While we have been indulging in this discussion, the omnibus has gayly conducted us across the water; and le garde qui veille a la porte du Louvre ne défend pas our entry.
What a paradise this gallery is for French students, or foreigners who sojourn in the capital! It is hardly necessary to say that the brethren of the brush are not usually supplied by Fortune with any extraordinary wealth, or means of enjoying the luxuries with which Paris, more than any other city, abounds. But here they have a luxury which surpasses all others, and spend their days in a palace which all the money of all the Rothschilds could not buy. They sleep, perhaps, in a garret, and dine in a cellar; but no grandee in Europe has such a drawing-room. Kings' houses have, at best, but damask hangings, and gilt cornices. What are these to a wall covered with canvas by Paul Veronese, or a hundred yards of Rubens? Artists from England, who have a national gallery that resembles a moderate-sized gin-shop, who may not copy pictures, except under particular restrictions, and on rare and particular days, may revel here to their hearts' content. Here is a room half a mile long, with as many windows as Aladdin's palace, open from sunrise till evening, and free to all manners and all varieties of study: the only puzzle to the student is to select the one he shall begin upon, and keep his eyes away from the rest.
Fontaine's grand staircase, with its arches, and painted ceilings and shining Doric columns, leads directly to the gallery; but it is thought too fine for working days, and is only opened for the public entrance on Sabbath. A little back stair (leading from a court, in which stand numerous bas-reliefs, and a solemn sphinx, of polished granite,) is the common entry for students and others, who, during the week, enter the gallery.
Hither have lately been transported a number of the works of French artists, which formerly covered the walls of the Luxembourg (death only entitles the French painter to a place in the Louvre); and let us confine ourselves to the Frenchmen only, for the space of this letter.
I have seen, in a fine private collection at St. Germain, one or two admirable single figures of David, full of life, truth, and gayety. The color is not good, but all the rest excellent; and one of these so much-lauded pictures is the portrait of a washer-woman. "Pope Pius," at the Louvre, is as bad in color as remarkable for its vigor and look of life. The man had a genius for painting portraits and common life, but must attempt the heroic;—failed signally; and what is worse, carried a whole nation blundering after him. Had you told a Frenchman so, twenty years ago, he would have thrown the démenti in your teeth; or, at least, laughed at you in scornful incredulity. They say of us that we don't know when we are beaten: they go a step further, and swear their defeats are victories. David was a part of the glory of the empire; and one might as well have said then that "Romulus" was a bad picture, as that Toulouse was a lost battle. Old-fashioned people, who believe in the Emperor, believe in the Théâtre Français, and believe that Ducis improved upon Shakspeare, have the above opinion. Still, it is curious to remark, in this place, how art and literature become party matters, and political sects have their favorite painters and authors.
Nevertheless, Jacques Louis David is dead, he died about a year after his bodily demise in 1825. The romanticism killed him. Walter Scott, from his Castle of Abbotsford, sent out a troop of gallant young Scotch adventurers, merry outlaws, valiant knights, and savage Highlanders, who, with trunk hosen and buff jerkins, fierce two-handed swords, and harness on their back, did challenge, combat, and overcome the heroes and demigods of Greece and Rome. Notre Dame à la rescousse! Sir Brian de Bois Guilbert has borne Hector of Troy clear out of his saddle. Andromache may weep: but her spouse is beyond the reach of physic. See! Robin Hood twangs his bow, and the heathen gods fly, howling. Montjoie Saint Denis! down goes Ajax under the mace of Dunois; and yonder are Leonidas and Romulus begging their lives of Rob Roy Macgregor. Classicism is dead. Sir John Froissart has taken Dr. Lemprière by the nose, and reigns sovereign.
Of the great pictures of David the defunct, we need not, then, say much. Romulus is a mighty fine young fellow, no doubt; and if he has come out to battle stark naked (except a very handsome helmet), it is because the costume became him, and shows off his figure to advantage. But was there ever anything so absurd as this passion for the nude, which was followed by all the painters of the Davidian epoch? And how are we to suppose yonder straddle to be the true characteristic of the heroic and the sublime? Romulus stretches his legs as far as ever nature will allow; the Horatii, in receiving their swords, think proper to stretch their legs too, and to thrust forward their arms, thus,—
[Drawing omitted]
Romulus's is in the exact action of a telegraph; and the Horatii are all in the position of the lunge. Is this the sublime? Mr. Angelo, of Bond Street, might admire the attitude; his namesake, Michel, I don't think would.
