Paris As It Was and As It Is by Francis W. Blagdon (page 5)

with stained glass of the first epoch of the invention of that art. We now come to the

HALL OF THE FOURTEENTH CENTURY.

This hall shews us the light, yet splendid architecture of the Arabs, introduced into France in consequence of the Crusades. Here are the statues of the kings that successively appeared in this age down to king JOHN, who was taken prisoner by Edward, the black prince, at the battle of Poietiers. They are clad after the manner of their time, and lying at length on a stylobate, strewn with flower-de-luces. Twenty-two knights, each mounted on lions, armed cap-a-pie, represented of the natural size, and coloured, fill ogive niches ornamented with Mosaic designs, relieved with gold, red, and blue.

The tombs of CHARLES V, surnamed the _Wise_, and of the worthy constable, DU GUESCLIN, together with that of SANCERRE, his faithful friend, rise in the middle of this apartment; which presents to the eye all the magnificence of a Turkish mosque. After having quitted it, what a striking contrast do we not remark on entering the

HALL OF THE FIFTEENTH CENTURY!

Columns, arabesque ceilings charged with gilding, light pieces of sculpture applied on blue and violet grounds, imitating cameo, china, or enamel; every thing excites astonishment, and concurs in calling to mind the first epoch of the regeneration of the arts in this country.

The ideas of the amateur are enlivened in this brilliant apartment: they prepare him for the gratification which he is going to experience at the sight of the beautiful monuments produced by the age, so renowned of Francis I. There, architecture predominates over sculpture; here, sculpture over architecture.

The genius of RAPHAEL paved the way to this impulse of regeneration: he had recently produced the decorations of the Vatican; and the admirable effect of these master-pieces of art, kindled an enthusiasm in the mind of the artists, who travelled. On their return to France, they endeavoured to imitate them: in this attempt, JEAN JUSTE, a sculptor sent to Rome, at the expense of the Cardinal D’AMBOISE, was the most succcessful.

First, we behold the mausoleum of LOUIS D’ORLEANS, victim of the faction of the Duke of Burgundy, and that of his brother CHARLES, the poet. Near them is that of VALENTINE DE MILAN, the inconsolable wife of the former, who died through grief the year after she lost her husband. As an emblem of her affliction, she took for her device a watering-pot stooped, whence drops kept trickling in the form of tears. Let it not be imagined, however, that it was on account of his constancy that this affectionate woman thus bewailed him till she fell a victim to her sorrow.

LOUIS D’ORLEANS was a great seducer of ladies of the court, and of the highest rank too, says Brantome. Indeed, historians concur in stating that to a brilliant understanding, he joined the most captivating person. We accordingly find that the Dutchess of Burgundy and several others were by no means cruel to him; and he had been supping tete-a-tete with Queen Isabeau de Baviere, when, in returning home, he was assassinated on the twenty-third of November 1407. His amorous intrigues at last proved fatal to the English, as you will learn from the following story, related by the same author.

One morning, M. d’Orleans having in bed with him a woman of quality, whose husband came to pay him an early visit, he concealed the lady’s head, while he exhibited the rest of her person to the contemplation of the unsuspecting intruder, at the same time forbidding him, as he valued his life, to remove the sheet from her face. Now, the cream of the jest was, that, on the following night, the good soul of a husband, as he lay beside his dear, boasted to her that the Duke of Orleans had shewn him the most beautiful woman that he had ever seen: but that for her face he could not tell what to say of it, as it was concealed under the sheet. “From this little intrigue,” adds Brantome, “sprang that brave and valiant bastard of Orleans, Count Dunois, the pillar of France, and the scourge of the English.”

Here we see the statues of CHARLES VI, and of JANE of Burgundy. The former being struck by a _coup de soleil_, became deranged in his intellects and imbecile, after having displayed great genius; he is represented with a pack of cards in his hand to denote that they were first invented for that prince’s diversion. The latter was Dutchess of BEAUFORT, wife to the Duke, who commanded the English army against Charles VII, and as brother to our Henry IV, was appointed regent of France, during the minority of his nephew, Henry V.

Next come those of RENEE D’ORLEANS, grand-daughter of the intrepid Dunois; and of PHILIPPE DE COMMINES, celebrated by his memoirs of the tyrant, LEWIS XI, whose statue faces that of CHARLES VII, his father.

The image of JOAN OF ARC, whom that king had the baseness to suffer to perish, after she had maintained him on the throne, also figures in this hall with that of ISABEAU DE BAVIERE. The shameful death of the Maid of Orleans, who, as every one knows, was, at the instigation of the English, condemned as a witch, and burnt alive at Rouen on the 30th of May 1430, must inspire with indignation every honest Englishman who reflects on this event, which will ever be a blot in the page of our history. Isabeau affords a striking example of the influence of a queen’s morals on the affections of the people. On her first arrival in Paris, she was crowned by angels, and received from the burghers the most magnificent and costly presents. At her death, she was so detested by the nation, that in order to convey her body privately to St. Denis, it was embarked in a little skiff at _Port-Landri_, with directions to the waterman to deliver it to the abbot.

The superb tomb of LEWIS XII, placed in the middle of this apartment, displays great magnificence; and his statue, lying at length, which represents him in a state of death, recalls to mind that moment so grievous to the French people, who exclaimed, in following his funeral procession to St. Denis, “Our good king Lewis XII is dead, and we have lost our father.”

The historian delights to record a noble trait of that prince’s character. Lewis XII had been taken prisoner at the battle of St. Aubin by Louis de la Trimouille, who, fearing the resentment of the new king, and wishing to excuse himself for his conduct, received this magnanimous reply: “It is not for the king of France to revenge the quarrels of the duke of Orleans.”

The statue of PIERRE DE NAVARRE, son of Charles the _Bad_, seems placed here to form in the mind of the spectator a contrast between his father and Lewis XII. The tragical end of Charles is of a nature to fix attention, and affords an excellent subject for a pencil like that of Fuseli.

Charles the _Bad_, having fallen into such a state of decay that he could not make use of his limbs, consulted his physician, who ordered him to be wrapped up from head to foot, in a linen cloth impregnated with brandy, so that he might be inclosed in it to the very neck as in a sack. It was night when this remedy was administered. One of the female attendants of the palace, charged to sew up the cloth that contained the patient, having come to the neck, the fixed point where she was to finish her seam, made a knot according to custom; but as there was still remaining an end of thread, instead of cutting it as usual with scissars, she had recourse to the candle, which immediately set fire to the whole cloth. Being terrified, she ran away, and abandoned the king, who was thus burnt alive in his own palace.

What a picture for the moralist is this assemblage of persons, celebrated either for their errors, crimes, talents, or virtues!

LETTER XXV.

_Paris, November 28, 1801_.

Conceiving how interested you (who are not only a connoisseur, but an F.A.S.) must feel in contemplating the only repository in the world, I believe, which contains such a chronological history of the art of sculpture, I lose no time in conducting you to complete our survey of the MUSEUM OF FRENCH MONUMENTS in the _Rue des Petits Augustins_.

Having examined those of the fifteenth century, during our former visit, we are at length arrived at the age of the Fine Arts in France, and now enter the

HALL OF THE SIXTEENTH CENTURY.

“But see! each muse in LEO’S golden days, Starts from her trance, and trims her wither’d bays; Rome’s ancient Genius, o’er its ruins spread, Shakes off the dust, and rears his reverend head; Then Sculpture and her sister arts revive, Stones leap’d to form, and rocks began to live.”

These beautiful lines of Pope immediately occur to the mind, on considering that, in Italy, the Great LEO, by the encouragement which he gave to men of talents, had considerably increased the number of master-pieces; when the taste for the Fine Arts, after their previous revival by the Medici, having spread throughout that country, began to dawn in France about the end of the fifteenth century. By progressive steps, the efforts made by the French artists to emulate their masters, attained, towards the middle of the sixteenth century, a perfection which has since fixed the attention of Europe.

On entering this hall, which is consecrated to that period, the amateur finds his genius inflamed. What a deep impression does not the perfection of the numerous monuments which it has produced make on his imagination! First, he admires the beautiful tomb erected to the memory of FRANCIS I, the restorer of literature and the arts; who, by inviting to his court LEONARDO DA VINCI and PRIMATICCIO, and establishing schools and manufactories, consolidated the great work of their regeneration.

“Curse the monks!” exclaimed I, on surveying this magnificent monument, constructed in 1550, from the designs of the celebrated PHILIBERT DE L’ORME. “Who cannot but regret,” continued I to myself, “that so gallant a knight as Francis I. should fall a victim to that baneful disease which strikes at the very sources of generation? Who cannot but feel indignant that so generous a prince, whose first maxim was, that _true magnanimity consisted in the forgiveness of injuries, and pusillanimity in the prosecution of revenge_, should owe his death to the diabolical machinations of a filthy friar?” Yet, so it was; the circumstances are as follows:

Francis I. was smitten by the charms of the wife of one Lunel, a dealer in iron. A Spanish chaplain, belonging to the army of the Emperor Charles V, passing through Paris in order to repair to Flayers, threw himself in this man’s way, and worked on his mind till he had made him a complete fanatic: “Your king,” said the friar, “protects Lutheranism in Germany, and will soon introduce it into France. Be revenged on him and your wife, by serving religion. Communicate to him that disease for which no certain remedy is yet known.”–“And how am I to give it to him?” replied Lunel; “neither I nor my wife have it.”–“But I have,” rejoined the monk: “I hold up my hand and swear it. Introduce me only for one half-hour by night, into your place, by the side of your faithless fair, and I will answer for the rest.”

The priest having prevailed on Lunel to consent to his scheme, went to a place where he was sure to catch the infection, and, by means of Lunel’s wife, he communicated it to the king. Being previously in possession of a secret remedy, the monk cured himself in a short time; the poor woman died at the expiration of a month; and Francis I, after having languished for three or four years, at length, in 1547, sunk under the weight of a disorder then generally considered as incurable.

The tomb of the VALOIS, erected in honour of that family, by Catherine de Medicis, soon after the death of Henry II, is one of the masterpieces of GERMAIN PILON. In the execution of this beautiful monument, that famous artist has found means to combine the correctness of style of Michael Angelo with the grace of Primaticcio. To the countenance of HENRY and CATHERINE, who are represented in a state of death, lying as on a bed, he has imparted an expression of sensibility truly affecting.

Next comes the tomb of DIANE DE POITIERS, that celebrated beauty, who displayed equal judgment in the management of State affairs and in the delicacy of her attachments; who at the age of 40, captivated king Henry II, when only 18; and, who, though near 60 at the death of that prince, had never ceased to preserve the same empire over his heart. At the age of fourteen, she was married to Louis de Breze, grand seneschal of Normandy, and died in April 1506, aged 66.

