and dignitaries of France, were stationed with the Royal Family near the centre of the Cathedral, and all the principal officers of the allied armies attended at the celebration of the service. The King was present, though without being perceived by the vast assembly by whom he was surrounded; and the Duchess d'Angouleme exhibited, in this melancholy duty, that mixture of firmness and sensibility by which her character has always been distinguished.
It was said, that there were several persons present at this solemn service who had voted for the death of the King; and many of those assembled must doubtless have been conscious that they had been instrumental in the death of those for whose souls this solemn service was now performing. The greater part, however, of those whom we had an opportunity of observing, exhibited the symptoms of genuine sorrow, and seemed to participate in the solemnity with unfeigned devotion. The Catholic worship was here displayed in its utmost splendour; all the highest prelates of France were assembled to give dignity to the spectacle; and all that art could devise was exhausted to render the scene impressive in the eyes of the people. To us, however, who had been habituated to the simplicity of the English form, the variety of unmeaning ceremony, the endless gestures and unceasing bows of the clergy who officiated, destroyed the impression which the solemnity of the service would otherwise have produced. But though the service itself appeared ridiculous, the effect of the whole scene was sublime in the greatest degree. The black tapestry hung in heavy folds round the sides of the Cathedral, and magnified the impression which its vastness produced. The tapers which surrounded the coffins threw a red and gloomy light over the innumerable multitude which thronged the floor; their receding rays faintly illuminated the farther recesses, or strained to pierce the obscure gloom in which the summits of the pillars were lost; while the sacred music pealed through the distant aisles, and deepened the effect of the thousands of voices which joined in the strains of repentant prayer.
Among the exhibitions of art to which a stranger is conducted immediately after his arrival in the French metropolis, there is none which is more characteristic of the disposition of the people than theMusèe des Monumens François, situated in the Rue des Petits Angustins. This is a collection of all the finest sepulchral monuments from different parts of France, particularly from the Cathedral of St Denis, where the cemetery of the royal family had, from time immemorial, been placed. It is said by the French, that the collection of these monuments into one museum was the only means of preserving them from the fury of the people during the revolution; and certainly nothing but absolute necessity could have justified the barbarous idea of bringing them from the graves they were intended to adorn, to one spot, where all associations connected with them are destroyed. It is not the mere survey of the monuments of the dead that is interesting,—not the examination of the specimens of art by which they may be adorned;—it is the remembrance of the deeds which they are intended to record,—of the virtues they are destined to perpetuate,—- of the pious gratitude of which they are now the only testimony—above all, of the dust they actually cover. They remind us of the great men who formerly filled the theatre of the world,—they carry us back to an age which, by a very natural illusion, we conceive to have been both wiser and happier than our own, and present the record of human greatness in that pleasing distance when the great features of character alone are remembered, when time has drawn its veil over the weaknesses of mortality, and its virtues are sanctified by the hand of death. It is a feeling fitted to elevate the soul; to mingle the thoughts of death with the recollection of the virtues by which life had been dignified, and renovate in every heart those high hopes of religion which spring from, the grave of former virtue.
All this delightful, this purifying illusion, is destroyed by the way in which the monuments are collected in the Museum at Paris. They are there brought together from all parts of France; severed from the ashes of the dead they were intended to cover; and arranged in systematic order to illustrate the history of the art whose progress they unfold. The tombs of all the Kings of France, of the Generals by whom its glory has been extended, of the statesmen by whom its power, and the writers by whom its fame has been established, are crowded together in one collection, and heaped upon each other, without any other connexion than that of the time in which they were originally raised. The Museum accordingly exhibits, in the most striking manner, the power of arrangement and classification which the French possess; it is valuable, as containing fine models of the greatest men whom France has produced, and exhibits a curious specimen of the progress of art, from its first commencement to the period of its greatest perfection; but it has wholly lost that deep and peculiar interest which belongs to the monuments of the dead in their original situation.
Adjoining to the Museum, is a garden planted with trees, in which many of the finest monuments are placed; but in which the depravity of the French taste appears in the most striking manner. It is surrounded with houses, and darkened by the shade of lofty buildings; yet, in this gloomy situation, they have placed the tomb of Fenelon, and the united monument of Abelard and Eloise: profaning thus, by the barbarous affectation of artificial taste, and the still more shocking imitation of ancient superstition, the remains of those whose names are enshrined in every heart which can feel the beauty of moral excellence, or share in the sympathy with youthful sorrow.
How different are the feelings with which an Englishman surveys the untouched monuments of English greatness!—and treads the floor of that venerable building which shrouds the remains of all who have dignified their native land—in which her patriots, her poets, and her philosophers, "sleep with her kings, and dignify the scene," which the rage of popular fury has never dared to profane, and the hand of victorious power has never been able to violate; where the ashes of the immortal dead still lie in undisturbed repose, under that splendid roof which covered the tombs of her earliest kings, and witnessed, from its first dawn, the infant glory of the English people.—Nor could the remembrance of the national monuments we have described, ever excite in the mind of a native of France, the same feeling of heroic devotion which inspired the sublime expression of Nelson, as he boarded the Spanish Admiral's ship at St Vincent's—"Westminster Abbey or Victory!"
Though the streets in Paris have an aged and uncomfortable appearance, the form of the houses is such, as, at a distance, to present a picturesque aspect. Their height, their sharp and irregular tops, the vast variety of forms which they assume when seen from different quarters, all combine to render a distant view of them more striking than the long rows of uniform houses of which London is composed. The domes and steeples of Paris, however, are greatly inferior, both in number and magnificence, to those of the English capital.
