by Susan Jaques
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FIG. 9: Jacques-Louis David (1748–1825), Napoleon Crossing the Grand Saint-Bernard Pass, 20 May 1800, 1802 (oil on canvas), Château de Versailles, France.
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FIG. 10: Robert Lefèvre, Portrait of Josephine, 1806, Wellington Collection, Apsley House, London.
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FIG. 11: Bonbonniere with portraits of Eugene (1781–1824), Hortense (1783–1837), Joséphine Beauharnais (1763–1814), and Louis Bonaparte (1778–1846); (gold, ivory & enamel), Isabey, Jean-Baptiste (1767–1855) given to Napoleon I (1769–1821) by Joséphine, Empress of France; Eugene, Viceroy of Italy and stepson of Napoleon, Malmaison, France.
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FIG. 12: Marie-Annuciade-Caroline Bonaparte, Queen of Naples with her daughter Laetitia-Joséphine Murat, 1807, Louise Élisabeth Vigée Le Brun. Musée National des Châteaux de Versailles et de Trianon. Public domain.
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FIG. 13: Elisa Bonaparte (1777–1820) Grand Duchess of Tuscany and her Daughter Napoleone-Elisa (oil on canvas) Benvenuti, Pietro (1796–1844) / Chateau de Fontainebleau, Seine-et-Marne, France.
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FIG. 14: Bust of Joachim Murat, 1813, Antonio Canova, marble, private collection.
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FIG. 15: Pauline Borghese as Venus Victrix, 1805–1808, marble, Antonio Canova, Borghese Gallery, Rome.
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FIG. 16: Letitia Ramolino Bonaparte, ca. 1804–07, marble, Antonio Canova (1757–1822), Collection of the Duke of Devonshire, Chatsworth House, United Kingdom.
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FIG. 17: François Pascal Simone Gérard, Marie Louise, Empress of the French, 1811, Kunsthistorisches Museum.
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FIG. 18: Jacques-Louis David, The Emperor Napoleon in His Study at the Tuileries, 1812, oil on canvas (80 ¼ × 49 ¼ in.), Samuel H. Kress Collection, National Gallery of Art, Washington, D.C.
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FIG. 19: Napoleon as Mars the Peacekeeper, 1806, Antonio Canova, marble, Wellington Collection, Apsley House, London.
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FIG. 20: Robert Lefèvre, Portrait of Pope Pius VII, 1805, Wellington Collection, Apsley House, London.
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FIG. 21: Johann Heinrich Wilhelm Tischbein, Portrait of Antonio Canova, 1787, Black chalk (9 ¼ × 7 ½ in.), The J. Paul Getty Museum, Los Angeles.
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FIG. 22: Louis Léopold Boilly, Portraits of Charles Percier, Pierre-Francois Leotard Fontaine, and Claude-Louis Bernier, before 1807, black-and-white chalk on buff paper, the Clark Art Institute, Williamstown, Massachusetts.
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FIG. 23: David par lui-même (1794), David, Jacques-Louis, engraving, 1880–82, The J. Paul Getty Museum, Los Angeles.
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FIG. 24: Portrait of Baron Dominique Vivant Denon (1747–1825), French writer, engraver, art historian, and Egyptologist. Painting by Pierre Paul Prudhon (1758–1823).
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FIG. 25: Joséphine’s Bedroom at Malmaison.
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FIG. 26: François-Honoré-Georges Jacob-Desmalter after a design by Charles Percier, Gondola Chair from Château de Saint-Cloud, ca. 1804, Château de Malmaison.
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FIG. 27: Athénienne. Design attributed to Charles Percier, gilt bronze mounts by Martin-Guillaume Biennais (1800–14) (36 ⅜ in. × 19 ½ in.), Metropolitan Museum of Art, New York.
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FIG. 28: Coin cabinet, designed by Charles Percier, probably made by François-Honoré-Georges Jacob-Desmalter. Silver mounts by Martin-Guillaume Biennais. Decoration after drawings by baron Dominique-Vivant Denon ca. 1809–19, mahogany and inlaid silver (35 ½ × 19 ¾ × 14 ¾ in.), Metropolitan Museum of Art, New York.
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FIG. 29: Table of the Great Commanders, 1806–12, hard-paste porcelain and gilt bronze over wood, French School, nineteenth century, Buckingham Palace, London.
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FIG. 30: The Austerlitz Table, inlaid with Sèvres plaques commemorating Napoleon's victory at Austerlitz, 1808–10, gold and porcelain, French School, nineteenth century, Musée National du Château de Malmaison.
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FIG. 31: Martin-Guillaume Biennais, Sword worn by Napoleon I at the Battle of Austerlitz, steel, gold, bronze, leather (34.2 in. × 4.2 in.), ca. 1803. Put on Napoleon’s coffin at the Retour des cendres on December 15, 1840, by General Bertrand. Musée de l'Armée, Paris.
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FIG. 32: Bayeux Tapestry, scene 57, Harold’s death, Bayeux Museum, France.
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FIG. 33: Imperial Eagle on main portal of Fontainebleau.