Brantome, who saw her not long before her death, when she had just recovered from the confinement of a broken leg, and had experienced troubles sufficient to lessen her charms, thus expresses himself: “Six months ago, when I met her, she was still so beautiful that I know not any heart of adamant which would not have been moved at the sight of her.”–To give you a perfect idea of her person, take this laconic description, which is not one of fancy, but collected from the best historians.

Her jet black hair formed a striking contrast to her lily complexion. On her cheeks faintly blushed the budding rose. Her teeth vied with ivory itself in whiteness: in a word, her form was as elegant as her deportment was graceful.

By way of lesson to the belles of the present day, let them be told that DIANE DE POITIERS was never ill, nor affected indisposition. In the severity of the winter, she daily washed her face with spring-water, and never had recourse to cosmetics.—-“What pity,” says Brantome, “that earth should cover so beautiful a woman!”

No man, indeed, who sympathizes with the foibles of human nature, can contemplate the tomb of DIANE DE POITIERS, and reflect on her numerous virtues and attractions, without adopting the sentiments of Brantome, and feeling his breast glow with admiration.

This extraordinary woman afforded the most signal protection to literati and men of genius, and was, in fact, no less distinguished for the qualities of her heart than for the beauty of her person. “She was extremely good-humoured, charitable, and humane,” continues Brantome “The people of France ought to pray to God that the female favourite of every chief magistrate of their country may resemble this amiable frail one.”

As a proof of the elevation of her sentiments, I shall conclude by quoting to you the spirited reply DIANE made to Henry II, who, by dint of royal authority, wished to legitimate a daughter he had by her: “I am of a birth,” said she, “to have had lawful children by you. I have been your mistress, because I loved you. I will never suffer a decree to declare me your concubine.”

The beautiful group of the modest Graces, and that representing Diana, accompanied by her dogs Procion and Syrius, sculptured by Jean Gougeon, to serve as the decoration of a fountain in the park of DIANE DE POITIERS at Anet, attracts the attention of the connoisseur.

The tomb of GOUGEON, composed of his own works, and erected to the memory of that great artist, through gratitude, is, undoubtedly, a homage which he justly deserved. This French Phidias was a Calvinist, and one of the numerous victims of St. Bartholomew’s day, being shot on his scaffold, as he was at work on the _Louvre_, the 24th of August 1572. Here too we behold the statues of BIRAGUE and of the GONDI, those atrocious wretches who, together with Catherine de Medicis, plotted that infamous massacre; while CHARLES IX, no less criminal, here exhibits on his features the stings of a guilty conscience.

The man that has a taste for learning, gladly turns his eye from this horde of miscreants, to fix it on the statue of CLAUDE-CATHERINE DE CLERMONT-TONNERRE, who was so conversant in the dead languages as to bear away the palm from Birague and Chiveray, in a speech which she composed and spoke in Latin, at twenty-four hours’ notice, in answer to the ambassadors who tendered the crown of Poland to Charles IX.

If the friend of the arts examine the beautiful portico erected by Philibert de l’Orme, on the banks of the Eure, for Diane de Poitiers, composed of the three orders of architecture, placed the one above the other, and forming altogether an elevation of sixty feet, he will be amazed to learn that this superb monument constructed at Anet, twenty leagues distant from Paris, was removed thence, and re-established in this Museum, by the indefatigable conservator, LENOIR.

On leaving the apartment containing the master-pieces brought to light by Francis I, the next we reach is the

HALL OF THE SEVENTEENTH CENTURY.

What a crowd of celebrated men contained in the temple consecrated to virtue, courage, and talents!

There, I behold TURENNE, CONDE, MONTAUSIER, COLBERT, MOLIERE, CORNEILLE, LA FONTAINE, RACINE, FENELON, and BOILEAU. The great LEWIS XIV, placed in the middle of this hall, seems to become still greater near those immortal geniuses.

Farther on, we see the statue of the implacable RICHELIEU, represented expiring in the arms of Religion, while Science is weeping at his feet. Ye Gods! what a prostitution of talent! This is the master-piece of GIRARDON; but, in point of execution, many connoisseurs prefer the mausoleum of the crafty MAZARIN, whom COYZEVOX has pourtrayed in a supplicating posture.

LEWIS XIII, surnamed the _Just_, less great than his illustrious subject, DE THOU, casts down his eyes in the presence of his ministers.

The mausolea of LE BRUN, LULLI, and JEROME BIGNON, the honour, the love, and the example of his age, terminate the series of monuments of that epoch, still more remarkable for its literati than its artists. We at last come to the

HALL OF THE EIGHTEENTH CENTURY.

Here we admire the statues of MONTESQUIEU, FONTENELLE, VOLTAIRE, ROUSSEAU, HELVETIUS, CREBILLON, PIRON, &c. &c. The tombs of the learned MAUPERTUIS and CAYLUS, and also that of Marshal D’HARCOURT, give a perfect idea of the state of degradation into which the art of design had fallen at the beginning of this century; but the new productions which decorate the extremity of this spacious hall are sufficient to prove to what degree the absolute will of a great genius can influence the progress of the arts, as well as of the sciences. VIEN and DAVID appeared, and the art was regenerated.

Here, too, we find a statue, as large as life, representing Christ leaning on a pillar, executed by MICHAEL ANGELO STODTZ. I notice this statue merely to observe, that the original, from which it is taken, is to be seen at Rome, in the _Chiesa della Minerva_ where it is held in such extraordinary veneration, that the great toe-nail of the right foot having been entirely worn away by the repeated kisses of the faithful, one of silver had been substituted. At length this second nail having been likewise worn away, a third was placed, of copper, which is already somewhat worn. It was sculptured by MICHAEL ANGELO BUONAROTI.

We experience an emotion of regret at the aspect of the handsome monument by MICHALLON, on learning that it was erected to the memory of young DROUAIS, a skilful and amiable artist, stopped by death, in 1788, during his brilliant career, at the early age of 24. He has left behind him three historical pictures, which are so many master-pieces.

The beautiful statue of the youthful Cyparissus, by CHAUDET, the most eminent French sculptor, reminds us of the full and elegant form of the fine Greek Bacchus, which decorates the peristyle of the antichamber or Hall of Introduction.

Thus the amateur and the student will find, in this Museum, an uninterrupted chronology of monuments, both antique and modern, beginning by those of ancient Greece, whose date goes back to two thousand five hundred years before our era, to examine those of the Romans, of the Lower Empire, of the Gauls, and thence pass to the first epoch of the French monarchy, and at length follow all the gradations through which the art has passed from its cradle to its decrepitude. The whole of this grand establishment is terminated by a spacious garden, which is converted into an

ELYSIUM.

There, on a verdant lawn, amid firs, cypresses, poplars, and weeping willows, repose the ashes of the illustrious poets, MOLIERE, LA FONTAINE, BOILEAU, &c.; of the learned DESCARTES, MABILLON, MONTFAUCON, &c., inclosed in sarcophagi; there, they still receive the homage which mankind owe to talents and virtue.

But hold! mark the sepulchre of the learned and tender HELOISE. Her remains, though formerly conjoined to those of her lover, were subsequently separated, and after a lapse of three hundred years, they are now reassembled.

Here one kind grave unites their hapless name, And grafts her love immortal on his fame.

With a smile seated on her lips, HELOISE seems to be sighing for the object of her glowing affection: while the unfortunate ABELARD, coldly reclined, is still commenting on the Trinity. The _Paraclete_, having been sold and demolished, LENOIR, with all the sensibility of an admirer of genius, withdrew the bones of ABELARD and HELOISE from that monastery, and placed them here in a sepulchral chapel, partly constructed from the remains of their ancient habitation.

Such is the MUSEUM OF FRENCH MONUMENTS. When completed, for some valuable specimens of the arts slill remain to be added, it will be one of the most interesting establishments in Paris, and perhaps in Europe, especially if considered in regard to the improvement of modern sculpture, and, I may add, architecture. No building can be better adapted than a monastery for an establishment of this nature. The solemn gloom of cloisters suits the temper of the mind, when we reflect on the mortality incident to a succession of ages, and the melancholy which it inspires, is in perfect unison with our feelings, when we contemplate the sepulchral monuments that recall to our memory the actions of the illustrious departed.

This Museum is very extensive, the three courts and large garden, which at present compose the whole of its premises, occupying a space of three thousand seven hundred and sixty-two toises. LENOIR, however, has recently presented to the First Consul a plan for enlarging it, without any additional expense of building, by adding to it the neighbouring _Hotel de Bouillon_. He proposes that there should be a new entrance by the quay, exhibiting a spacious court, decorated with statues, erected in regular order; and that the apartments on the ground-floor should be appropriated as follows:

1. To a collection of portraits of all the celebrated men of France.

2. To a chronological series of armour of all ages.

3. To a complete collection of French medals.

4. To a library, solely formed of the books necessary for obtaining a knowledge of the monuments contained in this Museum.

When I consider the mutilated state in which most of these monuments were found at the first formation of this interesting establishment, and view the perfection in which they now appear; when I remark the taste and judgment displayed in the distribution and interior arrangement of the different apartments of this rich museum; when I learn, from the printed documents on the subject, the strict economy which has been observed in the acquisition or restoration of a great number of monuments, the more valuable as they illustrate the history of the arts; I confess that I find myself at a loss which most to admire in the Conservator, his courage, zeal, perseverance, or discrimination. Indeed, nothing but an assemblage of those qualities could have overcome the difficulties and obstacles which he has surmounted.

I shall add that LENOIR’S obliging disposition and amenity of manners equally entitle him to the gratitude and esteem of the connoisseur, the student, or the inquisitive stranger.

LETTER XXVI.

_Paris, December 1, 1801_.

I was highly gratified the other day on finding myself in company with some of those men whom (to borrow Lord Thurlow’s expression, in speaking of Warren Hastings,) I have known only as I know Alexander, by the greatness of their exploits; men whose names will be transmitted to posterity, and shine with distinguished lustre in the military annals of France.

General A—-y had already invited me to dine with him, in order to meet General B—-r; but, on the day fixed, the latter, as minister for the war department, being under the necessity of entertaining Lord Cornwallis, the party was postponed till the 8th of Frimaire, (20th of November), when, in addition to General B—-r, General A—-y had assembled at his table several men of note. Among others, were General M—-rd, who commanded the right wing of the army of Naples under Macdonald, in which he distinguished himself as a brave soldier; and D—-ttes, physician in chief to the army of the East. This officer of health, as medical men are here denominated, is lately returned from Egypt, where his skill and attention to his professional duties gained him universal admiration.