The gardens of the Thuilleries and the Luxembourg, of which the Parisians think so highly, and which are constantly filled with all ranks of citizens, are laid out with a singularity of taste, of which, in this country, we can scarcely form any conception. The straight walks—the clipt trees—the marble fountains—are fast wearing out in all parts of England; they are to be met with only round the mansions of ancient families, and even there are kept rather from the influence of ancient prejudice, or from the affection to hereditary forms, than from their coincidence with the present taste of the English people. They are seldom, accordingly, disagreeable, with us, to the eye of the most cultivated taste; their singularity forms a pleasing variety to the continued succession of lawns and shrubberies which is every where to be met with; and they are regarded rather as the venerable marks of ancient splendour, than as the barbarous affectation of modern distinction. In France, the native deformity of this taste appears in its real light, without the colouring of any such adventitious circumstances as conceal it in this country. It does not appear there under the softening veil of ancient manners; its avenues do not conduct to the decaying abode of hereditary greatness—its gardens do not mark the scenes of former festivity—its fountains are not covered with the moss which has grown for centuries. It appears as the model of present taste; it is considered as the indication of existing splendour; and sought after, as the form in which the beauty of Nature is now to be admired. All that association accordingly had blended in our minds with the style of ancient gardening in our own country, was instantly divested by its appearance in France; and we felt then the whole importance of that happy change in the national taste, whereby variety has been made to succeed to uniformity, and the imitation of nature to come in the place of the exhibition of art.
In every country, and in every department of taste, the earliest object of art is, the display of the power of the artist; and it is in the last period of its improvements alone, that this miserable propensity is overcome. It is hence that the imitation of Nature is not what is at first attempted; that the forms which she presents are uniformly neglected, and the merit of the artist is thought to consist in such artificial designs as bear the most unequivocal marks of his individual dexterity. The forms of nature are every where to be met with—they are open to the most vulgar capacity; the power of art, therefore, it is at first thought, must be shown in the complete subjugation of natural form, or the complete abandonment of natural beauty. It is hence that florists uniformly take delight in double flowers and monsters, which are the farthest removed from the forms of nature; and it is hence that gardeners always evince so great an anxiety to conduct strangers to the most ridiculous contortion of natural form, which their domains can exhibit. There is nothing unnatural or vulgar in this propensity; it pervades all branches of taste at a certain stage of its progress, and all ranks of society, to whom a limited capacity of mind is granted. It is hence that every society exhibits examples of individuals, who aim at singularity of manners, merely that they may be different from the generality of mankind; it is hence that many persons, even of a cultivated mind, shut their eye to the charms of beauty in every department of taste, merely that they may display their own wretched vanity in criticising its imperfections; it is hence that painters select the moment of passion or exertion, for no other reason than for the display of their anatomical knowledge, or their skill in the delineation of extraordinary emotion; and that poets have so often neglected what is really pathetic in the scenes, either of nature or of man, to present the artificial conceptions of their learning or fancy. In all these instances, the degradation of taste arises from the vain anxiety of men to display the power of the artist, and their utter forgetfulness of the end of the Art.
The remarkable characteristic of the taste of France is, that this love of artificial beauty continues with undiminished force, at a period when, in other nations, it has given place to a more genuine love for the beauty of nature. In them, the natural progress of refinement has led from the admiration of the art of imitation to the love of the subjects imitated. In France, this early prejudice, continues in its pristine vigour at the present moment: They never lose sight of the effort of the artist; their admiration is fixed not on the quality or object in nature, but on the artificial representation of it; not on the thing signified, but the sign. It is hence that they have such exalted ideas of the perfection of their artist David, whose paintings are nothing more than a representation of the human figure in its most extravagant and phrenzied attitudes; that they are insensible to the simple display of real emotion, but dwell with delight upon the vehement representation of it which their stage exhibits; and that, leaving the charming heights of Belleville, or the sequestered banks of the Seine, almost wholly deserted, they crowd to the stiff alleys of the Elysian Fields, or the artificial beauties of the gardens of Versailles.
In the midst of Paris this artificial style of gardening is not altogether unpleasing; it is in unison, in some measure, with the regular character of the buildings with which it is surrounded; and the profusion of statues and marble vases continues the impression which the character of their palaces is fitted to produce. But at Versailles, at St Cloud, and Fountainbleau, amidst the luxuriance of vegetation, and surrounded by the majesty of forest scenery, it destroys altogether the effect which arises from the irregularity of natural beauty. Every one feels straight borders, and square porticoes and broad alleys, to be in unison with the immediate neighbourhood of an antiquated mansion; but they become painful when extended to those remoter parts of the grounds, when the character of the scene is determined by the rudeness of uncultivated nature.
There are some occasions, nevertheless, on which the gardens of the Thuilleries present a beautiful spectacle, in spite of the artificial taste in which they are formed. From the warmth of the climate, the Parisians, of all classes, live much in the open air, and frequent the public gardens in great numbers during the continuance of the fine weather. In the evening especially, they are filled with citizens, who repose themselves under the shade of the lofty trees, after the heat and the fatigues of the day; and they then present a spectacle of more than ordinary interest and beauty. The disposition of the French suits the character of the scene, and harmonises with the impression which the stillness of the evening produces on the mind. There is none of that rioting or confusion by which an assembly of the middling classes in England is too often disgraced; no quarrelling or intoxication even among the poorest ranks, and little appearance of that degrading want which destroys the pleasing idea of public happiness. The people appear all to enjoy a certain share of individual prosperity; their intercourse is conducted with unbroken harmony, and they seem to resign themselves to those delightful feelings which steal over the mind during the stillness and serenity of a summer evening.