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FIG. 34: Unknown, Eagle, C.E. 100–200, Bronze (41 × 31 × 30 in.), The J. Paul Getty Museum, Los Angeles.
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FIG. 35 (TOP LEFT): Reliquary Bust of Charlemagne (742–814), gold inlaid with gems, the Treasury of Aachen Cathedral, 1350.
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FIG. 36 (TOP RIGHT): Martin-Guillaume Biennais (1764–1843), Hand of Justice, made for the crowning of Napoleon I, including the so-called ring of St. Denis from the Treasure of Saint-Denis. Ivory, copper, gold and cameos, 1804, Louvre, Paris.
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FIG. 37: Martin-Guillaume Biennais, Crown of Charlemagne, Louvre, Paris.
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FIG. 38: Jacques-Louis David, The Coronation of Napoleon, detail, 1808, Louvre, Paris.
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FIG. 39: Silver medallion of Napoleon and Charlemagne, 1806, by Bertrand Andrieu (1761–1822) and Dominique Vivant baron Denon (1747–1825), 37g, 40mm diameter. The obverse with jugate busts of Napoleon and Charlemagne, with the legend NAPOLEON. EMP., CHARLEMAGNE. EMP. The reverse with jugate busts of Vitikind and Frederick Augustus, with the legend VITIKIND. R. S., FREDERIC. AUG. R. S.
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FIG. 40: Andrea Appiani, Portrait of Napoleon I as King of Italy, 1805, Kunsthistorisches Museum, Vienna.
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FIG. 41: François Gérard, Josephine in Coronation Costume, Musée National du Château de Fontainebleau, Paris.
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FIG. 42: Giorgio Sommer (1834–1914), The Arch of Septimus and Temple of Vespasian, Rome, about 1860–70, albumen silver print (6 ¾ × 9 in.), The J. Paul Getty Museum, Los Angeles.
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FIG. 43: Robert Macpherson (1811–72), Arch of Constantine, 1850s, albumen silver print (11 ⅞ × 15 ⅝ in.), The J. Paul Getty Museum, Los Angeles.
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FIG. 44: Arc de Triomphe du Carrousel, Paris.
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FIG. 45: The Horses of St. Mark’s Basilica, Venice.
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FIG. 46: Jane St. John (1801–1882), Arch of Titus, Rome, 1856–59, albumen silver print from a paper negative (7 ⅜ × 9 ¾ in.), The J. Paul Getty Museum, Los Angeles.
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FIG. 47: Arc de Triomphe de l'Étoile, Paris, from the east.
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FIG. 48: Tommaso Cuccioni (1790–1864), Interior of the Arch of Titus, Rome, 1850–59, albumen silver print (13 ¼ × 18 ⅜ in.), The J. Paul Getty Museum, Los Angeles.
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FIG. 49: Triumph of 1810, Arc de Triomphe.
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FIG. 50: Tommaso Cuccioni (1790–1864), Column of Trajan, 1850–59, albumen silver print (17 ⅞ × 12 ⅞ in.), The J. Paul Getty Museum, Los Angeles.
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FIG. 51: Vendome Column, Paris.
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FIG. 52: Trajan’s Column, detail, Rome.
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FIG. 53: Vendome Column, detail, Paris.
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FIG. 54: Maison Carrée, Nîmes.
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FIG. 55: The Madeleine Church, Paris.
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FIG. 56: The Bourse of Paris (Palais Brongniart).
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FIG. 57: View of the Elephant Fountain at the Place de la Bastille, Paris, ca. 1805–10, watercolor on paper, Alavoine, Jean Antoine (1776–1834), Musée Carnavalet, Paris.
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FIG. 58: The Great Cam
eo of France (agate), Roman, first century C.E., Bibliothèque Nationale, Paris.
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FIG. 59: Marie Louise of Austria (1791–1847) guiding her son, with the ribbon of a medal of the Legion of Honour, towards a bust of Napoleon Bonaparte (1769–1821), 1813, oil on porcelain, Louis-Bertin Parant (1768–1851), Musée National de la Légion d'Honneur, Paris.
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FIG. 60 AND 61: Bertrand Andrieu, 1811, Napoleon, Baptism of the King of Rome, bronze, struck (diameter: 2 in.), Metropolitan Museum of Art, New York.
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FIG. 62: Cradle of the King of Rome, Pierre-Paul Prudhon (1758–1813), Henri-Victor Roguier (1758–after 1830), Jean-Baptiste-Claude Odiot (1763–1850), and Pierre-Philippe Thomire (1751–1843), Paris, 1811, silver-gilt, gold, mother-of-pearl, copper plates covered with velvet, silk, and tulle with gold and silver embroidery. Hofburg Palace, Vienna.
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FIG. 63: Jean-Auguste-Dominique Ingres, Pope Pius VII in the Sistine Chapel, 1814, oil on canvas (29 × 36 ½ in.), National Gallery of Art, Washington, D.C.
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FIG. 64: Tempio Canoviano, Possagno, Italy.
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FIG. 65: Jules-Claude Ziegler, The History of Christianity, 1835–38, mural, Madeleine Church.
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FIG. 66: Tomb of Napoleon, Les Invalides.
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