In society so agreeable, time passed away rapidly till General B—-r arrived. It was late, that is about seven o’clock, though the invitation expressed five precisely, as the hour of dinner. But, in Paris, a minister is always supposed to be detained on official business of a nature paramount to every other consideraton. On my being introduced to General B—-r, he immediately entered into conversation with me concerning Lord Cornwallis, whom he had known in the American war, having served in the staff of Rochambeau at the siege of Yorktown. As far back as that period B—-r signalized himself by his skill in military science. It was impossible to contemplate these distinguished officers without calling to mind how greatly their country was indebted to the exertion of their talents on various important occasions. These recollections led me to admire that wisdom which had placed them in stations for which they had proved themselves so eminently qualified. In England, places are generally sought for men; in France, men are sought for places.

At seven, dinner was announced, and an excellent one it was, both in quality and quantity. _Presto_ was the word, and all the guests seemed habituated to expedition. The difference between the duration of such a repast at this day, and what it was before the revolution, shews how constantly men become the slaves of fashion. Had BONAPARTE resembled Lucullus in being addicted to the pleasures of the festive board, I make no doubt that it would have been the height of _ton_ to sit quietly two or three hours after dinner. But the Chief Consul is said to be temperate, almost to abstemiousness; he rises from table in less than half an hour; and that mode is now almost universal in Paris, especially among the great men in office. Two elegant courses and a desert were presently dispatched; the whole time employed in eating I know not how many good dishes, and drinking a variety of choice wines, not exceeding thirty-five minutes. At the end of the repast, coffee was presented to the company in an adjoining room, after which the opera of _Tarare_ was the attraction of the evening.

I have already mentioned to you that General A—-y had put into my hand _L’Histoire du Canal du Midi_, written by himself. From a perusal of this interesting work, it appears that one of his ancestors[1] was the first who conceived the idea of that canal, which was not only planned by him, but entirely completed under his immediate direction. Having communicated his plan to Riquet, the latter submited it to Colbert, and, on its being approved by Lewis XIV, became _contractor_ for all the works of that celebrated undertaking, which he did not live to see finished. Riquet, however, not content with having derived from the undertaking every advantage of honour and emolument, greedily snatched from the original projector the meed of fame, so dearly earned by the unremitting labour of thirty successive years. These facts are set forth in the clearest light in the above-mentioned work, in which I was carefully examining General A—-y’s plans for the improvement of this famous canal, when I was most agreeably interrupted.

I had expressed to the General a wish to know the nature of the establishment of which he is the director, at the same time apprizing him that this wish did not extend to any thing that could not with propriety be made public. He obligingly promised that I should be gratified, and this morning I received ftom him a very friendly letter, accompanied by the following account of the

DEPOT DE LA GUERRE.

The general _Depot_ or repository of maps and plans of war, &c, &c, was established by LOUVOIS, in 1688. This was the celebrated period when France, having attained the highest degree of splendour, secured her glory by the results of an administration enlightened in all its branches.

At the beginning of its institution, the _Depot de la guerre_ was no more than archives, where were collected, and preserved with order, the memoirs of the generals, their correspondence, the accounts yet imperfect, and the traces of anterior military operations.

The numerous resources afforded by this collection alone, the assistance and advantages derived from it on every occasion, when it was necessary to investigate a military system, or determine an important operation, suggested the idea of assembling it under a form and classification more methodical. Greater attention and exactness were exerted in enriching the _Depot_ with every thing that might complete the theoretical works and practical elucidations of all the branches of the military art,

Marshal DE MAILLEBOIS, who was appointed director of this establishment in 1730, was one of the first authors of the present existing order. The classification at first consisted only in forming registers of the correspondence of the generals, according to date, distinguishing it by _different wars_. It was divided into two parts, the former containing the letters of the generals; and the latter, the minutes or originals of the answers of the king and his ministers. To each volume was added a summary of the contents, and, in regular succession, the journal of the military operations of the year. These volumes, to the number of upwards of two thousand seven hundred, contain documents from the eleventh century to the close of the last American war; but the series is perfect only from the year 1631. This was a valuable mine for a historiographer to explore; and, indeed, it is well known that the _Memoirs of Turenne and of Conde_, the _History of the war of 1741_, and part of the fragments of the _Essay on the Manners and History of Nations_, by Voltaire, were compiled and digested from the original letters and memoirs preserved in the _Depot de la guerre_.

Geographical engineers did not then exist as a corps. Topography was practised by insulated officers, impelled thereto by the rather superficial study of the mathematics and a taste for drawing; because it was for them a mean of obtaining more advantageous employments in the staffs of the armies: but the want of a central point, the difference of systems and methods, not admitting of directing the operations to one same principle, as well as to one same object, topography, little encouraged, was making but a slow progress, when M. DE CHOISEUIL established, as a particular corps, the officers who had applied themselves to the practice of that science. The _Depot_ was charged to direct and assemble the labours of the new corps. This authority doubled the utility of the _Depot_: its results had the most powerful influence during the war from 1757 to 1763.

Lieutenant-General De VAULT, who had succeeded Marshal De MAILLEBOIS as director of the _Depot de la guerre_, conceived, and executed a plan, destined to render still more familiar and secure the numerous documents collected in this establishment. He first retrenched from the _Military Correspondences and Memoirs_ all tedious repetitions and unnecessary details; he then classed the remainder under the head of a different army or operation, without subjecting himself to any other order than a simple chronology; but he caused each volume to be preceded by a very succinct, historical summary, in order to enable the reader to seize the essence of the original memoirs and documents, the text of which was faithfully copied in the body of each volume, In this manner did he arrange all the military events from the German war in 1677 to the peace of 1763. This analysis forms one hundred and twenty five volumes.

It is easy to conceive how much more interesting these historical volumes became by the addition, which took place about the same epoch, of the labours of the geographical engineers employed in the armies. The military men having it at the same time in his power to follow the combinations of the generals with the execution of their plans, imbibes, without difficulty, the principles followed by great captains, or improves himself from the exact account of the errors and faults which it is so natural to commit on critical occasions.

When all the establishments of the old _regime_ were tottering, or threatened by the revolutionary storm, measures were suggested for preserving the _Depot de la guerre_, and, towards the end of 1791, it was transferred from Versailles to Paris. Presently the new system of government, the war declared against the emperor, and the foreseen conflagration of Europe, concurred to give a new importance to this establishment. Alone, amidst the general overthrow, it had preserved a valuable collection of the military and topographical labours of the monarchy, of manuscripts of the greatest importance, and a body of information of every kind respecting the resources, and the country, of the powers already hostile, or on the point of becoming so. All the utility which might result from the _Depot_ was then felt, and it was thought necessary to give it a new organization.[2]

The _Depot de la guerre_, however, would have attained but imperfectly the object of its institution, had there not been added to its topographical treasure, the richest, as well as the finest, collection in Europe of every geographical work held in any estimation. The first epochs of the revolution greatly facilitated the increase of its riches of that description. The general impulse, imprinted on the mind of the French nation, prompted every will towards useful sacrifices. Private cabinets in possession of the scarcest maps, gave them up to the government, The suppression of the monasteries and abbeys caused to flow to the centre the geographical riches which they preserved in an obscurity hurtful to the progress of that important science: and thus the _Depot de la guerre_ obtained one of the richest collections in Europe.[3] The government, besides, completed it by the delivery of the great map of France by CASSINI, begun in 1750, together with all the materials forming the elements of that grand work. It is painful to add that not long before that period (in 1791) the corps of geographical engineers, which alone could give utility to such valuable materials had been suppressed.[4]

In the mean time, the sudden changes in the administrative system had dispersed the learned societies employed in astronomy, or the mathematical sciences. The _National Observatory_ was disused. The celebrated astronomers attached to it had no rallying point: they could not devote themselves to their labours but amidst the greatest difficulties; the salary allowed to them was not paid; the numerous observations, continued for two centuries, were on the point of being interrupted.

The _Depot de la guerre_ then became the asylum of those estimable men. This establishment excited and obtained the reverification of the measure of an arc of the meridian, in order to serve as a basis for the uniformity of the weights and measures which the government wished to establish.

MECHAIN, DELAMBRE, NOUET, TRANCHOT, and PERNY were dispatched to different places from Barcelona to Dunkirk. After having established at each extremity of this line a base, measured with the greatest exactness, they were afterwards to advance their triangles, in order to ascend to the middle point of the line. This operation, which has served for rectifying a few errors that the want of perfection in the instruments had occasioned to be introduced into the measure of the meridian of CASSINI, may be reckoned one of the most celebrated works which have distinguished the close of the eighteenth century.

The establishment of the system of administration conformably to the constitution of the year III (1795) separated the various elements which the _Depot de la guerre_ had found means to preserve. The _Board of Longitude_ was established; the _National Institute_ was formed to supply the place of the _Academy of Sciences_, &c. The _Depot de la guerre_ was restored solely to its ancient prerogatives. Two years before, it had been under the necessity of forming new geographical engineers and it succeeded in carrying the number sufficiently high to suffice for the wants of the fourteen armies which France had afterwards on foot.[5] These officers being employed in the service of the staffs, no important work was undertaken. But, since the 18th of Brumaire, year VIII, (9th of November, 1799) the Consuls of the Republic have bestowed particular attention on geographical and topographical operations. The new limits of the French territory require that the map of it should be continued; and the new political system, resulting from the general pacification, renders necessary the exact knowledge of the states of the allies of the Republic.

The _Depot de la guerre_ forms various sections of geographers, who are at present employed in constructing accurate maps of the four united departments. Piedmont, Savoy, Helvetia, and the part of Italy comprised between the Adige and the Adda. One section, in conjunction with the Bavarian engineers, is constructing a topographical map of Bavaria: another section is carrying into execution the military surveys, and other topographical labours, ordered by General MOREAU for the purpose of forming a map of Suabia.

The _Depot_ has just published an excellent map of the Tyrol, reduced from that of PAYSAN, and to which have been added the observations made by Chevaliers DUPAY and LA LUCERNE. It has caused to be resumed the continuation of the superb map of the environs of Versailles, called _La carte des chasses_, a master-piece of topography and execution in all the arts relating to that science. Since the year V (1795), it has also formed a library composed of upwards of eight thousand volumes or manuscripts, the most rare, as well as the most esteemed, respecting every branch of the military art in general.

Although, in the preceding account, General A—-y, with that modesty which is the characteristic of a superior mind, has been totally silent respecting his own indefatigable exertions, I have learned from the best authority, that France is soon likely to derive very considerable advantages from the activity and talent introduced by him, as director, into every branch of the _Depot de la guerre_, and of which he has afforded in his own person an illustrious example.