Still more beautiful perhaps, is the appearance of this scene during the stillness of the night, when the moon throws her dubious rays over the objects of nature. The gardens of the Thuilleries remain crowded with people, who seem to enjoy the repose which universally prevails, and from whom no sound is to be heard which can break the stillness or serenity of the scene. The regularity of the forms is wholly lost in the masses of light and shadow that are there displayed; the foliage throws a chequered shade over the ground beneath, while the different vistas of the Elysian Fields are seen in that soft and mellow light by which the radiance of the moon is so peculiarly distinguished. After passing through these favourite scenes of the French people, we frequently came to small encampments of the allied troops in the remote parts of the grounds. The appearance of these bivouacks, composed of Cossack squadrons, Hungarian hussars, or Prussian artillery, in the obscurity of moonlight, and surrounded by the gloom of forest scenery, was beyond measure striking. The picturesque forms of the soldiers, sleeping on their arms under the shade of the trees, or half hid by the rude huts which they had erected for their shelter; the varied attitudes of the horses standing amidst the waggons by which the camp was followed, or sleeping beside the veterans whom they had borne through all the fortunes of war; the dark masses of the artillery, dimly discerned in the shades of night, or faintly reflecting the pale light of the moon, presented a scene of the most beautiful description, in which the rude features of war were softened by the tranquillity of peaceful life; and the interest of present repose was enhanced by the remembrance of the wintry storms and bloody fields through which these brave men had passed, during the memorable campaigns in which they had been engaged. The effect of the whole was increased by the perfect stillness which everywhere prevailed, broken only at intervals by the slow step of the sentinel, as he paced his rounds, or the sweeter sounds of those beautiful airs, which, in a far distant country, recalled to the Russian soldier the joys and the happiness of his native land.
ENVIRONS OF PARIS.
St Cloudwas the favourite residence of Bonaparte, and, from this circumstance, possesses an interest which does not belong to the other imperial palaces. It stands high, upon a lofty bank overhanging the Seine, which takes a bold sweep in the plain below; and the steep declivity which descends to its banks is clothed with magnificent woods of aged elms. The character of the scenery is bold and rugged;—the trees are of the wildest forms, and the most stupendous height, and the banks, for the most part, steep and irregular. It is here, accordingly, that the French gardening appears in all its genuine deformity; and that its straight walks and endless fountains display a degree of formality and art, destructive of the peculiar beauty by which the scene is distinguished. These gardens, however, were the favourite and private walks of the Emperor;—it was here that he meditated those schemes of ambition which were destined to shake the established thrones of Europe;—it was under the shade of this luxuriant foliage that he formed the plan of all the mighty projects which he had in contemplation;—it was in the splendid apartments of this palace that the Councils of France assembled, to revolve on the means of permanently destroying the English power:—It was here too, by a most remarkable coincidence, that his destruction was finally accomplished;—that the last convention was concluded, by which his second dethronement was completed;—and that the victorious arms of England dictated the terms of surrender to his conquered capital.
When we visited St Cloud, it was the head-quarters of Prince Schwartzenberg; and the Austrian grenadiers mounted guard at the gates of the Imperial Palace. The banks of the Seine, below the Palace, were covered by an immense bivouack of Austrian troops, and the fires of their encampment twinkled in the obscurity of twilight amidst the low brushwood with which the sides of the river were clothed. The appearance of this bivouack, dimly discerned through the rugged stems of lofty trees, or half-hid by the luxuriant branches which obscured the view;—the picturesque and varied aspect of the plain covered with waggons, and all the accompaniments of military service;—the columns of smoke rising from the fires with which it was interspersed, and the innumerable horses crowded amidst the confused multitude of men and carriages, or resting in more sequestered spots on the sides of the river, with their forms finely reflected in its unruffled waters—presented a spectacle which exhibited war in its most striking aspect, and gave a character to the scene which would have suited the romantic strain of Salvator's mind.
St Germain, though less picturesquely situated than St Cloud, presents features, nevertheless, of more than ordinary magnificence. The Palace, now converted into a school of military education by Napoleon, is a mean irregular building, though it possesses a certain interest, by having been long the residence of the exiled house of Stuart. The situation, however, is truly fitted for an imperial dwelling; it stands on the edge of a high bank overhanging the Seine, at the end a magnificent terrace, a mile and a half long, built on the projecting heights which edge the river. The walk along this terrace is the finest spectacle which the vicinity of Paris has to present. It is backed along its whole extent by the extensive forest of St Germain, the foliage of which overhangs the road, and in the recesses of which you can occasionally discern those beautiful peeps which form the peculiar characteristic of forest scenery. The steep bank which descends to the river is clothed with orchards and vineyards in all the luxuriance of a southern climate; and in front, there is spread beneath your feet the wide plain in which the Seine wanders, whose waters are descried at intervals through the woods and gardens with which its banks are adorned; while, in the farthest distance, the towers of St Denis, and the heights of Paris, form an irregular outline on the verge of the horizon. It is a scene exhibiting the most beautiful aspect of cultivated nature, and would have been the fit residence for a Monarch who loved to survey his subjects' happiness: but it was deserted by the miserable weakness of Louis XIV., because the view terminated in the cemetery of the Kings of France, and his enjoyment of it would have been destroyed by the thoughts of mortal decay.
