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ENDNOTES
INTRODUCTION
1 Matthew D. Zarzeczny, Meteors that Enlighten the Earth: Napoleon and the Cult of Great Men (Newcastle upon Tyne, U.K.: Cambridge Scholars Publishing, 2013), 46.
2 Ira Grossman, “Napoleon the Reader: The Early Years,” https://www.napoleon-series.org/research/napoleon/c_read1.html.
3 Napoleon Bonaparte, Aphorisms, collected by Honoré de Balzac (Richmond, U.K.: Oneworld Classics Ltd., 2008), 30.
4 Zarzeczny, Meteors, 63.
5 Alex Potts, “The Classical Ideal on Display,” Richerche di Storia dell’Arte, no. 72 (2000): 35.
6 Peter Hicks, “Napoleon and the Theatre,” Napoleon Foundation, https://www.napoleon.org/en/history-of-the-two-empires/articles/napoleon-and-the-theatre/.
7 Mara Fazio, François Joseph Talma, Primo Divo (Milan: Electa, 1999), 167–68.
8 Diana Rowell, “On the Road to Domination: The Reinvention of the Roman Triumph in Napoleonic Paris” (paper presented at the Classical Association Conference, Edinburgh, April 6–9, 2016).
9 Zarzeczny, Meteors, 100.
10 Allard, Sebastian, et al., eds., Citizens and Kings: Portraits in the Age of Revolution 1760–1830 (London: Royal Academy of Arts, 2007), 63.
11 Bette Wyn Oliver, From Royal to National: the Louvre Museum and the Bibliothèque Nationale (Lanham, Md.: Lexington Books, 2007), 78.
12 J. Christopher Herold, The Mind of Napoleon (New York: Columbia University Press, 1955), 281.
PART ONE: DIRECTORY
ONE: TRIUMPHUS
1 Nigel Spivey, Classical Civilization (London: Head of Zeus Ltd, 2015), 243.
2 Ida Östenberg, Staging the World: Spoils, Captives, and Representations in the Roman Triumphal Procession (Oxford, U.K., and New York: Oxford University Press, 2009), 45.
3 Mary Beard, The Roman Triumph (Cambridge, Mass., and London: Harvard University Press, 2007), 145.
4 Maria Wyke, Caesar: A Life in Western Culture (Chicago and London: University of Chicago Press, 2008), 125.
5 Beard, The Roman Triumph, 8.
6 Wyke, Caesar, 126.
7 Robert Hughes, Rome (London: Weidenfeld & Nicolson, 2011), 56.
8 John Henry Merryman, ed., Imperialism, Art and Restitution (New York: Cambridge University Press, 2006), 4.
9 Maggie Popkin, The Architecture of the Roman Triumph: Monuments, Memory, and Identity (New York: Cambridge University Press, 2016), 5.
10 Miguel Angel Novillo and Juan Luis Posadas, “Octavian: the Last Man Standing,” National Geographic History, July/August 2017, 72.
11 Peter J. Holliday, The Origins of Roman Historical Commemoration in the Visual Arts (Cambridge, U.K., and New York: Cambridge University Press, 2002), 196.
12 Östenberg, Staging, 80.
13 Kenneth Lapatin, Luxus: The Sumptuous Arts of Greece and Rome (Los Angeles: The J. Paul Getty Museum, 2015), 36.
14 Paul Zanker, Roman Art, trans. Henry Heitmann-Gordon (Los Angeles: J. Paul Getty Museum, 2010), 3.
15 Ida Östenberg, Simon Malmberg, and Jonas Bjørnebye, eds., The Moving City: Processions, Passages and Promenades in Ancient Rome (London: Bloomsbury Academic, 2015), 137.
16 Ranuccio Bianchi Bandinelli, Rome the Centre of Power: Roman Art to AD 200, trans. Peter Green (London: Thames and Hudson, 1970), 38.
17 Ibid., 42.
18 Zanker, Roman Art, 42.
19 Östenberg, Staging, 114.
20 Merryman, Imperialism, 4.
21 Noah Charney, Stealing the Mystic Lamb: The True Story of the World’s Most Coveted Masterpiece (New York: Public Affairs, 2010), 118.
22 Beard, The Roman Triumph, 31.
23 Ibid., 343.
24 Stephanie Goldfarb, “Lessons in Looting,” ARCA, July 2009, http://art-crime.blogspot.com/2009/07/lessons-in-looting.html.