In giving an impulse to the interior labours of the _Depot_, the sole object of General A—-y is to make this establishment lose its _paralyzing_ destination of archives, in which, from time to time, literati might come to collect information concerning some periods of national or foreign history. He is of opinion that these materials ought to be drawn from oblivion, and brought into action by those very persons who, having the experience of war, are better enabled than any others to arrange its elements. Instruction and method being the foundations of a good administration, of the application of an art and of a science, as well as of their improvement, he has conceived the idea of uniting in a classical work the exposition of the knowledge necessary for the direction of the _Depot_, for geographical engineers, staff-officers, military men in general, and historians. This, then, is the object of the _Memomorial du Depot de la guerre_, a periodical work, now in hand, which will become the guide of every establishment of this nature[6], by directing with method the various labours used in the application of mathematical and physical sciences to topography, and to that art which, of all others, has the greatest influence on the destiny of empires: I mean the art military. The improvements of which it is still susceptible will be pointed out in the _Memorial_, and every new idea proposed on the subject will there be critically investigated.

In transcribing General A—-y’s sketch of this extremely-interesting establishment, I cannot but reflect on the striking contrast that it presents, in point of geographical riches, even half a century ago, to the disgraceful poverty, in that line, which, about the same period, prevailed in England, and was severely felt in the planning of our military expeditions.

I remember to have been told by the late Lord Howe, that, when he was captain of the Magnanime at Plymouth, and was sent for express to London, in the year 1757, in order to command the naval part of an expedition to the coast of France, George II, and the whole cabinet council, seemed very much astonished at his requiring the production of a map of that part of the enemy’s coast against which the expedition was intended. Neither in the apartment where the council sat, nor in any adjoining one, was any such document; even in the Admiralty-office no other than an indifferent map of the coast could be found: as for the adjacent country, it was so little known in England, that, when the British troops landed, their commander was ignorant of the distance of the neighbouring villages.

Of late years, indeed, we have ordered these matters better; but, to judge from circumstances, it should seem that we are still extremely deficient in geographical and topographical knowledge; though we are not quite so ill informed as in the time of a certain duke, who, when First Lord of the Treasury, asked in what part of Germany was the Ohio?

P.S. In order to give you, at one view, a complete idea of the collections of the _Depot de la guerre_, and of what they have furnished during the war for the service of the government and of the armies, I shall end my letter by stating that, independently of eight thousand chosen volumes, among which is a valuable collection of atlases, of two thousand seven hundred volumes of old archives, and of upwards of nine hundred _cartons_ or pasteboard boxes of modern original documents, the _Depot_ possesses one hundred and thirty-one volumes and seventy-eight _cartons_ of descriptive memoirs, composed at least of fifty memoirs each, four thousand seven hundred engraved maps, of each of which there are from two to twenty-five copies, exclusively of those printed at the _Depot_, and upwards of seven thousand four hundred valuable manuscript maps, plans, or drawings of marches, battles, sieges, &c.

By order of the government, it has furnished, in the course of the war, seven thousand two hundred and seventy-eight engraved maps, two hundred and seven manuscript maps or plans, sixty-one atlases of various parts of the globe, and upwards of six hundred descriptive memoirs.

[Footnote 1: FRANCOIS ANDREOSSY; who was the great great grandfather of the present French ambassador at our court.]

[Footnote 2: On the 25th of April, 1792, was published a regulation, decreed by the king, respecting the general direction of the _Depot de la guerre_. The annual expense of the establishment, at that time amounted to 68,000 francs, but the geographical and historical departments were not filled. _Note of the Author._]

[Footnote 3: An _Agence des cartes_ was appointed, by the National Assembly, to class these materials, and arrange them in useful order.]

[Footnote 4: At the juncture alluded to (1793), the want of geographical engineers having been felt as soon as the armies took the field, three brigades were formed, each consisting of twelve persons. The composition of the _Depot de la guerre_, was increased in proportion to its importance: intelligent officers were placed there; and no less than thirty-eight persons were employed in the interior labour, that is, in drawing plans of campaigns, sieges, &c. _Note of the Author_.]

[Footnote 5: That tempestuous period having dispersed the then director and his assistants, the _Depot de la guerre_ remained, for some time, without officers capable of conducting it in a manner useful to the country. In the mean while, wants were increasing, and military operations daily becoming more important, when, in 1793, CARNOT, then a member of the Committee of Public Welfare, formed a private cabinet of topography, the elements of which he drew from the _Depot de la guerre_. This was a first impulse given to these valuable collections. _Note of the Author_.]

[Footnote 6: Prince Charles is employed at Vienna in forming a collection of books, maps, and military memoirs for the purpose of establishing a _Depot_ for the instruction of the staff-officers of the Austrian army. Spain has also begun to organize a system of military topography in imitation of that of France. Portugal follows the example. What are we doing in England?]

LETTER XXVII

_Paris, December 3, 1801_.

In this season, when the blasts of November have entirely stripped the trees of their few remaining leaves, and Winter has assumed his hoary reign, the garden of the _Tuileries_, loses much of the gaiety of its attractions. Besides, to frequent that walk, at present, is like visiting daily one of our theatres, you meet the same faces so often, that the scene soon becomes monotonous. As well for the sake of variety as exercise, I therefore now and then direct my steps along the

BOULEVARDS.

This is the name given to the promenades with which Paris is, in part, surrounded for an extent of six thousand and eighty-four toises.

They are distinguished by the names of the _Old_ and the _New_. The _Old_, or _North Boulevards_, commonly called the _Grands Boulevards_, were begun in 1536, and, when faced with ditches, which were to have been dug, they were intended to serve as fortifications against the English who were ravaging Picardy, and threatening the capital. Thence, probably, the etymology of their name; _Boulevard_ signifying, as every one knows, a bulwark.

However this may be, the extent of these _Old_ Boulevards is two thousand four hundred toises from the _Rue de la Concorde_ to the _Place de la Liberte_, formerly the site of the Bastille. They were first planted in 1660, and are formed into three alleys by four rows of trees: the middle alley is appropriated to carriages and persons on horseback, and the two lateral ones are for foot-passengers.

Here, on each side, is assembled every thing that ingenuity can imagine for the diversion of the idle stroller, or the recreation of the man of business. Places of public entertainment, ambulating musicians, exhibitions of different kinds, temples consecrated to love or pleasure, Vauxhalls, ball-rooms, magnificent hotels, and other tasteful buildings, &c. Even the coffee-houses and taverns here have their shady bowers, and an agreeable orchestra. Thus, you may always dine in Paris with a band of music to entertain you, without additional expense.

The _New_ Boulevards, situated to the south, were finished in 1761. They are three thousand six hundred and eighty-three toises in extent from the _Observatoire_ to the _Hotel des Invalides_. Although laid out much in the same manner as the _Old_, there is little resemblance between them; each having a very distinct appearance.

On the _New Boulevards_, the alleys are both longer and wider, and the trees are likewise of better growth. There, the prospect is rural; and the air pure; while cultivated fields, with growing corn, present themselves to the eye. Towards the town, however, stand several pretty houses; little theatres even were built, but did not succeed. This was not their latitude. But some skittle-grounds and tea-gardens, lately opened, and provided with swings, &c. have attracted much company of a certain class in the summer.

In this quarter, you seldom meet with a carriage, scarcely ever with persons sprucely dressed, but frequently with honest citizens, accompanied by their whole family, as plain in their garb as in their manners. Lovers too with their mistresses, who seek solitude, visit this retired walk; and now and then a poor poet comes hither, not to sharpen his appetite, but to arrange his numbers.

Before, the revolution, the _Old_ Boulevards, from the _Porte St. Martin_ to the _Theatre Favart_, was the rendezvous of the _elegantes_, who, on Sundays and Thursdays, used to parade there slowly, backward and forward, in their carriages, as our belles do in Hyde Park; with this difference, that, if their admirers did not accompany them, they generally followed them to interchange significant glances, or indulge in amorous parley. I understand that the summer lounge of the modern _elegantes_ has, of late years, been from the corner of the _Rue Grange Bateliere_ to that of the _Rue Mont-Blanc_, where the ladies took their seats. This attracting the _muscadins_ in great numbers, not long since obtained for that part of the Boulevard the appellation of _Petit Coblentz_.

Nearly about the middle of the North Boulevard stand two edifices, which owe their erection to the vanity of Lewis XIV. In the gratification of that passion did the _Grand Monarque_ console himself for his numerous defeats and disappointments; and the age in which he lived being fertile in great men, owing, undoubtedly, to the encouragement he afforded them, his display of it was well seconded by their superior talents. Previously to his reign, Paris had several gates, but some of these being taken down, arcs of triumph, in imitation of those of the Romans, were erected in their stead by _Louis le Grand_, in commemoration of his exploits. And this too, at a time when the allies might, in good earnest, have marched to Paris, had they not, by delay, given Marshal Villars an opportunity of turning the tide of their victories on the plain of Denain. Such was the origin of the

PORTE SAINT DENIS.

The magnificence of its architecture classes it among the first public monuments in Paris. It consists of a triumphal arch, insulated in the manner of those of the ancients: it is seventy-two feet in diameter as well as in elevation, and was executed in 1672, by BULLET from the designs of BLONDEL.

On each side of the principal entrance rise two sculptured pyramids, charged with trophies of arms, both towards the faubourg, and towards the city. Underneath each of these pyramids is a small collateral passage for persons on foot. The arch is ornamented with two bas-reliefs: the one facing the city represents the passage of the Rhine; and the other, the capture of Maestricht.

On the frieze on both sides LUDOVICO MAGNO was formerly to be read, in large characters of gilt bronze. This inscription is removed, and to it are substituted the word _Liberte, Egalite, Fraternite_.

On arriving from Calais, you enter Paris by the _Porte St. Denis_. It was also by the _Porte St. Denis_ that kings and queens made their public entry. On these occasions, the houses in all the streets through which they passed, were decorated with silk hangings and tapestry, as far as the cathedral of _Notre-Dame_. Scented waters perfumed the air in the form of _jets d’eau_; while wine and milk flowed from the different public fountains.

Froissard relates that, on the entrance of Isabeau de Baviere, there was in the _Rue St. Denis_ a representation of a clouded heaven, thickly sown with stars, whence descended two angels who gently placed on her head a very rich crown of gold, set with precious stones, at the same time singing verses in her praise.

It was on this occasion that Charles VI, anxious for a sight of his intended bride, took a fancy to mix in the crowd, mounted on horseback behind Savoisi, his favourite. Pushing forward in order to approach her, he received from the serjeants posted to keep off the populace several sharp blows on the shoulders, which occasioned great mirth in the evening, when the circumstance was related before the queen and her ladies.