Versailles, which that monarch chose as the ordinary abode of his splendid Court, is less favourably situate for a royal dwelling, though the view from the great front of the palace is beautifully clothed with luxuriant woods. The palace itself is a magnificent building of great extent, loaded with the riches of architectural beauty, but destitute of that fine proportion and lightness of ornament, which spread so indescribable a charm over the Palace of the Louvre. The interior is in a state of lamentable decay, having been pillaged at the commencement of the revolutionary fury, and formed into a barrack for the republican soldiers, the marks of whose violence are still visible in the faded splendour of its magnificent apartments. They still shew, however, the favourite rooms of Marie Antoinette, the walls of which are covered with the finest mirrors, and some remains of the furniture are still preserved, which even the licentious fury of the French army seems to have been afraid to violate. The gardens on which all the riches of France, and all the efforts of art, were so long lavished, present a painful monument of the depravity of taste: but thePetit Trianon, which is a little palace built of marble, and surrounded by shrubberies in the English style, exhibits the genuine beauty of which the imitation of nature is susceptible. This palace contains a suite of splendid apartments, fitted up with singular taste, and adorned with a number of charming pictures; it was the favourite residence of Maria Louisa, and we were there shewn the drawing materials which she used, and some unfinished sketches which she left, in which, we were informed, she much delighted, and which bore the marks of a cultivated taste.
We frequently enquired concerning the character and occupations of this Empress, at all the palaces where she usually dwelt, and uniformly received the same answer:—She was everywhere represented as cold, proud, and haughty in her manner, and unconciliating in her ordinary address. Her time was much spent in private, in the exercise of religious duty, or in needle-work and drawing; and her favourite seat at St Cloud was between two windows, from one of which she had a view over the beautiful woods which clothe the banks of the river, and from the other a distant prospect of the towers and domes of Paris.
Very different was the character which belonged to the former Empress, the first wife of Bonaparte, Josephine: She passed the close of her life at the delightful retreat of Malmaison, a villa charmingly situated on the banks of the Seine, seven miles from Paris, on the road to St Germain. This villa had been her favourite residence while she continued Empress, and formed her only home after the period of her divorce;—here she lived in obscurity and retirement, without any of the pomp of a court, or any of the splendour which belonged to her former rank,—occupied entirely in the employment of gardening, or in alleviating the distresses of those around her. The shrubberies and gardens were laid out with singular beauty, in the English taste, and contained a vast variety of rare flowers, which she had for a long period been collecting. These shrubberies were to her the source of never-failing enjoyment; she spent many hours in them every day, working herself, or superintending the occupations of others; and in these delightful occupations seemed to return again to all the innocence and happiness of youth. She was beloved to the greatest degree by all the poor who inhabited the vicinity of her retreat, both for the gentleness of her manner, and her unwearied attention to their sufferings and their wants; and during the whole period of her retirement, she retained the esteem and affection of all classes of French citizens. The Emperor Alexander visited her repeatedly during the stay of the allied armies in Paris; and her death occasioned an universal feeling of regret, rarely to be met with amidst the corruption and selfishness of the French metropolis.
There was something singularly striking in the history and character of this remarkable woman:—Born in a humble station, without any of the advantages which rank or education could afford, she was early involved in all the unspeakable miseries of the French revolution, and was extricated from her precarious situation only by being united to that extraordinary man, whose crimes and whose ambition have spread misery through every country of Europe: Rising through all the gradations of rank through which he passed, she everywhere commanded the esteem and regard of all those who had access to admire her private virtues; and when at length she was raised to the rank of Empress, she graced the imperial throne with all the charities and virtues of a humbler station. She bore, with unexampled magnanimity, the sacrifice of power and of influence which she was compelled to make: She carried into the obscurity of humble life all the dignity of mind which befitted the character of an Empress of France; and exercised, in the delightful occupations of country life, or in the alleviation of the severity of individual distress, that firmness of mind and gentleness of disposition, with which she had lightened the weight of imperial dominion, and softened the rigour of despotic power.
The Forest of Fontainbleau exhibits scenery of a more picturesque and striking character than is to be met with in any other part of the north of France. It is situated 40 miles from Paris, on the great road to Rome, and the appearance of the country through which this road runs, is for the most part flat and uninteresting. It runs through a continued plain, in a straight line between tall rows of elm trees, whose lower branches are uniformly cut off for firewood to the peasantry; and exhibits, for the most part, no other feature than the continued riches of agricultural produce. At the distance of seven miles from the town of Fontainbleau, you first discern the forest, covering a vast ridge of rocks, stretching as far as the eye can reach, from right to left, and presenting a dark irregular outline on the surface of the horizon. The cultivation continues, with all its uniformity, to the very foot of the ridge; but the moment you pass the boundaries of the forest, you find yourself surrounded at once with all the wildness and luxuriance of natural scenery. The surface of the ground is broken and irregular, rising at times into vast piles of shapeless rocks, and enclosing at others small vallies, in which the wood grows in endless beauty, unblighted by the chilling blasts of northern climates. In these vallies, the oak, the ash, and the beech, exhibit the peculiar magnificence of forest scenery, while, on the neighbouring hills, the birch waves its airy foliage round the dark masses of rock which terminate the view. Nothing can be conceived more striking than the scenery which this variety of rock and wood produce in every part of this romantic forest. At times you pass through an unbroken mass of aged timber, surrounded by the native grandeur of forest scenery, and undisturbed by any traces of human habitation, except in those rude paths which occasionally open a passing view into the remoter parts of the forest. At others, the path winds through great masses of rock, piled in endless confusion upon each other, in the crevices of which the fern and the heath grow in all the luxuriance of southern vegetation; while their summits are covered by aged oaks of the wildest forms, whose crossing boughs throw an eternal shade over the ravines below, and afford room only to discern at the farthest distance the summits of those beautiful hills, on which the light foliage of the birch trembles in the ray of an unclouded sun, or waves on the blue of a summer heaven.