The little picture of "Paris and Helen," one of the master's earliest, I believe, is likewise one of his best: the details are exquisitely painted. Helen looks needlessly sheepish, and Paris has a most odious ogle; but the limbs of the male figure are beautifully designed, and have not the green tone which you see in the later pictures of the master. What is the meaning of this green? Was it the fashion, or the varnish? Girodet's pictures are green; Gros's emperors and grenadiers have universally the jaundice. Gerard's "Psyche" has a most decided green-sickness; and I am at a loss, I confess, to account for the enthusiasm which this performance inspired on its first appearance before the public.
In the same room with it is Girodet's ghastly "Deluge," and Gericault's dismal "Medusa." Gericault died, they say, for want of fame. He was a man who possessed a considerable fortune of his own; but pined because no one in his day would purchase his pictures, and so acknowledge his talent. At present, a scrawl from his pencil brings an enormous price. All his works have a grand cachet: he never did anything mean. When he painted the "Raft of the Medusa," it is said he lived for a long time among the corpses which he painted, and that his studio was a second Morgue. If you have not seen the picture, you are familiar probably, with Reynolds's admirable engraving of it. A huge black sea; a raft beating upon it; a horrid company of men dead, half dead, writhing and frantic with hideous hunger or hideous hope; and, far away, black, against a stormy sunset, a sail. The story is powerfully told, and has a legitimate tragic interest, so to speak,—deeper, because more natural, than Girodet's green "Deluge," for instance: or his livid "Orestes," or red-hot "Clytemnestra."
Seen from a distance the latter's "Deluge" has a certain awe-inspiring air with it. A slimy green man stands on a green rock, and clutches hold of a tree. On the green man's shoulders is his old father, in a green old age; to him hangs his wife, with a babe on her breast, and dangling at her hair, another child. In the water floats a corpse (a beautiful head) and a green sea and atmosphere envelops all this dismal group. The old father is represented with a bag of money in his hand; and the tree, which the man catches, is cracking, and just on the point of giving way. These two points were considered very fine by the critics: they are two such ghastly epigrams as continually disfigure French Tragedy. For this reason I have never been able to read Racine with pleasure,—the dialogue is so crammed with these lugubrious good things—melancholy antitheses—sparkling undertakers' wit; but this is heresy, and had better be spoken discreetly.
The gallery contains a vast number of Poussin's pictures; they put me in mind of the color of objects in dreams,—a strange, hazy, lurid hue. How noble are some of his landscapes! What a depth of solemn shadow is in yonder wood, near which, by the side of a black water, halts Diogenes. The air is thunder-laden, and breathes heavily. You hear ominous whispers in the vast forest gloom.
Near it is a landscape, by Carel Dujardin, I believe, conceived in quite a different mood, but exquisitely poetical too. A horseman is riding up a hill, and giving money to a blowsy beggar-wench. O matutini rores auraeque salubres! in what a wonderful way has the artist managed to create you out of a few bladders of paint and pots of varnish. You can see the matutina
l dews twinkling in the grass, and feel the fresh, salubrious airs ("the breath of Nature blowing free," as the corn-law man sings) blowing free over the heath; silvery vapors are rising up from the blue lowlands. You can tell the hour of the morning and the time of the year: you can do anything but describe it in words. As with regard to the Poussin above mentioned, one can never pass it without bearing away a certain pleasing, dreamy feeling of awe and musing; the other landscape inspires the spectator infallibly with the most delightful briskness and cheerfulness of spirit. Herein lies the vast privilege of the landscape-painter: he does not address you with one fixed particular subject or expression, but with a thousand never contemplated by himself, and which only arise out of occasion. You may always be looking at a natural landscape as at a fine pictorial imitation of one; it seems eternally producing new thoughts in your bosom, as it does fresh beauties from its own. I cannot fancy more delightful, cheerful, silent companions for a man than half a dozen landscapes hung round his study. Portraits, on the contrary, and large pieces of figures, have a painful, fixed, staring look, which must jar upon the mind in many of its moods. Fancy living in a room with David's sans-culotte Leonidas staring perpetually in your face!