Proceeding along the Boulevard towards the east, at a short distance from the _Porte St. Denis_, you arrive at the

PORTE SAINT MARTIN.

Although this triumphal arch cannot be compared to the preceding in magnificence, it was nevertheless executed by the same artists, having been erected in 1674. It is pierced with three openings, the centre one of which is eighteen feet wide, and the two others nine. The whole structure, which is fifty-four feet both in height and breadth, is rusticated, and in the spandles of the arch are four bas-reliefs; the two towards the city represent the capture of Besancon, and the rupture of the triple alliance; and those towards the faubourg, the capture of Lomberg, and the defeat of the Germans under the emblem of an eagle repulsed by the god of war. These bas-reliefs are crowned by an entablature of the Doric order, surmounted by an attic. The _Porte St. Martin_ is the grand entrance into Paris from all parts of Flanders.

At the west extremity of this _North_ Boulevard, facing the _Rue de la Concorde_, stands an unfinished church, called _La Magdeleine_, whose cemetery received not only the bodies of Lewis XVI, his consort, and his sister, but of the greater part of the victims that perished by guillotine.

In the space comprised between _La Magdeleine_ and the _Vieille Rue du Temple_, I speak within compass when I say that there are sometimes to be seen fifty ambulating conjurers of both sexes. They all vary the form of their art. Some have tables, surmounted by flags, bearing mysterious devices; some have wheels, with compartments adapted to every age and profession–One has a robe charged with hieroglyphics, and tells you your fortune through a long tube which conveys the sound to your ear; the other makes you choose in a parcel, a square piece of white paper, which becomes covered with characters at the moment when it is thrown into a jug that appears empty. The secret of this is as follows:

The jug contains a little sulphuret of potash, and the words are written with acetite of lead. The action of the exterior air, on, the sulphuret of potash, disengages from it sulphurated hydrogen gas, which, acting on the oxyd of lead, brings to view the characters that before were invislble.

Here, the philosophic Parisians stop before the movable stall of an astrologer, who has surmounted it with an owl, as an emblem of his magic wisdom. Many of them take this animal for a curiosity imported from foreign countries; for they are seldom able to distinguish a bat from a swallow.

“Does that bird come from China, my dear?” says a lusty dame to her elderly husband, a shopkeeper of the _Rue St. Denis_.–“I don’t know, my love,” replies the other.–“What eyes it has got,” continues she; “it must see a great deal better than we.” “No;” cries a countryman standing by; “though its eyes are so big, it can’t, in broad day, tell a cow from a calf.”

The lady continues her survey of the scientific repository; and the conjurer, with an air of importance, proposes to her to draw, for two _sous_, a motto from Merlin’s wheel. “Take one, my dear,” says the husband; “I wish to know whether you love me.” The wife blushes and hesitates; the husband insists; she refuses, and is desirous of continuing her walk, saying that it is all foolishness.–“What if it is?” rejoins the husband, “I’ve paid, so take a motto to please me.” For this once, the lady is quite at a nonplus; she at last consents, and, with a trembling hand, draws a card from the magic wheel: the husband unrolls it with eagerness and confidence, and reads these words: “_My young lover is and will be constant_.”–“What the devil does this mean?” exclaims the old husband; quite disconcerted. –“‘Tis a mistake,” says the conjurer; “the lady put her hand into the wrong box; she drew the motto from the wheel for _young girls_, instead of that for _married women_. Let _Madame_ draw again, she shall pay nothing more.”–“No, Mr. Conjurer,” replies the shopkeeper, “that’s enough. I’ve no faith in such nonsense; but another time, madam, take care that you don’t put your hand into the wrong box.” The fat lady, with her face as red as fire, follows her husband, who walks off grumbling, and it is easy to see, by their gestures, that the fatal motto has sown discord in the family, and confirmed the shopkeeper’s suspicions.

Independently of these divers into futurity, the corners of streets and walls of public squares, are covered with hand-bills announcing books containing secrets, sympathetic calculations of numbers in the lottery, the explanation of dreams in regard to those numbers, together with the different manners of telling fortunes, and interpreting prognostics.

At all times, the marvellous has prevailed over simple truth, and the Cumaean Sibyl attracted the inquisitive in greater crowds than Socrates, Plato, or any philosopher, had pupils in the whole course of their existence.

In Paris, the sciences are really making a rapid progress, notwithstanding the fooleries of the pseudo-philosophers, who parade the streets, and here, on the _Boulevards_, as well as in other parts of the town, exhibit lessons of physics.

One has an electrifying machine, and phials filled with phosphorus: for two _sous_, he gives you a slight shock, and makes you a present of a small phial.

Farther on, you meet with a _camera obscura_, whose effect surprises the spectators the more, as the objects represented within it have the motion which they do not find in common optics.

There, you see a double refracting telescope: for two _sous_, you enjoy its effect. At either end, you place any object whatever, and though a hat, a board, or a child be introduced between the two glasses, the object placed appears not, on that account, the less clear and distinct to the eye of the person looking through the opposite glass. _Pierre_ has seen, and cannot believe his eyes: _Jacques_ wishes to see, and, on seeing, is in ecstacy: next comes _Fanchon_, who remains stupified. Enthusiasm becomes general, and the witnesses of their delirium are ready to go mad at not having two _sous_ in their pocket.

Another fellow, in short, has a microscope, of which he extols the beauty, and, above all, the effects: he will not describe the causes which produce them, because he is unacquainted with them; but, provided he adapts his lessons to the understanding of those who listen to him, this is all he wants. Sometimes he may be heard to say to the people about him: “Gentlemen, give me a creeping insect, and for one _sou_, I will shew it to you as big as my fist.” Sometimes too, unfortunately for him, the insect which he requires is more easily found among part of his auditors, than the money.

P.S. For the preceding account of the Parisian conjurers I am indebted to M. Pujoulx.

LETTER XXVIII.

_Paris, December 4, 1802_.

In one of your former letters you questioned me on a subject, which, though it had not escaped my notice, I was desirous to avoid, till I should be able to obtain on it some precise information. This I have done; and I hasten to present you with the following sketch, which will afford you a tolerably-correct idea of the

FRENCH FUNDS, AND NATIONAL DEBT.

The booked or consolidated debt is called

TIERS CONSOLIDE,

from its being the consolidated third of the national debt, of which the remaining two-thirds were reimbursed in _Bons de deux Tiers_ in 1797 and 98. It bears interest at five per Cent. payable half yearly at the _Banque de France_. The payment of the interest is at present six months in arrear. But the intention of the government is, by paying off in specie the interest of one whole year, to pay in future as soon as due.

The days of payment are the 1st of Germinal (23d of March) and the 1st of Vendemiaire (23d of September).

This stock purchased at the present price of from 55 to 60 would produce from eight to nine per cent. The general opinion is, that it will rise to 80; and as it is the chief stock, and the standard of the national credit, it is the interest, and must be the constant object of the government to keep up its price.

There is a _Caisse d’amortissement_ or Sinking Fund, for the special purpose of paying off this stock, the effect of which, though not exactly known, must shortly be very considerable. The _Tiers Consolide_ is saleable and transferable at a moment’s warning, and at a trifling expense. It is not subject to taxation, nor open to attachments, either on the principal or interest.

For purchasing, no sort of formality is required; but for receiving interest, or selling, it is necessary to produce a power of attorney. An established rule is, that the seller always retains his right to half a year’s interest at the succeeding stated period of payment, so that he who purchases in the interval between March and September, is entitled to the interest commencing from the 23d of the latter month only; and he who buys between September and March, receives not his first dividend till the 23d of the following September.

TIERS PROVISOIRE.

This is the debt, yet unbooked, which is composed of the provisional claims of the creditors of the emigrants, the contractors, and various other holders of claims on the government.

The _Tiers Provisoire_ is to be booked before the 1st of Vendemiaire, year XII of the Republic (23d of September, 1803), and will from that day bear interest of five per cent; so that, setting aside the danger of any retrospect in the interval, and that of any other change, it is at the present price, of from 15 to 50, cheaper than the _Tiers Consolide_ to which, in about eighteen months, it will, in every respect, be assimilated.

BONS DE DEUX TIERS,

Is paper issued for the purpose of reimbursing the reduced two-thirds of the National Debt, and in the origin rendered applicable to the purchase of national houses and estates in the French Colonies, since ordered to be funded at five per cent; so that the price of this species of paper is entirely subordinate to that of the _Tiers Consolide_ and supposing that to be 60 francs per cent, the _Bon de deux Tiers_ would be worth 3 francs. There are no hopes, however distant, that the government will ever restore the _Bons de deux Tiers_ to their original value.

BONS DE TROIS QUARTS,

So called from having been issued for the purpose of reimbursing the three-fourths of the interest of the fifth and sixth years of the Republic (1797 to 1798). They are, in all respects, assimilated to the preceding stock.

COUPONS D’EMPRUNT FORCE.

These are the receipts given by the government to the persons who contributed to the various forced loans. This paper is likewise assimilated to the two last-mentioned species, with this difference, that it is generally considered as a less sacred claim, and is therefore liquidated with greater difficulty. The holders of these three claims are hastening the liquidation and consolidation of them, and they are evidently right in so doing.

QUARTS AU NOM ET QUART NUMERAIRE.

This paper is thus denominated from its having been issued for the purpose of reimbursing the fourth of the dividend of the fifth and sixth years of the Republic (1797 to 1798). It is generally thought that this very sacred claim on the government will be funded _in toto_.

RACHATS DE RENTE,

Is the name given to the redemption of perpetual annuities due by individuals to the government, on a privileged mortgage on landed estates; the said annuities having been issued by the government in times of great distress, for the purpose of supplying immediate and urgent events.

This paper is not only a mere government security, but is also specially mortgaged on the estates of the person who owes the annuity to the government, and who is, at any time, at liberty to redeem it at from twenty to twenty-five years purchase. Claims of this description, mortgaged on most desirable estates near the metropolis, might be obtained for less than 60 per cent; which, at the interest of five per cent, and with the additional advantage, in some instances, of the arrears of one or two years, would produce between eight and nine per cent.

Next to the _Tiers Consolide_, _Rachats de Rente_ are particularly worthy of attention; indeed, this debt is of so secure and sacred a nature, that the government has appropriated a considerable part of it to the special purpose and service of the hospitals and schools; two species of institutions which ought ever to be sheltered from all vicissitudes, and which, whatever may be the form or character of the government, must be supported and respected.

ACTIONS DE LA BANQUE DE FRANCE.

