LETTER II.
The palace and gardens of the Thuilleries.—The Louvre.—The musée central des arts, or picture gallery.—Maria Cosway.—Gallery of antiquities.—Apollo Belvidere.—Laocoon.—List of pictures.
Paris, november the 6th, 1801 (15 brumaire, an 10.)
MY DEAR SIR,
Having in my last letter given the details of my journey, I shall proceed to speak in this of what I have already seen at Paris. The first objects of curiosity to which my steps were directed, were of course the Thuilleries and the Louvre. Of the garden of the former it is difficult to say any thing at this unfavourable season of the year. It appears, however, to have undergone but little alteration, and to have received the additional ornament of several statues, which are scattered about the grounds. The château or palace of the Thuilleries is also unchanged in that part of it which faces the garden, but the appearance of the great front, (I mean that towards the Carousel,) is much improved, and has become strikingly magnificent. It promises to be still more so, when the whole of the projected amendments are completed. When I last visited Paris, a number of small houses surrounded the palace, and seemed to conceal it from the profane eye of the vulgar. The greater part of these houses are already pulled down, and the gallery of the Louvre, no longer kept from view, forms a magnificent side to the spacious court by which the palace is approached, and in which the first consul reviews his troops, on the 15th of every month. This court is separated from the street, by a beautiful iron railing, the four gates of which are ornamented with the celebrated horses taken from Venice, and with the birds (I believe cocks) which, in imitation of the roman eagles, the french republic has adopted as her distinguishing symbol. The opening is already extended as far as la rue St. Nicaise. Houses are daily pulled down, and I understand it is the intention of the present government to clear away all the remaining obstacles, which separate the palace of the Louvre from that of the Thuilleries. When this great plan is fully executed, the residence of the first consul will greatly exceed in magnificence all the palaces of Europe.
In the Louvre is situated the museum or musée central des arts. This superb collection, without exception the finest in the world, occupies a room equally unrivalled, covering a space at least equal to a quarter of an english mile. The antichamber[2] to this vast gallery is at present filled with a modern exhibition of paintings, which, indifferent in themselves, become still more contemptible by an involuntary, though perhaps unfair, comparison, which one is led to make between the artists of our times, and those of our ancestors. An excellent likeness in full length of madame Bonaparte, and a beautiful miniature of a father and a son, by Isabey, were the only objects which attracted my attention. My impatience soon carried me forward. At length I found myself in the magnificent room, which I have before mentioned, the walls of which are covered as far as the eye can reach with the sublimest efforts of human art. Where the mind has long been promised a pleasure, when fancy has dressed it in all her choicest colours, how seldom does the reality approach the phantom of heated imagination! For once I was not disappointed. I expected it is true, a high gratification. I had formed to myself an exalted idea of the objects, which I was about to visit, yet the satisfaction I felt exceeded, far exceeded, what I supposed it possible for the power of sight to afford; nor did I believe that the hand of man was capable of attaining that degree of perfection, which I now beheld. For some time I was lost in wonder, I knew not where to fix my enraptured eye. A catalogue which was offered me, by one of the attendants, and which as I afterwards found, is drawn up with great clearness and precision, roused me from this pleasing reverie, and gave some order to the train of my thoughts. The arrangement of the collection is admirable.
After viewing the masterpieces of la Sueur, le Brun, Nicolas Poussin, and the three Van Loos, I supposed I had already seen the utmost efforts of the art, and even, under this supposition, was ready to allow that my highest ideas of the power of painting fell short of what these specimens presented. Think of my surprise, when, looking on my catalogue, I found that I had not yet passed the limits of the french school. Astonished and delighted I went on. The flemish, dutch, and german masters occupy the second division. Among them I beheld the exquisite works of Van Dyck, of Hans Holbein, of Paul Potter, of Rembrandt, of Teniers, and of Rubens. Sublime as were the first, objects that had claimed my admiration, even they were exceeded by the latter. Nor had I yet seen the acme of the art. Charmed with the fancy and execution of all the flemish painters, I was particularly pleased with the beautiful pasturage, by Paul Potter, every object of which seems alive on the canvass.
A few steps would bring me in view of the wonders of Italy, to see which so many of my countrymen had crossed the Alps; yet so enraptured was I with the objects already before me, that it required all the importunity of my companions, to persuade me to proceed. I was soon rewarded for this temporary sacrifice, and in contemplating the almost supernatural works of Corregio, of Caravaggio, of the Carracci, of Dominichino, of Guido, of Leonardo da Vinci, of Paul Veronese, of Raphael and of Titian. I discovered, that what I had seen before were only so many links in the great chain of perfection, which was now complete. If among those models of the art, you wish me to name some particular picture, I should give the preference to the communion of St. Jerome, by Dominichino, which in expression, colouring, feeling, and variety, seems to me to possess every beauty united.