There is a little Watteau here, and a rare piece of fantastical brightness and gayety it is. What a delightful affectation about yonder ladies flirting their fans, and trailing about in their long brocades! What splendid dandies are those, ever-smirking, turning out their toes, with broad blue ribbons to tie up their crooks and their pigtails, and wonderful gorgeous crimson satin breeches! Yonder, in the midst of a golden atmosphere, rises a bevy of little round Cupids, bubbling up in clusters as out of a champagne-bottle, and melting away in air. There is, to be sure, a hidden analogy between liquors and pictures: the eye is deliciously tickled by these frisky Watteaus, and yields itself up to a light, smiling, gentlemanlike intoxication. Thus, were we inclined to pursue further this mighty subject, yonder landscape of Claude,—calm, fresh, delicate, yet full of flavor,—should be likened to a bottle of Château Margaux. And what is the Poussin before spoken of but Romanée Gelée?—heavy, sluggish,—the luscious odor almost sickens you; a sultry sort of drink; your limbs sink under it; you feel as if you had been drinking hot blood.
An ordinary man would be whirled away in a fever, or would hobble off this mortal stage in a premature gout-fit, if he too early or too often indulged in such tremendous drink. I think in my heart I am fonder of pretty third-rate pictures than of your great thundering first-rates. Confess how many times you have read Béranger, and how many Milton? If you go to the "Star and Garter," don't you grow sick of that vast, luscious landscape, and long for the sight of a couple of cows, or a donkey, and a few yards of common? Donkeys, my dear MacGilp, since we have come to this subject, say not so; Richmond Hill for them. Milton they never grow tired of; and are as familiar with Raphael as Bottom with exquisite Titania. Let us thank heaven, my dear sir, for according to us the power to taste and appreciate the pleasures of mediocrity. I have never heard that we were great geniuses. Earthy are we, and of the earth; glimpses of the sublime are but rare to us; leave we them to great geniuses, and to the donkeys; and if it nothing profit us aërias tentâsse domos along with them, let us thankfully remain below, being merry and humble.
I have now only to mention the charming "Cruche Cassée" of Greuze, which all the young ladies delight to copy; and of which the color (a thought too blue, perhaps) is marvellously graceful and delicate. There are three more pictures by the artist, containing exquisite female heads and color; but they have charms for French critics which are difficult to be discovered by English eyes; and the pictures seem weak to me. A very fine picture by Bon Bollongue, "Saint Benedict resuscitating a Child," deserves particular attention, and is superb in vigor and richness of color. You must look, too, at the large, noble, melancholy landscapes of Philippe de Champagne; and the two magnificent Italian pictures of Léopold Robert: they are, perhaps, the very finest pictures that the French school has produced,—as deep as Poussin, of a better color, and of a wonderful minuteness and veracity in the representation of objects.
Every one of Lesueur's church-pictures is worth examining and admiring; they are full of "unction" and pious mystical grace. "Saint Scholastica" is divine; and the "Taking down from the Cross" as noble a composition as ever was seen; I care not by whom the other may be. There is more beauty, and less affectation, about this picture than you will find in the performances of many Italian masters, with high-sounding names (out with it, and say RAPHAEL at once). I hate those simpering Madonnas. I declare that the "Jardinière" is a puking, smirking miss, with nothing heavenly about her. I vow that the "Saint Elizabeth" is a bad picture,—a bad composition, badly drawn, badly colored, in a bad imitation of Titian,—a piece of vile affectation. I say, that when Raphael painted this picture two years before his death, the spirit of painting had gone from out of him; he was no longer inspired; IT WAS TIME THAT HE SHOULD DIE!!