These are shares in the National Bank of France, which are limited to the number of thirty thousand, and were originally worth one thousand francs each; they therefore form a capital of 30,000,000 francs, or L1,250,000 sterling, and afford as follows:

1. A dividend which at present, and since the foundation, has averaged from eight to ten per cent, arising from the profits on discount.

2. A profit of from four to five per cent more on the discount of paper, which every holder of an _action_ or share effects at the Bank, at the rate of one-half per cent per month, or six per cent for the whole year.

The present price of an _action_ is about twelve hundred francs, which may be considered as producing:

80 francs; dividend paid by the Bank on each share.

30 francs; certain profits according to the present discount of bills.

110 francs; per share 10-10/11 per cent.

_Actions de la Banque de France_, though subject, in common with all stocks, to the influence of the government, are, however, far more independent of it than any other, and are the more secure, as the National Bank is not only composed of all the first bankers, but also supported by the principal merchants in the country. This investment is at present very beneficial, and certainly promises great eventual advantages. The dividends are paid in two half-yearly instalments.

ACTIONS DE LA CAISSE DE COMMERCE,
ET
ACTIONS DU COMPTOIR COMMERCIAL.

The _Caisse de Commerce_ and the _Comptoir Commercial_ are two establishments on the same plan, and affording, as nearly as possible, the same advantages as the _Banque de France_: the only difference is as follows:

1. These last two are, as far as any commercial establishment can be, independent of the government, and are more so than the _Banque de France_, as the _actions_ or shares are not considered as being a public fund.

2. The _Actions de la Caisse de Commerce_ limited in number to two thousand four hundred, originally cost 5000 francs, and are now worth 6000. The holder of each _action_ moreover, signs circulating notes to the amount of five thousand francs, which form the paper currency of the Bank, and for the payment of which the said holder would be responsible, were the Bank to stop payment.

3. The _Actions du Comptoir Commercial_ are still issued by the administrators of the establishment. The number of _actions_ is not as yet limited: the price of each _action_ is fifteen hundred francs (_circa_ L60 sterling), and the plan and advantages are almost entirely similar to those of the two last-mentioned institutions.

The _Banque de France_ the _Caisse de Commerce_, and the _Comptoir Commercial_, discount three times a week. The first, the paper of the banking-houses and the principal commercial houses holding bank-stock; the second, the paper of the wholesale merchants of every class; and the third, the paper of retailers of all descriptions; and in a circulation which amounts to 100 millions of francs (_circa_ 4 millions sterling) per month, there have not, it is said, been seen, in the course of the last month, protests to the amount of 20,000 francs.

BONS DE L’AN VII ET DE L’AN VIII.

Is a denomination applied to paper, issued for the purpose of paying the dividend of the debt during the seventh and eighth years of the Republic.

These _Bons_ are no further deserving of notice than as they still form a part of the floating debt, and are an article of the supposed liquidation at the conclusion of the present summary. It is therefore unnecessary to say more of them.

ARRERAGES DES ANNEES V ET VI.

These are the arrears due to such holders of stock as, during the fifth and sixth years of the Republic, had not their dividend paid in _Bons de trois Quarts_ and _Quart Numeraire_, mentioned in Art. IV and VI of this sketch. I also notice them as forming an essential part of the above-mentioned supposed liquidation, at the end of the sketch, and shall only add that it is the general opinion that they will be funded.

To the preceding principal investments and claims on the government, might be added the following:

_Coupes de Bois.
Cedules Hypothecaires.
Rescriptions de Domaines Nationaux. Actions de la Caisse des Rentiers.
Actions des Indes.
Bons de Moines et Religieuses.
Obligations de Receveur._

However, they are almost entirely unworthy of attention, and afford but occasionally openings for speculation. Of the last, (_Obligations de Receveur_) it may be necessary to observe that they are monthy acceptances issued by the Receivers-General of all the departments, which the government has given to the five bankers, charged with supplying money for the current service, as security for their advances, and which are commonly discounted at from 7/8 to one per cent per month.

I shall terminate this concise, though accurate sketch of the French funds by a general statement of the National Debt, and by an account of an annuity supposed to be held by a foreigner before the revolution, and which, to become _Tiers Consolide_, must undergo the regular process of reduction and liquidation.

_National Debt_.

_Francs._

Consolidated Stock (_Tiers Consolide_) 38,750,000 Floating Debt, to be consolidated, about 23,000,000 Life Annuities 20,000,000 Ecclesiastical, Military, and other Pensions 19,000,000 ———–
100,750,000

The value of a _franc_ is something more than 10_d_. English money: according to which calculation, the National Debt of France is in round numbers no more than L4,000,000

Supposed liquidation of an annuity of L100. sterling, or 2,400 _livres tournois_ held by a foreigner before the war and yet unliquidated.

_Francs._
Original Annuity 2,400 _Tiers Consolide
Bons de deux Tiers_ 2,400

The actual value of the whole, including the arreared dividends up to the present day is as follows:

_Francs._
_Tiers Consolide_ as above,
800 francs sold at 60 francs 9,600 _Bons de deux Tiers_, ditto
1600 francs sold at 3 francs 48

Arrears from the first year of the Republic to the fifth ditto (23d of September, 1792 to the 23d of September, 1797) are to be paid in Assignats, and are of no value.

Arrears of the fifth and sixth years supposed to be liquidated so as to afford 25 per cent of their nominal value, about 600 Arrears in _Bons_ for the year VII, valued at 50 per cent loss 400 Arrears of the year VIII, due in _Bons_, valued at 25 per cent loss 600 Arrears of the year IX, due in specie 600 Arrears of the year X, of which three months are nearly elapsed 200 —–
Total of the principal and interest of an original annuity of 2,400 livres, reduced (according to law) to 800 12,248 Or in sterling, _circa_ L500 ——

I had almost forgot that you have asked me more than once for an explanation of the exact value of a modern franc. The following you may depend on as correct.

The _unite monetaire_ is a piece of silver of the weight of five _grammes_, containing a tenth of alloy and nine tenths of pure silver. It is called _Franc_, and is subdivided into _Decimes_, and _Centimes_: its value is to that of the old _livre tournois_ in the proportion of 81 to 80.

_Value in livres tournois._ liv. sous. deniers. Franc 1 0 3
Decime 2 0.3 Centime 2.43

LETTER XXIX.

_Paris, December 7, 1801_.

At the grand monthly parade of the 15th of last Brumaire, I had seen the First Consul chiefly on horseback: on which account, I determined to avail myself of that of the 15th of the present month of Frimaire, in order to obtain a nearer view of his person. On these occasions, none but officers in complete uniform are admitted into the palace of the _Tuileries_, unless provided with tickets, which are distributed to a certain number at the discretion of the governor. General A—-y sent me tickets by ten o’clock this morning, and about half after eleven, I repaired to the palace.

On reaching the vestibule from the garden of the _Tuileries_, you ascend the grand stair-case to the left, which conducts you to the guard-room above it in the centre pavilion. Hence you enter the apartments of the Chief Consul.

On the days of the grand parade, the first room is destined for officers as low as the rank of captain, and persons admitted with tickets; the second, for field-officers; the third, for generals; and the fourth, for councellors of state, and the diplomatic corps. To the east, the windows of these apartments command the court-yard where the troops are assembled; while to the west, they afford a fine view of the garden of the _Tuileries_ and the avenue leading to the _Barriere de Chaillot_. In the first-room, those windows which overlook the parade were occupied by persons standing five or six in depth, some of whom, as I was informed, had been patient enough to retain their places for the space of two or three hours, and among them were a few ladies. Here, a sort of lane was formed from door to door by some grenadiers of the consular guard. I found both sides of this lane so much crowded, that I readily accepted the invitation of a _chef de brigade_ of my acquaintance to accompany him into the second room; this, he observed, was no more than a privilege to which I was entitled. This room was also crowded; but it exhibited a most brilliant _coup d’oeil_ from the great variety and richness of the uniforms of the field-officers here assembled, by which mine was entirely eclipsed. The lace or embroidery is not merely confined to the coats, jackets, and pantaloons, but extends to the sword belts, and even to the boots, which are universally worn by the military. Indeed, all the foreign ambassadors admit that none of the levees of the European courts can vie in splendour with those of the Chief Consul.

My first care on entering this room, was to place myself in a situation which might afford me an uninterrupted view of BONAPARTE. About twenty-five minutes past twelve, his sortie was announced by a _huissier_. Immediately after, he came out of the inner apartment, attended by several officers of rank, and, traversing all the other rooms with a quick step, proceeded, uncovered, to the parade, the order of which I have described to you in a former letter. On the present occasion, however, it lasted longer on account of the distribution of arms of honour, which the First Consul presents with his own hand to those heroes who have signalized themselves in fighting their country’s battles.

This part of the ceremony, which was all that I saw of the parade yesterday, naturally revived in my mind the following question, so often agitated: “Are the military successes of the French the consequences of a new system of operations and new tactics, or merely the effect of the blind courage of a mass of men, led on by chiefs whose resolutions were decided by presence of mind alone and circumstances?”

The latter method of explaining their victories has been frequently adopted, and the French generals have been reproached with lavishing the lives of thousands for the sake of gaining unimportant advantages, or repairing inconsiderable faults.

Sometimes, indeed, it should seem that a murderous obstinacy has obtained them successes to which prudence had not paved the way; but, certainly, the French can boast, too, of memorable days when talent had traced the road to courage, when vast plans combined with judgment, have been followed with perseverance, when resources have been found in those awful moments in which Victory, hovering over a field of carnage, leaves the issue of the conflict doubtful, till a sudden thought, a ray of genius, inclines her in favour of the general, thus inspired, and then art may be said to triumph over art, and valour over valour.

And whence came most of these generals who have shewn this inspiration, if I may so term it? Some, as is well known, emerged from the schools of jurisprudence; some, from the studies of the arts; and others, from the counting-houses of commerce, as well as from the lowest ranks of the army. Previously to the revolution it was not admitted, in this country at least, that such sources could furnish men fit to be one day the arbiters of battles and of the fate of empires. Till that period, all those Frenchmen who had distinguished themselves in the field, had devoted themselves from their infancy to the profession of arms, were born near the throne of which they constituted the lustre, or in that cast who arrogated to themselves the exclusive right of defending their country. The glory of the soldier was not considered; and a private must have been more than a hero to be as much remarked as a second lieutenant.

Men of reflection, seeing the old tactics fail against successful essays, against enthusiasm whose effects are incalculable, studied whether new ideas did not direct some new means; for it would have been no less absurd to grant all to valour than to attribute all to art. But to return to the main subject of my letter.

