by Grant Allen
The Salle du Héros Combatant, indicate in many cases a later tendency to rapidity of motion and violent action, which is alien to the highest plastic ideal. Among the most successful works of this group is the light and airy Atalanta, under the archway, — a beautiful figure of a young girl, running, caught at the most exquisite statuesque moment. Near it, a fine Venus Genetrix. By the window, admirable figure of a wounded Amazon. Next window, the celebrated Borghese Centaur and Bacchus, a charming realization of this mythological conception. Note the playfulness of developed Greek fancy. The centre of the room is occupied by a powerful and anatomically admirable figure of a Fighting Hero (formerly called a Gladiator), by Agasias of Ephesus, — one of the few statues here on which the sculptor has inscribed his name. It is a triumph of its own “active” type of art (where movement and life are aimed at), but wholly lacking in beauty or ideality. It belongs to the age of Augustus or a little earlier. Behind it, Marsyas flayed alive, a repetition of a frequent but unpleasant subject. Centre again, the Faun of Vienne, a young satyr, retaining traces of colour, vigorous and clever. Then, * *exquisite ideal statue of a young girl fastening her cloak, commonly but incorrectly known as the Diana of Gabii; for simple domestic grace this dainty work is unrivalled. It is probably of the age of Alexander the Great: and is well worth study. It almost suggests the Italian Renaissance. By the archways, a Hermes known as the Richelieu Mercury, with a closely similar replica. Under the archway leading to the next room, fine portrait statue of the age of Hadrian, representing Antinous, the Emperor’s favourite, in the guise of Aristæus, the mythical hero of agriculture: the features are much less beautiful than in most other instances of this well-known face, several examples of which occur later. Such representations of historical characters in the form of gods or mythical heroes were common at Rome: probably in most cases the sitter’s head and figure were accommodated or adapted to a well-known model.
The Salle du Tibre, which we next enter, contains in its centre the celebrated figure of *Artemis (Diana) known as “Diane à la Biche” or the “Diane de Versailles,” one of the antique statues acquired by François Ier, the influence of which on later art will be very distinctly felt when we come to examine the French sculpture of the Renaissance. It is a charming, graceful, and delicate figure of the age of declining art, exactly adapted to take the French fancy of that awakening period. It was probably executed at Rome by a Greek sculptor about the time of Julius Cæsar. At the end of the room, colossal recumbent figure of the Tiber, represented as the benignant Father Tiber of Rome, bearing the oar which symbolizes the navigable river, and the cornucopia denoting the agricultural and commercial wealth of the Tiber valley: by its side nestles the wolf, with Romulus and Remus; a pretty allegorical conception of Rome and the stream which made it: itself doubtless a pendant to the similar recumbent figure of the Nile in the Vatican. Close by, two Satyrs, imitated from Praxiteles. Behind, four Satyrs as Caryatides, from the theatre of Dionysus, Athens, 3rd cent. B.C. Round the wall, good draped figures of goddesses. Walk through these rooms often, in order to gain an idea of the astonishing wealth and purity of Hellenic sculpture.
Now, return through the Salle Grecque and the Rotonde, and turn to the L into the Roman Galleries, which contain for the most part statues and busts of the imperial epoch.
In the first room are reliefs of sacrifices, and fronts of sarcophagi, together with a fine portrait-statue of Sulla. By the second window, the famous and noble head of Mæcenas, the great Etruscan statesman and minister of Augustus, who practically organised the Roman Empire. The astute features, very Tuscan in type, which in some degree recall those both of Bismarck and Möltke, are full of practical vigour and the wisdom of statecraft. A more characteristic or finer head has not been bequeathed to us by antiquity. Contrast this magnificent and thoughtful bust of the best Roman age, instinct with meaning, with the coarse and coarsely-executed colossal head of Caracalla, the cruel and sensuous Emperor of the decadence, in the next window, — as crude as a coarse lithograph. In the corner, a Mithra stabbing a bull, of a class to be noted again in greater detail later. By the passage into the next room, masks of Medusa with the snaky hair.