To those who have had the good fortune to see the beautiful scenery of the Trosachs in Scotland, of Matlock in Derbyshire, or of the wooded Fells in Cumberland, it may afford some idea of the Forest of Fontainbleau, to say that it combines scenery of a similar description with the aged magnificence of Windsor Forest. Over its whole extent there are scattered many detached oaks of vast dimensions, which seem to be of an older race in the growth of the Forest,—whose lowest boughs stretch above the top of the wood which surrounds them,—and whose decayed summits afford a striking contrast to the young and luxuriant foliage with which their stems are enveloped. When we visited Fontainbleau, it was occupied by the old imperial guard, which still remained in that station after the abdication of Bonaparte; and we frequently met parties, or detached stragglers of them, wandering in the most solitary parts of the Forest. Their warlike and weather-beaten appearance; their battered arms and worn accoutrements; the dark plumes of their helmets, and the sallow ferocious aspect of their countenances, suited the savage character of the scenery with which they were surrounded, and threw over the gloom and solitude of the Forest that wild expression with which the genius of Salvator dignified the features of uncultivated nature.
The town and palace of Fontainbleau are situate in a small plain near the centre of the forest, and surrounded on all sides by the rocky ridges with which it is everywhere intersected. The palace is a large irregular building, composed of many squares, and fitted up in the inside with the utmost splendour of imperial magnificence. We were there shewn the apartments in which Napoleon dwelt during his stay in the palace, after the capture of Paris by the allied troops; and the desk at which he always wrote, and where his abdication was signed. It was covered with white leather, scratched over in every direction, and marked with innumerable wipings of the pen, among which we perceived his own name, Napoleon, frequently written as in a very hurried and irregular hand; and one sentence which began, Que Dieu, Napoleon, Napoleon. The servants in the palace agreed in stating, that the Emperor's gaiety and fortitude of mind never deserted him during the ruin of his fortune; that he was engaged in his writing-chamber during the greater part of the day, and walked for two hours on the terrace, in close conversation with Marshal Ney. Several officers of the imperial guard repeated the speech which he made to his troops on leaving them after his abdication of the throne, which was precisely what appeared in the English newspapers. So great was the enthusiasm produced by this speech among the soldiers present, that it was received with shouts and cries of Vive l'Empereur, A Paris, A Paris! and when he departed under the custody of the allied Commissioners, the whole army wept; there was not a dry eye in the multitude who were assembled to witness his departure. Even the imperial guard, who had been trained in scenes of suffering from their first entry into the service—who had been inured for a long course of years to the daily sight of human misery, and had constantly made a sport of all the afflictions which are fitted to move the human heart, shared in the general grief; they seemed to forget the degradation in which their commander was involved, the hardships to which they had been exposed, and the destruction which he had brought upon their brethren in arms; they remembered him when he stood victorious on the field of Austerlitz, or passed in triumph through the gates of Moscow; and shed over the fall of their Emperor those tears of genuine sorrow which they denied to the deepest scenes of private suffering, or the most aggravated instances of individual distress. It is impossible not to regret that feelings so exalting to human nature should have been awakened by one who shared so little in their enthusiasm himself; that the sufferings of thousands should have been forgotten in the fate of one to whom the miseries of others never afforded a subject of regret; and that the only occasion on which generous sentiments were manifested by the French army, should have been the overthrow of that power by which their ambition and their wickedness had been supported.
We had the good fortune to see the infantry of the old guard drawn up in line in the streets of Fontainbleau, and their appearance was such as fully answered the idea we had formed of that body of veteran soldiers, who had borne the French eagles through every capital of Europe. Their aspect was bold and martial; there was a keenness in their eyes which bespoke the characteristic intelligence of the French soldiers, and a ferocity in the expression of their countenances which seemed to have been unsubdued even by the unparalleled disasters in which their country had been involved. The people of the town itself complained in the bitterest terms of their licentious conduct, and repeatedly said, that they dreaded them more as friends than the Cossacks themselves as enemies. They seemed to harbour the most unbounded resentment against the people of this country; their countenances bore the expression of the strongest enmity as we walked along their line, and we frequently heard them mutter among themselves, in the most emphatic manner,Sacre Dieu, voila des Anglois!—Whatever the atrocity of their conduct, however, might have been, to the people of their own, as well as every other country, it was impossible not to feel the strongest emotion at the sight of the veteran soldiers whose exploits had so long rivetted the attention of all who felt an interest in the civilized world. These were the men who first raised the glory of the republican armies on the plains of Italy; who survived the burning climate of Egypt, and chained victory to the imperial standards at Jena, at Austerlitz, and at Friedland—who followed the career of victory to the walls of the Kremlin, and marched undaunted through the ranks of death amid the snows of Russia;—who witnessed the ruin of France under the walls of Leipsic, and struggled to save her falling fortune on the heights of Laon; and who preserved, in the midst of national humiliation, and when surrounded by the mighty foreign Powers, that undaunted air and unshaken firmness, which, even in the moment of defeat, commanded the respect of their antagonists in arms.
Beyond the town of Fontainbleau, there rises a ridge of steep hills, which prevents any view in that direction into the distant parts of the forest. The road to their summit lies through the Imperial Gardens, and is surrounded by the artificial forms and regular walks which mark the character of the French gardening. When you reach the summit, however, the character of the scene instantly changes, and you pass at once into the utmost wildness of desolated nature. The foreground is broken by barren rock, or covered with the beautiful forms of the weeping birch; immediately below there lies a lonely valley, strewed with masses of grey stone, without the slightest trace of human habitation, while, in the farthest distance, the forest is discerned, clothing the sides of those broken ridges which rise in endless confusion on the surface of the horizon. At the moment when we reached this spot, the sun was setting in the west; the cold grey of the stone which covered the ravines was dimly discerned through the obscure light which the approach of night produced, while the rugged outline of the rocks beyond was projected in the deepest shadow on the bright light of the departing day.