In about three quarters of an hour, BONAPARTE came back from the parade, with the same suite as before, that is, preceded by his aides-de-camp, and followed by the generals and field-officers of the consular guard, the governor of the palace, the general commanding the first military division, and him at the head of the garrison of Paris. For my part, I scarcely saw any one but himself; BONAPARTE alone absorbed my whole attention.

A circumstance occurred which gave me an opportunity of observing the Chief Consul with critical minuteness. I had left the second room, and taken my station in front of the row of gazers, close to the folding-doors which opened into the first room, in order to see him receive petitions and memorials. There was no occasion for BONAPARTE to cast his eyes from side to side, like the _Grand Monarque_ coming from mass, by way of inviting petitioners to approach him. They presented themselves in such numbers that, after he put his hat under his arm, both his hands were full in a moment. To enable him to receive other petitions, he was under the necessity of delivering the first two handfuls to his aides-de-camp. I should like to learn what becomes of all these papers, and whether he locks them up in a little desk of which he alone has the key, as was the practice of Lewis XIV.

When BONAPARTE approached the door of the second room, he was effectually impeded in his progress by a lady, dressed in white, who, throwing herself at his feet, gracefully presented to him a memorial, which he received with much apparent courtesy; but still seemed, by his manner, desirous to pass forward. However, the crowd was so considerable and so intent on viewing this scene, that the grenadiers, posted near the spot where it took place, were obliged to use some degree of violence before they could succeed in clearing a passage.

Of all the portraits which you and I have seen of BONAPARTE in England, that painted by Masquerier, and exhibited in Piccadilly, presents the greatest resemblance. But for his side-face, you may, for twelve _sous_, here procure a perfect likeness of it at almost every stall in the street. In short, his features are such as may, in my opinion, be easily copied by any artist of moderate abilities. However incompetent I may be to the task, I shall, as you desire it, attempt to _sketch_ his person; though I doubt not that any French _commis_, in the habit of describing people by words, might do it greater justice.

BONAPARTE is rather below the middle size, somewhat inclined to stoop, and thin in person; but, though of a slight make, he appears to be muscular, and capable of fatigue; his forehead is broad, and shaded by dark brown hair, which is cut short behind; his eyes, of the same colour, are full, quick, and prominent; his nose is aquiline; his chin, protuberant and pointed; his complexion, of a yellow hue; and his cheeks, hollow. His countenance, which is of a melancholy cast, expresses much sagacity and reflection: his manner is grave and deliberate, but at the same time open. On the whole, his aspect announces him to be of a temperate and phlegmatic disposition; but warm and tenacious in the pursuit of his object, and impatient of contradiction. Such, at least, is the judgment which I should form of BONAPARTE from his external appearance.

While I was surveying this man of universal talent, my fancy was not idle. First, I beheld him, flushed with ardour, directing the assault of the _tete-de-pont_ at _Lodi_; next dictating a proclamation to the Beys at _Cairo_, and styling himself the friend of the faithful; then combating the ebullition of his rage on being foiled in the storming of _Acre_ I afterwards imagined I saw him like another CROMWELL, expelling the Council of Five Hundred at _St. Cloud_, and seizing on the reins of government: when established in power, I viewed him, like HANNIBAL, crossing the _Alps_, and forcing victory to yield to him the hard-contested palm at _Marengo_; lastly, he appeared to my imagination in the act of giving the fraternal embrace to Caprara, the Pope’s legate, and at the same time holding out to the see of Rome the re-establishment of catholicism in France.

Voltaire says that “no man ever was a hero in the eyes of his _valet-de-chambre_.” I am curious to know whether the valet of the First Consul be an exception to this maxim. As to BONAPARTE’S public character, numerous, indeed, are the constructions put on it by the voice of rumour: some ascribe to him one great man of antiquity as a model; some, another; but many compare him, in certain respects, to JULIUS CAESAR, as imitators generally succeed better in copying the failings than the good qualities of their archetypes, let us hope, supposing this comparison to be a just one, that the Chief Consul will, in one particular, never lose sight of the generous clemency of that illustrious Roman–who, if any spoke bitterly against him, deemed it sufficient to complain of the circumstance publicly, in order to prevent them from persevering in the use of such language. “_Acerbe loquentibus satis habuit pro concione denunciare, ne perseverarent._”

“The character of a great man,” says a French political writer, who denies the justness of this comparison, “like the celebrated picture of Zeuxis, can be formed only of a multitude of imitations, and it is as little possible for the observer to find for him a single model in history, as it was for the painter of Heraclea to discover in nature that of the ideal beauty he was desirous of representing[1].”–“The French revolution,” observes the same author, a little farther on, “has, perhaps, produced more than one CAESAR, or one CROMWELL; but they have disappeared before they have had it in their power to give full scope to their ambition[2].” Time will decide on the truth and impartiality of these observations of M. HAUTERIVE.

As at the last monthly parade, BONAPARTE was habited in the consular dress, that is, a coat of scarlet velvet, embroidered with gold: he wore jockey boots, carelessly drawn over white cotton pantaloons, and held in his hand a cocked hat, with the national cockade only. I say only, because all the generals wear hats trimmed with a splendid lace, and decorated with a large, branching, tricoloured feather.

After the parade, the following, I understand, is the _etiquette_ usually observed in the palace. The Chief Consul first gives audience to the general-officers, next to the field-officers, to those belonging to the garrison, and to a few petitioners. He then returns to the fourth apartment, where the counsellors of state assemble. Being arrived there, notice is sent to the diplomatic corps, who meet in a room on the ground-floor of the palace, called _La Salle des Ambassadeurs_. They immediately repair to the levee-room, and, after paying their personal respects to the First Consul, they each introduce to him such persons, belonging to their respective nations, as they may think proper. Several were this day presented by the Imperial, Russian, and Danish ambassadors: the British minister, Mr. Jackson, has not yet presented any of his countrymen nor will he, in all probability, as he is merely a _locum tenens_. After the levee, the Chief Consul generally gives a dinner of from one hundred and fifty to two hundred covers, to which all those who have received arms of honour, are invited.

Before I left the palace, I observed the lady above-mentioned, who had presented the memorial, seated in one corner of the room, all in tears, and betraying every mark of anxious grief: she was pale, and with her hair dishevelled; but, though by no means handsome, her distressed situation excited a lively interest in her favour. On inquiry, I was informed that it was Madame Bourmont, the wife of a Vendean chief, condemned to perpetual imprisonment for a breach of the convention into which he had jointly entered with the agents of the French government.

Having now accomplished my object, when the crowd was somewhat dispersed, I retired to enjoy the fine weather by a walk in the

CHAMPS ELYSEES.

After traversing the garden of the _Tuileries_ and the _Place de la Concorde_, from east to west, you arrive at this fashionable summer promenade. It is planted with trees in quincunx; and although, in particular points of view, this gives it a symmetrical air; yet, in others, the hand of art is sufficiently concealed to deceive the eye by a representation of the irregular beauties of nature. The French, in general, admire the plan of the garden of the _Tuileries_, and think the distribution tasteful; but, when the trees are in leaf, all prefer the _Champs Elysees_, as being more rural and more inviting. This spot, which is very extensive, as you may see by the Plan of Paris, has frequently been chosen for the scene of national fetes, for which it is, in many respects, better calculated than the _Champ de Mars_. However, from its proximity to the great road, the foliage is imbrowned by the dust, and an idea of aridity intrudes itself on the imagination from the total absence of water. The sight of that refreshing element recreates the mind, and communicates a powerful attraction even to a wilderness.

In fact, at this season of the year, the _Champs Elysees_ resemble a desert; but, in summer, they present one of the most agreeable scenes that can be imagined. In temporary buildings, of a tasteful construction, you then find here _restaurateurs_, &c, where all sorts of refreshments may be procured, and rooms where “the merry dance” is kept up with no common spirit. Swings and roundabouts are also erected, as well as different machines for exercising the address of those who are fond of running at a ring, and other sports. Between the road leading to _l’Etoile_, the _Bois de Boulogne_, &c, and that which skirts the Seine, formerly called the _Cours de la Reine_, is a large piece of turf, where, in fine weather, and especially on Sundays, the Parisian youths amuse themselves at foot-ball, prison-bars, and long tennis. Here, too, boys and girls assemble, and improve their growth and vigour by dancing, and a variety of healthful diversions; while their relations and friends, seated on the grass, enjoy this interesting sight, and form around each group a circle which is presently increased by numbers of admiring spectators.

Under the shade of the trees, on the right hand, as you face the west, an immense concourse of both sexes and all ages is at the same time collected. Those who prefer sitting to walking occupy three long rows of chairs, set out for hire, three deep on each side, and forming a lane through which the great body of walkers parade. This promenade may then be said to deserve the appellation of _Elysian Fields_, from the number of handsome women who resort hither. The variety of their dresses and figures, the satisfaction which they express in seeing and being seen, their anxious desire to please, which constitutes their happiness and that of our sex, the triumph which animates the countenance of those who eclipse their rivals; all this forms a diversified and amusing picture, which fixes attention, and gives birth to a thousand ideas respecting the art and coquetry of women, as well as what beauty loses or gains by adopting the ever-varying caprices of fashion. Here, on a fine summer’s evening, are now to be seen, I am told, females displaying almost as much luxury of dress as used to be exhibited in the days of the monarchy. The essential difference is that the road in the centre is not now, as in those times, covered with brilliant equipages; though every day seems to produce an augmentation of the number of private carriages. At the entrance of the _Champs Elysees_ are placed the famous groups of Numidian horses, held in by their vigorous and masterly conductors, two _chefs d’oeuvre_ of modern art, copied from the group of _Monte-Cavallo_ at Rome. By order of the Directory, these statues were brought from _Marly_, where they ornamented the terrace. They are each of them cut out of a block of the most faultless Carrara marble. On the pedestal on which they stood at that once-royal residence, was engraved the name of COSTOU, 1745, without any Christian name: but, as there were two brothers of that name, Nicolas and Guillaume, natives of Lyons, and both excellent sculptors, it is become a matter of doubt by which of them these master-pieces were executed; though the one died in 1733, and the other in 1746. It is conjectured, however, that fraternal friendship induced them to share the fame arising from these capital productions, and that they worked at them in common till death left the survivor the task of finishing their joint labour.

To whichever of the two the merit of the execution may be due, it is certain that the fiery, ungovernable spirit of the horses, as well as the exertion of vigour, and the triumph of strength in their conductors, is very happily expressed. The subject has frequently afforded a comparison to politicians. “These statues,” say some observers, “appear to be the emblem of the French people, over whom it is necessary to keep a tight hand.”–“It is to be apprehended,” add others, “that the reins, which the conductors hold with so powerful an arm, are too weak to check these ungovernable animals.”