There,—the murder is out! My paper is filled to the brim, and there is no time to speak of Lesueur's "Crucifixion," which is odiously colored, to be sure; but earnest, tender, simple, holy. But such things are most difficult to translate into words;—one lays down the pen, and thinks and thinks. The figures appear, and take their places one by one: ranging themselves according to order, in light or in gloom, the colors are reflected duly in the little camera obscura of the brain, and the whole picture lies there complete; but can you describe it? No, not if pens were fitch-brushes, and words were bladders of paint. With which, for the present, adieu.
Your faithful
M. A. T.
To Mr. ROBERT MACGILP,
NEWMAN STREET, LONDON.
THE PAINTER'S BARGAIN.
Simon Gambouge was the son of Solomon Gambouge; and as all the world knows, both father and son were astonishingly clever fellows at their profession. Solomon painted landscapes, which nobody bought; and Simon took a higher line, and painted portraits to admiration, only nobody came to sit to him.
As he was not gaining five pounds a year by his profession, and had arrived at the age of twenty, at least, Simon determined to better himself by taking a wife,—a plan which a number of other wise men adopt, in similar years and circumstances. So Simon prevailed upon a butcher's daughter (to whom he owed considerably for cutlets) to quit the meat-shop and follow him. Griskinissa—such was the fair creature's name—"was as lovely a bit of mutton," her father said, "as ever a man would wish to stick a knife into." She had sat to the painter for all sorts of characters; and the curious who possess any of Gambouge's pictures will see her as Venus, Minerva, Madonna, and in numberless other characters: Portrait of a lady—Griskinissa; Sleeping Nymph—Griskinissa, without a rag of clothes, lying in a forest; Maternal Solicitude—Griskinissa again, with young Master Gambouge, who was by this time the offspring of their affections.
The lady brought the painter a handsome little fortune of a couple of hundred pounds; and as long as this sum lasted no woman could be more lovely or loving. But want began speedily to attack their little household; bakers' bills were unpaid; rent was due, and the reckless landlord gave no quarter; and, to crown the whole, her father, unnatural butcher! suddenly stopped the supplies of mutton-chops; and swore that his daughter, and the dauber; her husband, should have no more of his wares. At first they embraced tenderly, and, kissing and crying over their little infant, vowed to heaven that they would do without: but in the course of the evening Griskinissa grew peckish, and poor Simon pawned his best coat.
When this habit of pawning is discovered, it appears to the poor a kind of Eldorado. Gambouge and his wife were so delighted, that they, in the course of a month, made away with her gold chain, her great warming-pan, his best crimson plush inexpressibles, two wigs, a washhand basin and ewer, fire-irons, window-curtains, crockery, and arm-chairs. Griskinissa said, smiling, that she had found a second father in HER UNCLE,—a base pun, which showed that her mind was corrupted, and that she was no longer the
tender, simple Griskinissa of other days.
I am sorry to say that she had taken to drinking; she swallowed the warming-pan in the course of three days, and fuddled herself one whole evening with the crimson plush breeches.
Drinking is the devil—the father, that is to say, of all vices. Griskinissa's face and her mind grew ugly together; her good humor changed to bilious, bitter discontent; her pretty, fond epithets, to foul abuse and swearing; her tender blue eyes grew watery and blear, and the peach-color on her cheeks fled from its old habitation, and crowded up into her nose, where, with a number of pimples, it stuck fast. Add to this a dirty, draggle-tailed chintz; long, matted hair, wandering into her eyes, and over her lean shoulders, which were once so snowy, and you have the picture of drunkenness and Mrs. Simon Gambouge.
Poor Simon, who had been a gay, lively fellow enough in the days of his better fortune, was completely cast down by his present ill luck, and cowed by the ferocity of his wife. From morning till night the neighbors could hear this woman's tongue, and understand her doings; bellows went skimming across the room, chairs were flumped down on the floor, and poor Gambouge's oil and varnish pots went clattering through the windows, or down the stairs. The baby roared all day; and Simon sat pale and idle in a corner, taking a small sup at the brandy-bottle, when Mrs. Gambouge was out of the way.
The Paris Sketch Book of Mr. M. A. Titmarsh Page 7