Before I quit a subject so interesting in every respect, I ought to mention, that this assemblage of the chefs-d’œuvres of former times, begins already to hold out the promise of improving the taste of modern painters. I saw artists of both sexes, occupied in taking copies of the most celebrated subjects; and as curiosity led me to observe some of these unfinished attempts, I discovered, with infinite pleasure, that the figures, and even the countenances of the most striking objects, were in several instances successfully imitated. It is indeed, almost impossible, that the study of such unrivalled works should be pursued, without considerable benefit to the individual, and improvement to the art. To me it appears highly probable, that, assisted by the great facilities and advantages which this gallery affords, painting will, in the course of twenty years, recover all its former splendour.
An English lady[3], who has long very deservedly enjoyed a considerable portion of public praise, is now employed in copying the principal pictures in the museum; and from her designs, prints are to be published, the proposals for which are already circulated at Paris. If she should execute her plan as well as one has reason to expect from her known talents, the collection will become highly valuable and interesting, not only to those who have seen the originals, but likewise to such as have not had that advantage.
The musée, like every other establishment of the kind in this town, is conducted on principles of liberality, truly honourable to the government and the nation. The gallery is open to foreigners and artists, every day of the year; but to the public, only once or twice in each week. No fee or recompense is either required, expected, or received by any of the attendants; and the exquisite pleasure of contemplating these sublime pictures, for which indeed it would be difficult to fix any adequate price, is enjoyed gratuitously[4].
The gallery of antiquities, containing statues, busts, and basso-relievoes, is immediately under the gallery of pictures. It is divided into la salle des saisons, la salle des hommes illustres, la salle des Romains, la salle de Laocoon, la salle de l’Apollon, et la salle des Muses.
Were I to attempt an account of all these statues, my letter would never end. I shall therefore only mention those by which the rest, however excellent, are rendered petty, and contemptible, in comparison with them. I mean the Apollo Belvidere, and the Laocoon[5]. These masterpieces of human ingenuity are also so well known, and have been so well described, that I shall confine my remarks to their present state and present situation. The Apollo seems to have received no injury from the journey, and has as just claims as ever to the preeminence which, for so many centuries, has been allowed it. Did I not fear to appear presumptuous in hinting at any defect in a statue, esteemed so perfect, I should say, that the ancles were rather too thick, in proportion to the rest of the leg, and to the general lightness of the figure. I should have concealed my criticism, if a friend, on whose judgment and knowledge I can rely, had not assured me, that the objection was not novel, and that many connoisseurs have suspected that the legs are modern.
Not having had the happiness of seeing this wonderful statue in Italy, I cannot draw a comparison between the spot where it formerly stood, and that which it at present occupies. I certainly think, that it is not now seen to the greatest advantage. The room is not either high or large enough for the purpose, and too many statues are crowded together.—The Apollo Belvidere stands between the Venus d’Arles and another female figure, within a railed space of no great dimensions. The catalogue gives the following history:
“No. 145. APOLLON PYTHIEN,
DIT APOLLON DU BELVIDERE.
(After describing the statue and the subject).
“Cette statue la plus sublime de celles que le tems nous ait conservées, a été trouvée, vers la fin du quinzième siècle, à Capo d’Anzo, à douze lieues de Rome, sur le rivage de la mer, dans les ruines de l’antique Antium, cité célébré et par son temple de la Fortune, et par les maisons de plaisance, que les empereurs y avaient élevées à l’envi, et embellies de plus rares chefs-d’œuvres de l’art. Julius II, n’étant encore que cardinal, fit l’acquisition de cette statue, et la fit placer d’abord dans le palais qu’il habitait près l’église de Santi Apostoli. Mais bientôt après étant parvenu au pontificat, il la fit transporter au Belvidere du Vatican, où depuis trois siècles elle faisait l’admiration de l’univers, lorsqu’un héros, guidé par la victoire est venu l’en tirer, pour la conduire et la fixer à jamais sur les rives de la Seine....
“On ignore entierement le nom de l’auteur de cet inimitable chef-d’œuvre. L’avant-bras droit et la main gauche qui manquaient out été restaurés par Giovanni Angelo da Montorsoli, sculpteur élève de Michael Ange.”
TRANSLATION.
“THE PYTHIAN APOLLO.
CALLED
“THE APOLLO BELVIDERE.