There is no scenery round Paris so striking as the forest of Fontainbleau, but the heights of Belleville exhibit nature in a more pleasing aspect, and are distinguished by features of a gentler character. Montmartre, and the ridge of Belleville, form those celebrated heights which command Paris on the northern side, and which were so obstinately contested between the allies and the French on the 30th March 1814, previous to the capture of Paris by the allied Sovereigns. Montmartre is covered for the most part with houses, and presents nothing to attract the eye of the observer, except the extensive view which is to be met with at its summit. The heights of Belleville, however, are varied with wood, with orchards, vineyards, and gardens, interspersed with cottages and villas, and cultivated with the utmost care. There are few inclosures, but the whole extent of the ground is thickly studded with walnuts, fruit-trees, and forest timber, which, from a distance, give it the appearance of one continued wood. On a nearer approach, however, you find it intersected in every direction by small paths, which wind among the vineyards, or through the woods with which the hills are covered, and present at every turn those charming little scenes which form the peculiar characteristic of woodland scenery. The cottages half hid by the profusion of fruit-trees, or embosomed in the luxuriant woods with which they are everywhere surrounded, increase the interest which the scenery itself is fitted to produce: they combine the delightful idea of the peasant's enjoyment with the beauty of the spot on which his dwelling is placed; and awaken, in the midst of the boundless luxuriance of vegetable nature, those deeper feelings of moral delight, which spring from the contemplation of human happiness.
To a northern eye, there is nothing so delightful as this luxuriance of vegetation, which rises amidst the warmth of southern climates. The sterile rocks and rugged mountains of northern regions exhibit nature in her native rudeness, her features bear a harsher aspect, and her forms are expressive of more melancholy feeling; but under the genial warmth of a southern sun, she is arrayed in a robe of softer colours, and beams with the expression of a gentler character. She there appears surrounded by the luxuriance of vegetable life: she pours forth her bounty with a profusion which the partizans of utility would call prodigality, and covers the earth with a splendour of beauty, which serves no other purpose than to minister to the delight of human existence. Amidst the riches with which man is surrounded, his destiny appears happier than in more desolate situations; we forget the sufferings of the individual in the profusion of beauty with which he is surrounded; and impute to the inhabitants of these delightful regions, those feelings of happiness which spring in our own minds from the contemplation of the scenery in which they are placed.
The effect of the charming scenery on the heights of Belleville is much increased by the distant objects which terminate some parts of the view. To the east, the high and gloomy towers of Vincennes rise over the beautiful woods with which the sides of the hill are adorned, and give an air of solemnity to the scene, arising from the remembrance of the tragic events of which it was the theatre. To the south, the domes and spires of Paris can occasionally be discovered through the openings of the wood with which the foreground is enriched, and present the capital at that pleasing distance, when the minuter part of the buildings are concealed, when its prominent features alone are displayed, and the whole is softened by the obscure light which distance throws over the objects of nature. To an English mind, the effect of the whole is infinitely increased, by the animating associations with which this scenery is connected;—by the remembrance of the mighty struggle between freedom and slavery, which was here terminated;—of the heroic deeds which were here performed, and the unequalled magnanimity which was here displayed. It was here that the expiring efforts of military despotism were overthrown—that the armies of Russia stood triumphant over the power of France, and nobly avenged the ashes of their own capital, by sparing that of their prostrate enemy.
When we visited the heights of Belleville, the traces of the recent struggle were visibly imprinted on the villages and woods with which the hill is covered. The marks of blood were still to be discerned on the chaussée which leads through the village of Pantin; the elm trees which line the road were cut asunder, or bored through with cannon shot, and their stems riddled in many parts with the incessant fire of the grape shot. The houses in La Villette, Belleville and Pantin, were covered with the marks of musket shot; the windows of many were shattered, or wholly destroyed, and the interior of the rooms broken by the balls which seemed to have pierced every part of the buildings. So thickly were the houses in some places covered with these marks, that it appeared almost incredible how any one could have escaped from so destructive a fire. Even the beautiful gardens with which the slope of the heights are adorned, and the inmost recesses of the wood of Romainville, bore throughout the marks of the desperate struggles which they had lately witnessed, and exhibited the symptoms of fracture or destruction in the midst of the luxuriance of natural beauty; yet, though they had so recently been the scene of mortal combat; though the ashes of the dead yet lay in heaps on different parts of the field of battle, the prolific powers of nature were undecayed: the vines clustered round the broken fragments of the instruments of war,—the corn spread a sweeter green over the fields, which were yet wet with human blood, and the trees waved with renovated beauty over the uncoffined remains of the departed brave; emblematic of the decay of man, and of the immortality of nature.
The French have often been accused of selfishness, and the indifference which they often manifest to the fate of their relations, affords too much reason to believe that the social affections have little permanent influence on their minds. We must, however, admit, that they exhibit in misfortunes of a different kind—in calamities which really press upon their own enjoyments of life, the same gaiety of heart, and the same undisturbed equanimity of disposition. That gaiety in misfortune, which is so painful to every observer, when it is to be found in the midst of family-distress, becomes delightful when it exists under the deprivation of the selfish gratification to which the individual had been accustomed. Both here, and in other parts of France, where the houses of the peasants had been wholly destroyed by the allied armies, we had occasion frequently to observe and admire the equanimity of mind with which these poor people bore the loss of all their property. For an extent of 30 miles in one direction, towards the North of Champagne, every house near the great road had-been burnt or pillaged for the firewood which it contained, both by the French and the allied armies, and the people were everywhere compelled to sleep in the open air. When we spoke to them on the subject of their losses, they answered with smiles, "Tout est detruit: tout est brulè, tout, tout;" and seemed to derive amusement from the completeness of the devastation. The men were everywhere rebuilding their fallen walls, with a cheerfulness which never would have existed in England under similar circumstances; and the little children laboured in the gardens during the day, and slept under the vines at night, without exhibiting any signs of distress for their disconsolate situation. In many places, we saw groupes of these little children in the midst of the ruined houses, or under the shattered trees, playing with the musket shot, or trying to roll the cannon balls by which the destruction of their dwellings had been effected;—exhibiting a picture of youthful joy and native innocence, while sporting with the instruments of human destruction, which the genius of Sir Joshua Reynolds would have moulded into the expression of pathetic feeling, or employed as the means of moral improvement.