Walk straight through the following rooms, without stopping, till you arrive at the Salle d’Auguste on the right, at the end, so as to take the works in historical sequence. This hall is the first in chronological order of the Roman period. It contains portrait-statues and busts of the Julian Emperors and their families, and of the Flavian dynasty. Begin down the centre. *Bust of Julius Cæsar, indicating well the intellectual character and relentless will of the man: a speaking likeness. Next to it, the famous * *Antinous (eyes removed; once jewels), a much idealised colossal portrait-bust of the beautiful young favourite of the Emperor Hadrian, who drowned himself in the Nile in order to become a protecting genius for his patron; he is here represented in a grave and rigid style somewhat faintly reminiscent of Egyptian art, and with the attributes of Bacchus or (more correctly) Osiris; Hadrian deified him and erected a temple in his honour in a town in Egypt which he named after him. Observe the lotus entwined in the hair. Fine portrait-statue of a Roman orator, probably Julius Cæsar, one of the best works of its class of the best period of revived Greek art under the early Roman Empire: signed by Cleomenes. The figure is that conventionally attributed to Hermes or Mercury. Near it, Agrippa, the son-in-law of Augustus and builder of the Panthéon; full of the statesmanlike characteristics of the early empire. Ideal bust of Rome, cold but beautiful; Romulus and Remus on the helmet. Under the tribune, famous *portrait-statue of Augustus, a very noble representation. It is flanked by two good portrait-statues of the Emperor himself, and of his successor, Tiberius. In front of it are Roman boys of the imperial family, the one to the L admirable in execution. They wear the golden bulla round their necks, which marked lads of noble family; the faces and figures are thoroughly patrician. Windowless wall, members of the imperial (Julian and Claudian) family, — Agrippina, Tiberius, Drusus and Germanicus, etc.; Caligula, showing incipient traces of Cæsarian madness; Octavia, Antonia, and others. Study these carefully. Then, a most malignant Nero, with less unpleasant ones further: a Messalina, whose gentleness of face belies her reputation; a grandiose Claudius; and a selfish Galba, in whom we begin to see traces of the traits produced by ruthless struggle for empire. Near him, a vain-glorious Otho, still fine and classical. Notice the dainty profiles of the women. All the statues and busts in this room, indeed, are conceived in the fine classical spirit, with no trace of the coming decadence. Most of them have the old close-shaven, clear-cut Roman features, contrasting strongly with the weaker, bearded types we shall see later. By the window wall, statues, not so good, of the coarse bull-necked Vitellius; hard, practical, business-like Vespasian; capable Titus, and one or two less satisfactory busts or statues of Julius Cæsar. Observe even already how both types and art begin to show less perfect finish. The men are more vulgar: the artists less able.
The Salle des Antonins, next, contains a fine series of busts and statues of this second prosperous epoch of the empire. Facing the river, a very noble seated portrait-statue of Trajan, contrasting well with the other more decadent emperors at the further end. We have here still the old Roman severity, and the close-shaven type, admirably opposed to the more sensuous degenerate faces further on, which herald the decadence. These are the builders-up, the others the destroyers, of a great empire. In the corner close by, two erect Trajans. Notice how clear an idea of the personalities of the emperors comparison of these statues and busts affords one. Close to the archway, a beautiful Faustina Junior, one of the loveliest portrait-busts of the second Roman period. Further on, bearded and weaker emperors of the Antonine age; among them, a capital Lucius Verus, holding the orb of empire. Near it, a fine statue of the philosophic emperor, Marcus Aurelius, seen here rather as the soldier than as the sage. In the centre — the same emperor nude — or rather, a nude figure, on which his head has been placed by a modern restorer. By the middle window
, colossal busts of Lucius Verus and Marcus Aurelius, and a very big head of Lucilla, wife of the former. These all deserve study, by comparison with the simpler and nobler types of the Julian period.
The Salle de Sevère — age of the early decadence — contains in the centre a fine statue of the Emperor’s mother, Julia Mammæa, figured after the common fashion as Ceres — a half deification. Near it, another (less pleasing) bust of Antinous. Excellent statue of Pertinax. Round the walls, portrait-busts of the Antonine family and their successors, in sufficient numbers to enable one to form clear conceptions of their personality. This is especially the case with Caracalla and Plautilla by the last window; Septimius Severus himself — a weak face, gaining somewhat with age; and Lucius Verus, selfishly vicious, with a distinct tinge of conscious cruelty. Near the last, a fine portrait-statue of Faustina Senior. Beside it, pleasing bust of the boy Commodus; his subsequent development may be traced round the rest of the window. All these busts, again, should be viewed by the light of their dates; they are identified by means of coins, where the same faces occur with their names — most interesting for comparison.