“This statue, the most sublime of those which time has preserved, was found, towards the conclusion of the fifteenth century, at Capo d’Anzo, twelve leagues from Rome, on the sea shore, near the ruins of the ancient Antium, a city no less celebrated for its temple of Fortune, than for the elegant seats, which the different emperors, emulous of each other, had built there, and ornamented with all the rarest works of art. Julius II, while yet but a cardinal, bought this statue, and placed it first in the palace where he resided, near the church of the Holy Apostles. When he became sovereign pontiff, he ordered it to be conveyed to the Belvidere of the Vatican, where for three centuries it excited the admiration of the universe. A hero, guided by victory, drew it from the Vatican; and, transporting it to the banks of the Seine, has fixed it there for ever....
“The name of the artist, who made this inimitable chef-d’œuvre, is unknown. The right arm, and the left hand, which were wanting, were restored by the sculptor, Giovanni Angelo da Montorsoli, pupil of Michael Angelo.”
I hope, my friend, you admire the modesty with which it is declared, that the Apollo is for ever fixed on the banks of the Seine!—After the singular fate which this statue has experienced, it required all that happy confidence, with which the french determine the most difficult questions in their own favour, to make so bold an assertion. The Apollo lay two thousand years under the ruins of Antium, and yet preserved its beauty. It was drawn thence, placed in the Vatican, and after receiving there, for three centuries, the applauses of mankind, is carried over the Alps, and seen at Paris in all its original symmetry. If it be the destiny of this matchless figure to follow the tide of fortune, and to change its residence with the changes of empire, and the casualties of human affairs, who shall decide where it may next be found? If Julius II, when he placed the Apollo in the Vatican, had been told, that, three hundred years afterward, a french warrior would attach it to his car of victory, in entering the city of Paris, would even the pope himself have had faith enough to believe such a prophecy? After this, no conjecture becomes improbable. Who knows, that this celebrated statue may not, some centuries hence, be discovered on the frozen plains of Siberia, or in the burning sands of Egypt?
The subject of the Laocoon is so pathetic, and the execution so admirable, that the group which it presents, is, as the catalogue well observes, a specimen, at once, of composition, art, and feeling. The following is the historical account of this statue:
“Il a été trouvé en 1506, sous le pontificat de Julius II, à Rome sur le mont Esquilin, dans les ruines du palais de Titus, contigu à ses thermes. Pline qui en a parlé avec admiration, l’avait vu dans ce même endroit. C’est à cet écrivain que nous devons la connoissance des trois habiles sculpteurs Rhodiens qui l’ont exécuté, ils s’appellaient Agésandre, Polydore, et Athenodore. Agésandre étoit probablement le père des deux autres, ils florissaient au premier siècle de l’ere vulgaire. La groupe est composé de cinq blocs si artistement réunis, que Pline l’a cru d’un seul. Le bras droit du père et deux bras des enfans manquent. Sans doute un jour on les exécutera en marbre. Mais provisionnellement on les a suppliés par des bras moulés sur la groupe en plâtre, restauré par Gerardon, qui se voit dans la salle de l’école de peinture.”
TRANSLATION.
“It was found in 1506, under the pontificate of Julius II, at Rome, on the Esquiline mount, in the ruins of the palace of Titus, near his thermæ, or hot baths. Pliny, who speaks of this statue with admiration, had seen it in the same place. It is to this writer we are indebted for the knowledge of the three able sculptors of Rhodes, who executed this masterpiece. Their names were, Agesander, Polydorus, and Athenodorus. It is probable, that the first of these was the father of the other two. They flourished during the first century of the common era. The group consists of five pieces of marble, joined in so workmanlike a manner, that Pliny thought the whole was of one. The right arm of the father, and two of the arms of the children, are wanting. They will, no doubt, be executed hereafter in marble; in the mean time, the deficiency is supplied by arms moulded on the group in plaister of Paris, the work of Gerardon, which is to be seen in the hall of the school of painting.”
In taking leave of the gallery of statues, I ought, perhaps, in answer to several inquiries, which have been made me in letters from England, to mention, that the Hercules Farnese, and the Venus de Medici, are not in the collection. A british officer, lately returned from Egypt by way of Italy, tells me, that both these statues are at present in the island of Sicily. They are in the possession of the king of Naples, who keeps them locked up in cases, and refuses permission, even to his greatest favourites, to see them.
Adieu.
POSTSCRIPT.
I add, for the sake of gratifying the curiosity of such of your friends as are connoisseurs, and wish to know where their favourite pictures may be found, a list of those of the most celebrated masters, now in the Louvre.