PARIS—THE LOUVRE.
Tothose who have had the good fortune to see the pictures and statues which were preserved in the Louvre, all description of these works must appear superfluous; and to those who have not had this good fortune, such an attempt could convey no adequate idea of the objects which are described. There is nothing more uninteresting than the catalogue of pictures which are to be found in the works of many modern travellers; nor any thing in general more ridiculous than the ravings of admiration with which this catalogue is described, and with which the reader in general is little disposed to sympathise. Without attempting, therefore, to enumerate the great works which were there to be met with, we shall confine ourselves to a simpler object, to the delineation of thegeneral characterby which the different schools of painting are distinguished, and the great features in which they all differ from the sculpture of ancient times. For the justice of these observations, we must of course appeal to those who have examined this great collection; and in the prosecution of them, we pretend to nothing more than the simple account of the feelings which, we are persuaded, must have occurred to all those who have viewed it without any knowledge of the rules which art has established, or the more despicable principles which connoisseurs have maintained.
For an attempt of this kind, the Louvre presented, singular advantages, from the unparalleled collection of paintings of every school and description which was there to be met with, and the facility with which you could trace the progress of the art from its first beginning to the period of its greatest perfection. And it is in this view that the collection of these works into one museum, however much to be deplored as the work of unprincipled ambition, and however much it may have diminished the impression which particular objects, from the influence of association, produced in their native place, was yet calculated, we conceive, to produce the greatest of all improvements in the progress of the art, by divesting particular schools and particular works of the unbounded influence which the effect of early association, or the prejudices of national feeling, have given them in their original situation, and placing them where their real nature is to be judged of by a more extended circle, and subjected to the examination of more impartial sentiments.
The character of every school of painting has been determined by some peculiar circumstances under which that school first originated, which have contributed to form its greatest excellencies, and been the real source of its principal defects; and it has unfortunately happened, that the unbounded admiration for the great production of these schools has everywhere formed the national taste, and tended to perpetuate their errors, when the progress of society would otherwise have led to their earlier abandonment. It deserves well to be considered, therefore, whether the restoration of these monuments of art to their original situations, while it must unquestionably enhance the veneration with which they will severally be regarded, may not perpetuate the defects which particular circumstances have stamped on their school of composition; and whether the continuance of them in one vast collection, however fatal to the implicit veneration for the works of antiquity, was not calculated, by the comparison of their excellencies and the exhibition of their defects, to form a new school, possessed of a more general character, and adapted for the admiration of a more unbiassed public. It is in the despotic reign of arbitrary governments, if we may be allowed, in a discussion on matters of taste, to borrow an illustration from politics, that the influence of ancient error, and the power of ancient prejudice, is most unbounded; but it is in the unbiassed discussion which distinguishes a free state, that the influence of prejudice is forgotten, and truth emerges from the collision of opposite opinions. However this may be, it will not, it is hoped, be deemed an useless attempt, if we now endeavour to state, in a few words, the impression which was produced by this great collection of the works of art, which has been felt, we doubt not, by all who have viewed it with untutored eyes, but has not hitherto been described by those so much better able to do justice to it than ourselves.
The first hall of the Louvre in the Picture Gallery is filled with paintings of the French school. The principal artists whose works are here exhibited are, Le Brun, Gaspar and Nicolas Poussin, Claude Lorrain, Vernet, and the modern painters Gerard and David. The general character of the school of French historical painting, is the expression ofpassion and violent emotion. The colouring is for the most part brilliant; the canvas crowded with figures, and the incident selected, that in which the painter might have the best opportunity of displaying his knowledge of the human frame, or the varied expression of the human countenance. In the pictures of the modern school of French painting, this peculiarity is pushed to an extravagant length, and, fortunately for the art, displays the false principles on which the system of their composition is founded. The moment seized is uniformly that of the strongest and most violent passion; the principal actors in the piece are represented in a state of phrenzied exertion, and the whole anatomical knowledge of the artist is displayed in the endless contortions into which the human frame is thrown. In David's celebrated picture of the three Horatii, this peculiarity appears in the most striking light. The works of this artist may excite admiration, but it is the limited and artificial admiration of the schools; of those who have forgot the end of the art in the acquisition of the technical knowledge with which it is accompanied, or the display of the technical powers which its execution involves.
The paintings ofVernet, in this collection, are perhaps the finest specimens of that beautiful master, and they entitle him to a higher place in the estimation of mankind than he seems yet to have obtained from the generality of observers. There is a delicacy of colouring, an unity of design, and a harmony of expression in his works, which accord well with the simplicity of the subjects which his taste has selected, and the general effect which it was his object to produce. In the representation of the sun dispelling the mists of a cloudy morning; of his setting rays gilding the waves of a western sea; or of that undefined beauty which moonlight throws over the objects of nature, the works of this artist are perhaps unrivalled.