25 Patricia Mainardi, “Assuring the Empire of the Future: The 1798 Fête de la Liberté,” Art Journal 48, no. 2 (Summer 1989): 158.
26 Charles Freeman, The Horses of St. Mark’s: A Story of Triumph in Byzantium, Paris, and Venice (London: Little, Brown, 2004), 5.
27 Ian McClellan, Inventing the Louvre: Art, Politics, and the Origins of the Modern Museum in Eighteenth-Century Paris (Berkeley, Los Angeles, and London: University of California Press, 1994), 123.
28 Mainardi, “Assuring the Empire,” 159.
29 Mark Haydu, Meditations on Vatican Art (Liguori, Mo.: Liguori, 2013), 73.
30 Paul Wescher, “Vivant Denon and the Musée Napoléon,” Apollo 80, no. 31 (Sept. 1, 1964): 180.
31 Mainardi, “Assuring the Empire,” 159.
32 Francis Haskell and Nicholas Penny, Taste and the Antique: The Lure of Classical Sculpture, 1500–1900 (New Haven, CT, and London: Yale University Press, 1981), 108.
33 Stendhal, The Charterhouse of Parm
a, trans. Richard Howard; illustrations by Robert Andrew Parker (New York: Modern Library, 1999), 3.
34 Charney, Stealing the Mystic Lamb, 87.
35 Ibid., 88.
36 Mainardi, “Assuring the Empire,” 156.
37 Jeffrey Laird Collins, Papacy and Politics in Eighteenth-Century Rome: Pius VI and the Arts (Cambridge, U.K., and New York: Cambridge University Press, 2004), 29.
38 Ibid., 70.
39 Anthony Grafton, Glenn W. Most, Salvatore Settis, eds., The Classical Tradition (Cambridge, Mass.: Harvard University Press, 2010), 56.
40 Haskell and Penny, Taste and the Antique, 146.
41 McClellan, Inventing the Louvre, 119.
42 Mainardi, “Assuring the Empire,” 156.
43 Quatremère de Quincy, Letters to Miranda and Canova on the Abduction of Antiquities from Rome and Athens, trans. Chris Miller and David Gilks (Los Angeles: Getty Publications, 2012), 19.
44 Carlo Pietrangeli, The Vatican Museums: Five Centuries of History, trans. Peter Spring (Rome: Quasar, Biblioteca Apostolica Vaticana, 1993), 125.
45 Popkin, Architecture of the Roman Triumph, 21.
46 Mainardi, “Assuring the Empire,” 157.
47 Ibid., 156.
48 Freeman, Horses of St. Mark’s, 7.
TWO: THE LAND OF THE NILE
1 Nina Burleigh, Mirage: Napoleon’s Scientists and the Unveiling of Egypt (New York: HarperCollins, 2007), 2.
2 Bob Brier, “Napoleon in Egypt,” Archeology 52, no. 3 (May/June 1999): 46.
3 Burleigh, Mirage, 10.
4 Emil Ludwig, Napoléon, trans. Eden and Cedar Paul (New York: Boni & Liveright, 1926), 120.
5 Burleigh, Mirage, 241–42.
6 Ludwig, Napoléon, 11.
7 Spivey, Classical Civilization, 249.
8 Anthony Everitt, Augustus: The Life of Rome’s First Emperor (New York: Random House, 2007), 196.
9 Frank L. Holt, Alexander the Great and the Mystery of the Elephant Medallions (Berkeley, Los Angeles, and London: University of California Press, 2003), 1.
10 Susan Sorek, The Emperors’ Needles: Egyptian Obelisks and Rome (Exeter, U.K.: Bristol Phoenix Press, 2010), 36.
11 Ronald H. Fritze, Egyptomania: A History of Fascination, Obsession and Fantasy (London: Reaktion Books, 2016), 16.
12 Jeffrey Spier, Timothy Potts, and Sara E. Cole, eds., Beyond the Nile: Egypt and the Classical World (Los Angeles: J. Paul Getty Museum, 2018), 4.
13 Armin Wirsching, “How the Obelisks Reached Rome: Evidence of Roman Double-Ships,” The International Journal of Nautical Archaeology 29, no. 2 (2000): 280.
14 Sorek, The Emperors’ Needles, 49.
15 Ibid., xiii.
16 Pierre Briant, The First European: A History of Alexander in the Age of Empire, trans. Nicholas Elliott (Cambridge, Mass.: Harvard University Press, 2017), 250.