The Salle de la Paix contains mixed works, some of them of the extreme decadence. Among them, a good figure of Minerva in red porphyry, the flesh portions of which have been restored in gilt bronze as Rome. By the window, the Emperor Titus as Mars. A half-length of Gordianus Pius near the archway is an unusually fine and classical example for its age. Fine figure of Tranquillina, his wife, and nude of Pupianus, less successful. In many of these works the decadence triumphs.
The Salle des Saisons contains busts, mostly of the extreme decadence, and works with a semi-barbaric tinge. The bust of Honorius, by the far door, shows the last traces of classical work rapidly passing into Byzantine stiffness and lifelessness. Note the feebleness of the eyes and general ineffectiveness of plastic treatment. Eugenius, opposite him, equally displays decadence in a somewhat different direction, provincial and Gaulish, foreshadowing barbaric Romanesque workmanship. A fine Muse, however, stands next to Honorius. There are also several very decent reliefs from sarcophagi. The figure of Tiridates, wearing the barbaric trousers, is a fine example of Greco-Roman art applied to a member of an alien civilisation. Close to it, the famous Mithra of the Capitol, stabbing a bull, with other representations of the same subject beneath and beside it. These reliefs are extremely illustrative of a most interesting phase of the later Empire. Rome was then a cosmopolitan city, crowded with Syrians, Jews, Egyptians, Asiatic Greeks, and other Orientals. Many of these people introduced into Italy and the Provinces the worship of their own local deities: the cult of Isis, of Serapis, and of other Eastern gods competed with Christianity for the mastery of the Empire. Among these intrusive religions, one of the most successful was the worship of Mithra, which came to Rome indirectly from Persia, and directly from the southern shores of the Black Sea. The mystic deity himself is always represented in an underground cave, stabbing a bull; he was regarded as a personification or avatar of the Sun God. His worship spread rapidly to every part of the Roman world, and was immensely popular: similar reliefs have been found in all Romanized regions from Britain to North Africa. The best of those in this room comes from the cave of Mithra in the Capitol at Rome itself, where the eastern god was permitted even to invade the precincts of the Capitoline Jupiter. Notice the barbaric Oriental dress and the voluptuous, soft Oriental treatment; also, the action in the cave, and the personages on the upper earth above it. Compare all these reliefs with one another, and notice their origin as given on the labels. Observe also the close similarity and religious fixity of the representations. They should be studied with care, as illustrative of the conflict of new religions with old in the Roman Empire, out of which Christianity at last emerged triumphant. Their number and costliness shows the strength of this strange faith; their inferior art betokens both eastern influence and the approach of the decadence. Compare the Oriental tinge in the Mithra reliefs with that of some Early Christian works in the small Christian room of the Renaissance Sculpture.
In the centre, Roman husband and wife, in the characters of Mars and Venus, an excellent and characteristic group of the age of Hadrian; contrast the somewhat debased proportions with those we have seen in the best Greek period. Round the wall and by the windows, many inferior portrait-busts of emperors of the decadence; observe their dates, and note the gradual decrease in art and truth, and the slow return to something resembling archaic stiffness. We have thus followed out the rise and culmination of antique art, and watched its return to primitive barbarity. Conspicuous among the works of the better age here are the charming features of Julia Mammæa, wife of Alexander Severus, especially as shown in the bust nearest to the first window. The fine Germanicus, holding the orb of empire, is also an excellent example of the portrait nude of the best period.
Leave this portion of the Museum by the Salle des Caryatides beyond, so called from the famous Caryatides by Jean Goujon (French Renaissance; see later), which support the balcony at its further end — very noble examples of the revived antique of the age of François Ier — majestic in their serenity. Above them is a cast from Cellini’s Nymph of Fontainebleau, to be noticed later. The room contains good Greek and Roman work of the culminating periods. In the vestibule to the L, by the window, the *Borghese Hermaphrodite, a variant on the Velletri type, voluptuous and rounded, belonging to the latest Greek period; the mattress was added (with disastrous effect) by Bernini. In the body of the hall colossal Jupiter of Versailles, an impressive Hermes-figure. To the L, noble and characteristic *Demosthenes. In the centre, Hermes and Apollo of the School of Praxiteles: boy fastening his sandals. Dionysus, known as the Richelieu Bacchus. By the right wall, Aphroditè at the bath, in a crouching attitude; a nymph is supposed to be pouring water over her. All the works in this room deserve examination; they are sufficiently described, however, by the labels.