[Footnote 1: _De l’Etat de la France, a la fin de l’an VIII._ page 270.]

[Footnote 2: Ibid. page 274.]

LETTER XXX.

_Paris, Dccemler 8, 1801_.

You desire that I will favour you with a particular account of the means employed to transfer from pannel to canvas those celebrated pictures which I mentioned in my letter of the 13th ult deg.. Like many other, things that appear simple on being known, so is this process; but it is not, on that account, the less ingenious and difficult in execution.

Such is the great disadvantage of the art of painting that, while other productions of genius may survive the revolution of ages, the creations of the pencil are intrusted to perishable wood or canvas. From the effect of heat, humidity, various exhalations to which they may be carelessly exposed, and even an unperceived neglect in the priming of the pannel or cloth, master-pieces are in danger of disappearing for ever. Happy, then, is it for the arts that this invaluable discovery has been lately brought to so great a degree of perfection, and that the restoration of several capital pictures having been confided to men no less skilful than enlightened, they have thus succeeded in rescuing them from approaching and inevitable destruction.

Of all the fruits of the French conquests, not a painting was brought from Lombardy, Rome, Florence, or Venice, that was not covered with an accumulation of filth, occasioned by the smoke of the wax-tapers and incense used in the ceremonies of the catholic religion. It was therefore necessary to clean and repair them; for to bring them to France, without rendering them fit to be exhibited, would have answered no better purpose than to have left them in Italy. One of those which particularly fixed the attention of the Administration of the CENTRAL MUSEUM OF THE ARTS, was the famous picture by RAPHAEL, taken from the _Chiesa delle Contesse_ at Foligno, and thence distinguished by the appellation of

MADONNA DI FOLIGNO.

This _chef d’oeuvre_ was in such a lamentable state of decay, that the French commissioners who selected it, wereunder the necessity of pasting paper over it in order to prevent the scales, which curled up on many parts of its surface, from falling off during its conveyance to to Paris. In short, had not the saving hand of art interposed, this, and other monuments of the transcendent powers of the Italian school, marked by the corroding tooth of Time, would soon have entirely perished.

As this picture could not be exhibited in its injured state, the Administration of the Museum determined that it should be repaired. They accordingly requested the Minister of the Interior to cause this important operation to be attended by Commissioners chosen from the National Institute. The Class of Physical and Mathematical Sciences of that learned Society appointed to this task, GUYTON and BERTHOLLET, chymists, and the Class of Literature and Fine Arts named VINCENT and TAUNAY, painters.

These Commissioners, in concert with the Administration, having ascertained the state of the picture, it was unanimously agreed that the only mean of saving it would be to remove it from the worm-eaten pannel on which it was painted. It was, besides, necessary to ascertain the safety of the process, in order that, without, exciting the apprehensions of the lovers of the arts, it might be applied to other pictures which required it.

The Report of the four Commissioners before named, respecting the restoration of the _Madonna di Foligno_, has been adopted by the Classes to which they respectively belong, and is to be made to the National Institute at their next public sitting on the 15th of Nivose (5th of January, 1802).

In order to make you perfectly acquainted with the whole of the process, I shall transcribe, for your satisfaction, that part of the Report immediately connected with the art of restoring damaged or decayed paintings. This labour, and the success by which it was attended, are really a memorial of what the genius and industry of the French can achieve. To all those who, like you, possess valuable collections, such information cannot but be particularly interesting.

“The desire of repairing the outrages of time has unfortunately accelerated the decay of several pictures by coarse repainting and bad varnish, by which much of the original work has been covered. Other motives, too, have conspired against the purity of the most beautiful compositions: a prelate has been seen to cause a discordant head of hair to conceal the charms of a Magdalen.”

“Nevertheless, efficacious means of restoration have been discovered: a painting, the convass of which is decayed, or the pannel worm-eaten, is transferred to a fresh cloth; the profane touches of a foreign pencil are made to disappear; the effaced strokes are reinserted with scrupulous nicety; and life is restored to a picture which was disfigured, or drawing near to its end. This art has made great progress, especially in Paris, and experienced recent improvement under the superintendance of the Administration of the Museum; but it is only with a religious respect that any one can venture on an operation which may always give rise to a fear of some change in the drawing or colouring, above all when the question is to restore a picture by RAPHAEL.”[1]

“The restoration may be divided into two parts; the one, which is composed of mechanical operations, whose object is to detach the painting from the ground on which it is fixed, in order to transfer it to a fresh one; the other, which consists in cleaning the surface of the painting from every thing that can tarnish it, in restoring the true colour of the picture, and in repairing the parts destroyed, by tints skilfully blended with the primitive touches. Thence the distinctive division of the mechanical operations, and of the art of painting, which will be the object of the two parts of this Report. The former particularly engaged the attention of the Commissioners of the _Class of Sciences_; and the latter, which required the habit of handling a scientific pencil, fell to the share of the Commissioners of the _Class of Fine Arts_”

FIRST PART.

“Although the mechanical labour is subdivided into several operations, it was wholly intrusted to Citizen HACQUINS, on whose intelligence, address, and skill, it is our duty to bestow every commendation.”

“The picture represents the Virgin Mary, the infant Jesus, St. John, and several other figures of different sizes. It was painted on a pannel of 1-1/2 inches in thickness: a crack extended from its circumference to the left foot of the infant Jesus: it was 4-1/2 lines wide at its upper part, and diminished progressively to the under: from this crack to the right hand border, the surface formed a curve whose greatest bend was 2 inches 5-1/2 lines, and from the crack to the other border, another curve bending 2 inches. The picture was scaling off in several places, and a great number of scales had already detached themselves; the painting was, besides, worm-eaten in many parts.”

“It was first necessary to render the surface even: to effect this, a gauze was pasted on the painting, and the picture was turned on its face. After that, Citizen HACQUINS made, in the thickness of the wood, several grooves at some distance from each other, and extending from the upper extremity of the bend to the place where the pannel presented a more level surface. Into these grooves he introduced little wooden wedges; he then covered the whole surface with wet cloths, which he took care to remoisten. The action of the wedges, which swelled by the moisture against the softened pannel, compelled the latter to resume its primitive form: both edges of the crack before-mentioned being brought together, the artist had recourse to glue, in order to unite the two separated parts. During the desiccation, he laid oak bars across the picture, for the purpose of keeping the pannel in the form which he wished it to assume.”

“The desiccation being effected slowly, the artist applied a second gauze on the first, then successively two thicknesses of grey blotting paper.”

“This preparation (which the French artists call _cartonnage_) being dry, he laid the picture with its face downward on a table, to which he carefully confined it; he next proceeded to the separation of the wood on which the painting was fixed.”

“The first operation was executed by means of two saws, one of which acted perpendicularly; and the other, horizontally: the work of the two saws being terminated, the pannel was found to be reduced to the thickness of 4-1/2 lines. The artist then made use of a plane of a convex form on its breadth: with this instrument he planed the pannel in an oblique direction, in order to take off very short shavings, and to avoid the grain of the wood: by these means he reduced the pannel to 2/3 of a line in thickness. He then took a flat plane with a toothed iron, whose effect is much like that of a rasp which reduces wood into dust: in this manner he contrived to leave the pannel no thicker than a sheet of paper.”

“In that state, the wood was successively moistened with clear water, in small compartments, which disposed it to detach itself: then the artist separated it with the rounded point of a knife-blade.”

“The picture, thus deprived of all the wood, presented to the eye every symptom of the injury which it had sustained. It had formerly been repaired; and, in order to fasten again the parts which threatened to fall off, recourse had been had to oils and varnishes. But those ingredients passing through the intervals left by such parts of the picture as were reduced to curling scales, had been extended in the impression to the paste, on which the painting rested, and had rendered the real restoration more difficult, without producing the advantageous effect which had thence been expected.”

“The same process would not serve for separating the parts of the impression which had been indurated by varnishes, and those where the paste had remained unmixed: it was necessary to moisten the former for some time in small compartments: when they were become sufficiently softened, the artist separated them with the blade of his knife: the others were more easily separated by moistening them with a flannel, and rubbing them slightly. It required all the address and patience of Citizen HACQUINS to leave nothing foreign to the work of the original painter: at length the outline of RAPHAEL was wholly exposed to view, and left by itself.”

“In order to restore a little suppleness to the painting, which was too much dried, it was rubbed all over with carded cotton imbibed with oil, and wiped with old muslin: then white lead, ground with oil, was substituted in the room of the impression made by paste, and fixed by means of a soft brush.”

“After being left to dry for three months, a gauze was glued on the impression made by oil; and on the latter, a fine canvas.”

“When this canvas was dry, the picture was detached from the table, and turned, in order to remove the _cartonnage_ from it with water; this operation being effected, the next proceeding was to get rid of the appearance of the inequalities of the surface arising from the curling up of its parts: for that purpose, the artist successively applied on the inequalities, flour-paste diluted. Then having put a greasy paper on the moistened part, he laid a hot iron on the parts curled up, which became level: but it was not till after he had employed the most unequivocal signs to ascertan the suitable degree of heat, that he ventured to come near the painting with the iron.”

“It has been seen that the painting, disengaged from its impression made by paste and from every foreign substance, had been fixed on an impression made by oil, and that a level form had been given to the uneven parts of its surface. This master-piece was still to be solidly applied on a new ground: for that, it was necessary to paste paper over it again, detach it from the temporary gauze which had been put on the impression, add a new coat of oxyde of lead and oil, apply to it a gauze rendered very supple, and on the latter, in like manner done over with a preparation of lead, a raw cloth, woven all in one piece, and impregnated, on its exterior surface, with a resinous substance, which was to confine it to a similar canvass fixed on the stretching-frame. This last operation required that the body of the picture, disengaged from its _cartonnage_, or paper facing, and furnished with a new ground, should be exactly applied to the cloth done over with resinous substances, at the same time avoiding every thing that might hurt it by a too strong or unequal extension, and yet compelling every part of its vast extent to adhere to the cloth strained on the stretching-frame. It is by all these proceedings that the picture has been incorporated with a ground more durable than the original one, and guarded against the accidents which had produced the injuries. It was then subjected to restoration, which is the object of the second part of this Report.”

“We have been obliged to confine ourselves to pointing out the successive operations, the numerous details of which we have attended; we have endeavoured to give an idea of this interesting art, by which the productions of the pencil may be indefinitely perpetuated, in order only to state the grounds of the confidence that it has appeared to us to merit.”

SECOND PART.

“After having given an account of the mechanical operations, employed with so much success in the first part of the restoration of the picture by RAPHAEL, it remains for us to speak of the second, the restoration of the painting, termed by the French artists