The paintings ofClaudeare by no means equal to what we had expected, from the celebrity which his name has acquired, or the matchless beauty which the engravings from him possess. They are but eleven in number, and cannot be in any degree compared with those which are to be found in Mr Angerstein's collection. To those, however, who have been accustomed to study the designs of this great master, through the medium of the engraved copies, and above all, in the unrivalled works of Woollet, the sight of the original pictures must, perhaps at all times, create a feeling of disappointment. There is an unity of effect in the engravings which can never be met with amidst the distraction of colouring in the original pictures; and the imagination clothes the beautiful shades of the copy with finer tints than even the pencil of Claude has been able to supply. "I have shewn you," said Corinne to Oswald, "St Peter's for the first time, when the brilliancy of its decorations might appear in full splendour, in the rays of the sun: I reserve for you a finer, and a more profound enjoyment, to behold it by the light of the moon." Perhaps there is a distinction of the same kind between the gaudy brilliancy of varied colours, and the chaster simplicity of uniform shadows; and it is probably for this reason, that on the first view of a picture which you have long admired in the simplicity of engraved effect, you involuntarily recede from the view, and seek in the obscure light and uncertain tint which distance produces, to recover that uniform tone and general character, which the splendour of colouring is so apt to destroy. It is a feeling similar to that which Lord Byron has so finely described, as arising from the beauty of moonlight scenery:—
———"Mellow'd to that tender lightWhich Heaven to gaudy day denies."
The Dutch and Flemish school, to which you next advance, possesses merit, and is distinguished by a character of a very different description. It was the well-known object of this school, to present an exact and faithfulimitation of nature; to exaggerate none of its faults, and enhance none of its excellencies, but exhibit it as it really appears to the eye of an ordinary spectator. Its artists selected, in general, some scene of humour or amusement, in the discovery of which, the most ignorant spectators might discover other sources of pleasure than those which the merit of the art itself afforded. They did not pretend, in general, to aim at the exhibition of passion or powerful emotion: their paintings, therefore, are free from that painful display of theatrical effect, which characterises the French school; their object was not to represent those deep scenes of sorrow or suffering, which accord with the profound feelings which it was the object of the Italian school to awaken; they want, therefore, the dignity and grandeur which the works of the greater Italian painters possess: their merit consists in the faithful delineation of those ordinary scenes and common occurrences, which are familiar to the eye of the most careless observer. The power of the painter, therefore, could be displayed only in the minuteness of the finishing, or the brilliancy of the effect; and he endeavoured, by the powerful contrast of light and shade, to give an higher character to his works, than the nature of their subject could otherwise admit.
The pictures of Teniers, Ostade, and Gerard Dow, possess these merits, and are distinguished by this character in the highest degree; but their qualities are so well known in this country, as to render any observation on them superfluous. There is a very great collection here preserved of the works of Rembrandt, and their design and effect bear, in general, a higher character than belongs to most of the works of this celebrated master.
In one respect, the collection in the Louvre is altogether unrivalled—in the number and beauty of theWouvermanswhich are there to be met with; nor is it possible, without having seen it, to appreciate, with any degree of justice, the variety of design, the accuracy of drawing, or delicacy of finishing, which distinguish his works from those of any other painter of a similar description. There are 38 of his pieces there assembled, all in the finest state of preservation, and all displaying the same unrivalled beauty of colouring and execution. In their design, however, they widely differ; and they exhibit, in the most striking manner, the real object to which painting should be applied, and the causes of the errors in which its composition has been involved. His works, for the most part, are crowded with figures; his subjects are in general battle-pieces, or spectacles of military pomp, or the animated scenes which the chace presents; and he seems to have exhausted all the efforts of his genius, in the variety of incident and richness of execution, which these subjects are fitted to afford. From the confused and indeterminate expression, however, which the multitude of their objects exhibit, we turn with delight to those simpler scenes in which his mind seems to have reposed, after the fatigues which it had undergone: to the representation of a single incident, or the delineation of a certain occurrence—to the rest of the traveller after the fatigues of the day—to the repose of the horse in the intermission of labour—to the return of the soldier after the dangers of the campaign;—scenes, in which every thing combines for the uniform character, and where the genius of the artist has been able to give to the rudest occupations of men, and even to the objects of animal life, the expression of general poetical feeling.
The pictures ofVandykeandRubensbelong to a much higher school than that which rose out of the wealth and the limited taste of the Dutch people. There are 60 pieces of the latter of these masters in the Louvre, and, combined with the celebrated Gallery in the Luxembourg Palace, they form the finest assemblage of them which is to be met with in the world. The character of his works differs essentially from that both of the French and the Dutch schools; he was employed, not in painting cabinet pictures for wealthy merchants, but in designing great altar pieces for splendid churches, or commemorating the glory of sovereigns in imperial galleries. The greatness of his genius rendered him fit to attempt the representation of the most complicated and difficult objects; but in the confidence of this genius, he seems to have lost sight of the genuine object of composition in his art. He attempts what it is impossible for painting to accomplish—he aims at telling a whole story by the expression of a single picture; and seems to pour forth the profusion of his fancy, by crowding his canvas with a multiplicity of figures, which serve no other purpose than that of shewing the endless power of creation which the author possessed. In each figure there is great vigour of conception, and admirable power of execution; but the whole possesses no general character, and produces no permanent emotion. There is a mixture of allegory and truth in many of his greatest works, which is always painful; a grossness in his conception of the female form, which destroys the symmetry of female beauty; and a wildness of imagination in his general design, which violates the feelings of ordinary taste. You survey his pictures with astonishment—at the power of thought and brilliancy of colouring which they display; but they produce no lasting impression on the mind; they have struck no chord of feeling or emotion, and you leave them with no other feeling, than that of regret, that the confusion of objects destroys the effect which each in itself might be fitted to produce. And if one has made a deeper impression; if you dwell on it with that delight which it should ever be the object of painting to produce, you find that your pleasure proceeds from a single figure, or the expression of a detached part of the picture; and that, in the contemplation of it, you have, without being conscious of it, detached your mind from the observation of all that might interfere with its characteristic expression, and thus preserved that unity of emotion which is essential to the existence of the emotion of taste, but which the confusion of incident is so apt to destroy.