2. RENAISSANCE SCULPTURE.
[This collection, one of the most important and interesting among the treasures of the Louvre, occupies a somewhat unobtrusive suite of rooms on the Ground Floor, and is therefore too little visited by most passing tourists. It contains three separate sets of plastic work: first, sculpture of the Italian Renaissance, on which the French was mainly based; second, sculpture of the Middle Ages in France, leading gradually up to the age of François Ier, and improving as it goes, though uninfluenced as yet by external models; third, and most important of all, in Paris at least, the exquisite sculpture of the French Renaissance, a revolt from mediævalism, inspired from above by kings and nobles, based partly on direct study of the antique (many specimens of which were brought to France by François Ier), but still more largely on Italian models, made familiar to French students through the work of artists invited to the Court under the later Valois, as well as through the Italian wars of Charles VIII, Louis XII and François Ier (of which last more must be said when we visit St. Denis). At least one whole day should be devoted by every one to this fascinating collection: those who can afford the time should come here often, and study au fond the exquisite works of Donatello, Michael Angelo, and (most of all) Jean Goujon, Germain Pilon, and their great French contemporaries. The Italians can be seen to greater advantage at Florence and elsewhere; only here can one form a just idea of the beauty and importance of the French Renaissance.]
Enter by Door D, in Baedeker’s plan — centre of the South-Eastern wing in the (old) Cour du Louvre. Pass straight through the vestibule, and Salle de Jean Goujon; then turn to your R, traversing the Salle de Michel Ange, and enter that of the Italian Renaissance (numbered VI officially).
The Renaissance in France being entirely based upon that in Italy, we have first to observe (especially in the case of those who have not already visited Venice and Florence) what was the character of the Italian works upon which the French sculptors and architects based themselves. Here you get, as it were, the original: in French sculpture, the copy. This small hall — the hall of Donatello — contains works
of sculpture of the 13th to the 15th centuries in Italy. Contrast it mentally with the purely mediæval objects which you saw at Cluny, unrelieved for the most part by classical example, in order to measure the distance which separates the Italians of this epoch from their contemporaries north of the Alps. Recollect, too, that the Italian Renaissance grew of itself from within, while the French was an artificially cultivated exotic.
R and L of the door, early squat figures of Strength and Prudence, Italian sculpture of the 13th century, still exhibiting many Gothic characteristics, but with a nascent striving after higher truth which began with the school of the Pisani at Pisa. Opposite them, Justice and Temperance, completing the set of the four cardinal virtues. These may be looked upon as the point of departure. They show the first germ of Renaissance feeling. L of doorway, good Madonna from Ravenna; flanked by two innocent-faced angels, in deacon’s dress, drawing aside a curtain from a tomb — beautiful work of the Pisan school of the 14th century: contrasted with the best French reliefs at Cluny (such as the legend of St. Eustace), these works exhibit the early advance of art in Italy. Between them (contrasting well with the early French style, as much more idealised) terra-cotta painted Madonna and Child. Beneath, good Madonna in wood, and painted gesso Madonnas, later. Near the window, * *beautiful bust of a child, by Donatello, exhibiting the exquisite unconscious naïveté of the early Renaissance. Most of these works are so fully described on their pedestals that I shall only call attention to a few characteristics. The emaciated figure of the Magdalen, in a Glory of Cherubs, below, is the conventional representation of that Saint, when a penitent in Provence, being daily raised aloft to the beatific vision: many examples occur at Florence. The beautiful little terra-cotta Madonna under a canopy close by is admirable in feeling. Opposite it, characteristic decorative work of the Renaissance. Then, * *Donatello’s naïf Young St. John, the Patron Saint of Florence, is another exquisite example of this beautiful sculptor. The open mouth is typical. A Lucretia, near it, indicates the general tendency to imitate the antique, still more marked in the relief of a funeral ceremony, where the boy to the R is especially pleasing. Do not overlook a single one of the Madonnas in this delightful room: the one above the funeral relief, though skied, is particularly pleasing. Even the large painted wooden Sienese Madonna in the centre, though the merest church furniture, has the redeeming touch of Italian idealism. The busts of Roman emperors, imitated after the antique, betray on the other hand the true spring of Renaissance impulse.