17 Zarzeczny, Meteors, 83.
18 Burleigh, Mirage, 15.
19 Fritze, Egyptomania, 158.
20 Burleigh, Mirage, 24.
21 “Napoleon Was Here!” The National Library of Israel, http://napoleon.nli.org.il/eng/.
22 Ibid.
23 Karine Huguenaud, “A Mamluk’s Harness,” trans. Peter Hicks, Napoleon Foundation, October 2003, https://www.napoleon.org/en/history-of-the-two-empires/objects/a-mamluks-harness/.
24 Walter Friedlaender, “Napoleon as Roi Thaumaturge,” Journal of the Warburg and Courtauld Institutes 4, no. 3/4 (April 1941): 139.
25 Fritze, Egyptomania, 162.
26 Frederica Todd Harlow, “A Star Shines over Egypt,” Art & Antiques (May 1987): 90.
27 Jean-Marcel Humbert, Michael Pantazzi, and Christiane Ziegler, Egyptomania: Egypt in Western Art 1730–1930 (Ottawa: National Gallery of Canada, 1994), 202.
28 Vivant Denon, Travels in Upper and Lower Egypt, Vol. II (1803; repr. New York: Arno Press, 1973), 83–84.
29 Humbert, Egyptomania, 202.
30 “Denon Discovers Ancient Egypt,” Napoleon and the Scientific Expedition to Egypt, http://napoleon.lindahall.org/denon.shtml#top.
31 Ibid.
32 Fritze, Egyptomania, 162.
33 Louis-Antoine Fauvelet de Bourrienne, Memoirs of Napoleon Bonaparte, Vol. 1 (London: R. Bentley, 1836), 351.
34 Frank McLynn, Napoleon (New York: Arcade Publishing, 2002), 290.
35 Christopher Hibbert, Napoleon’s Women (New York and London: W. W. Norton, 2002), 96.
THREE: PONTIFEX MAXIMUS
1 Charles Bennington, Luca Carlevarijs: Views of Venice (San Diego, Calif.: Timken Museum of Art, 2001), 2.
2 Robin Anderson, Pope Pius VII (1800–1823): His Life, Reign and Struggle with Napoleon in the Aftermath of the French Revolution (Charlotte, N.C.: TAN Books, 2001).
3 Kate H. Hanson, “The Language of the Banquet: Reconsidering Paolo Veronese’s Wedding at Cana,” InVisible Culture, no. 14 (Winter 2010): 40.
4 Germain Bazin, The Louvre (New York: Harry M. Abrams, 1958), 148.
5 Hanson, “The Language of the Banquet,” 35.
6 Richard Cocke, Paolo Veronese: Piety and Display in an Age of Religious Reform (Burlington, Vt.: Ashgate, 2001), 173.
7 Il Conclave di San Giorgio Maggiore di Venezi e l’elezione di Pio VII Chiaramonti (Venice: Biblioteca Nazionale Marciana), 42.
8 John Paul Adams, “Sede Vacante 1799–1800,” California State University Northridge, September 29, 2015, https://www.csun.edu/~hcfll004/SV1800.html.
9 Anderson, Pope Pius VII.
10 Philippe Boutry, “Pius VII,” in The Papacy: an Encyclopedia, Vol. 2, ed. Philippe Levillain, (New York and London: Routledge, 2002), 1183.
11 Spivey, Classical Civilization, 249.
12 Christopher Lascelles, Pontifex Maximus: A Short History of the Popes (London: Crux Publishing, 2017), viii.
13 Ibid.
14 Christophe Beyeler, Pie VII face à Napoleon, la tiare dans les serres de l’Aigle (Paris: Reunion des musées nationaux, 2015), 125.
15 Boutry, “Pius VII,” 1184.
16 Anderson, Pope Pius VII.
17 Marisa Ciceran, Bucintoro: The State Galley of the Doges of Venice, Istria on the Intrnet, July 6, 2007, istrianet.org/istria/navigation/sea/navy/bucintro/bucintro-history.htm.
18 Bonaparte, Aphorisms, 56.
19 Ibid., 40.
20 Anderson, Pope Pius VII.
21 Diana Reid Haig, Walks Through Napoleon and Joséphine’s Paris (Oxford, U.K.: The Little Bookroom, 2004), 71.
22 Andrew Roberts, Napoleon: A Life (New York: Penguin, 2015), 350.
23 Jean-François Lozier, Napoleon and Paris (Quebec: Canadian Museum of History, 2016), 57.
24 Lascelles, Pontifex Maximus, 240.
PART TWO: CONSULATE
ONE: THE ETRUSCANS
1 Haig, Walks Through, 17.
2 Hibbert, Napoleon’s Women, 49.
3 Les Maison des Bonaparte à Paris 1795-1804. Aquarelles by Christian Benilan. (Musée National de la Maison Bonaparte, 2013), 36.
4 Iris Moon, Architecture of Percier and Fontaine and the Struggle for Sovereignty in Revolutionary France (New York: Routledge, 2017), 131.
5 Ibid., 132.
6 Helen Jacobsen, Gilded Interiors: Parisian Luxury and the Antique (London and New York: Philip Wilson Publishers, 2017), 1.
7 Moon, Architecture of Percier and Fontaine, 23.
8 Valérie Huet, “Napoleon I: A New Augustus?” in Roman Presences: Receptions of Rome in European Culture, 1789–1945, ed. Catharine Edwards (Cambridge, U.K., and New York: Cambridge University Press, 1999), 63–65.
9 Jean-Philippe Garric, ed., Charles Percier: Architecture and Design in an Age of Revolutions (New York: Bard Graduate Center, 2016), 78.
10 Victor Baltard, “École de Percier. Mémoire lu à la séance annuelle de l’Académie des beax-arts,” Institut de France 43, no. 17 (November 15, 1873): 46.
11 Tom Stammers, “The man who created ‘dictator chic’.” Apollo 185, no. 651 (March 16): 155.
12 Eleanor P. DeLorme, ed., José
phine and the Arts of the Empire (Los Angeles: J. Paul Getty Museum, 2005), 70.
13 Amaury Lefebure and Bernard Chevalier, National Museum of the Château de Malmaison et de Bois-Preau (Paris: Artlys, 2001), 10.
14 Alain Pougetoux, conversation with author, September 26, 2016.
15 “Napoleon’s Library,” Napoleon Foundation, https://www.napoleon.org/en/history-of-the-two-empires/images/napoleons-library/.
16 Garric, Charles Percier, 154.
17 Martine Denoyelle and Sophie Descamps-Lequime, The Eye of Joséphine: the antiquities collection of the Empress in the Musée du Louvre (Atlanta, Ga.: High Museum of Art and Paris: Musée du Louvre, 2008), 17.
18 Kate Williams, Ambition and Desire: The Dangerous Life of Joséphine Bonaparte (Toronto: McClelland & Stewart, 2014), 165.
19 Stammers, “The man,” 156.
20 A. C. Thibudeau, Bonaparte and the Consulate (New York: MacMillan, 1908), 3.
21 James David Draper, The Arts Under Napoleon (New York: Metropolitan Museum of Art, 1978).
22 Jonathan Marsden, “Napoleon’s Bust of ‘Malbrouk’,” The Burlington Magazine 142, no. 1166 (May 2000): 303.
23 Alexander, Napoleon & Joséphine: a story of friendship, war & art from the Hermitage (Zwolle: WBOOKS, 2015), 52.
24 Pierre-François-Léonard Fontaine, Journal 1799–1853, Vol. 1. (Paris: Société de l’histoire de l’art français, 1987), 35.
25 Wolfram Koeppe, Washstand, 1800–1814, yew wood, gilt bronze, and iron plate, 36 ⅜ x 19 ½" (92.4 x 49.5 cm), The Metropolitan Museum of Art, New York, https://www.metmuseum.org/art/collection/search/195518.
26 Anne Dion-Tenenbaum, L’orfèvre de Napoléon: Martin-Guillaume Biennais (Paris: Musée du Louvre, 2003), 14.
27 Fontaine, Journal, 34.
28 Garric, Charles Percier, 231.
29 Jean-Pierre Samoyault, “Furniture and Objects designed by Percier for the Palace of Saint-Cloud,” Burlington Magazine 117, no. 868 (July 1975): 465.
30 Ibid.
31 Garric, Charles Percier, 228.
32 Thibaudeau, Bonaparte, 8.
33 Ibid., 10.
34 Hans Ottomeyer, “The Empire Style: Ideals, Methods and Objectives,” in Empire Style: The Hôtel de Beauharnais in Paris, eds. Jörg Ebeling and Ulrich Leben (Paris: Flammarion, 2016), 74.