FOOTNOTES:
[1] A quaint whim of the olden time is constructed near one of the walks; it is the model of a willow-tree in copper, which has all the appearance of a living one, situated on a raised mound of earth. From each branch, however, water suddenly bursts, and also small jets from the grassy borders around. It was considered a good jest some years ago to delude novices to examine this tree, and wet them thoroughly by suddenly turning on the water above and around them. This tree was originally made by a London plumber in 1693; but it has been recently repaired by a plumber in the neighborhood of Chesterfield, under the direction of Sir Joseph Paxton.
MEN AND WOMEN OF THE EIGHTEENTH CENTURY.
We have Louis Quinze chairs in our parlors, Louis Quinze carving and gilding about our mirrors, our ladies (in a double sense, of grace and utility), sweep past us in the streets or rustle in the ball-room in Louis Quinze brocades, with the boddice, if not the train, of pattern identical with that of Madame de Pompadour, as depicted in the excellent portrait before us in Mr. Redfield's elegant volumes, and we are, if scandal does not lie more than usual, making very practical acquaintance with Louis Quinze morals. It may be as well, therefore, to become more familiar with a period we find it so convenient to imitate. The great events of French history since 1789, their rapid sequence and ever varying character, have thrown into the shade the previous annals of the kingdom. Especially has this been the case with the period immediately preceding the days of terror. This period has been dispatched in a few sentences, in the opening chapters of works on the French Revolution—in some vague generalities on its profligacy and chaotic infamy. We have had glimpses, through the Œil de Bœuf, at groups of exquisite gentlemen and gay ladies; abbés who wrote every thing but sermons, and were free from the censure of not practising what they preached since they did not preach at all; generals who fought a campaign as deliberately and ceremoniously as they danced a minuet; statesmen whose diplomacy was more of the seraglio than the council; painters who improved on nature, applying the same tricks of art to the landscape as with powders to their curls; and simpering lips of the Marquise, and poets whose highest flights were a sonnet to Pompadour, or a pastoral to a sheep-tending Phillis. Our casual observations of all these people, however, have been vague and slight, for few have probably had patience to follow these worthies to their retirement, and look over their shoulders at the memoirs which every mother's son and daughter of the set, from the prime minister to the cook, found—it is impossible to tell how—time to scribble down for the edification of posterity. In the volumes of Arsene Houssaye before us, these gay but unsubstantial shadows take flesh and blood, and become the Men and Women—the living realities of the Eighteenth Century. We have here the most piquant adventures of the Memoirs and the choicest mots of the Anas, culled from the hundreds of volumes which weigh down the shelves of the French public libraries. Not only indeed have we the run of the petites soupers of Versailles, but we may wander at will in the coulisses of the Grand Opera, picking up the latest gossip of Camargo or Sophie Arnold, enter the foyer of the classic Theatre Française, or adjourn to the Café Procope to hear the last joke of Piron, or the latest news from Fernay. And better than all these, we may mount, au cinquième, au sexième, to the lofty yet humble garret of the author or the artist, and there find, in an age of sickening heartlessness, refreshing scenes of household sincerity, patient endurance of hardship, showing that even that depraved age was not utterly devoid of the heroic and the pure. M. Houssaye is no rigid moralist, he employs no historic pillory, and often displays the painful flippancy of the modern French school on religious points, but he does honor to these better traits of humanity when he meets them. And we are not sure but that the morality of the work is the more impressive for the absence of the didactic. Here is little danger of our falling in love with vice, seductive as she appears in the annals of Louis XV., for we see the rotten canvas as well as the brilliant scene. We remember with the gaudy blossoms of 1740-60, the ashen fruit of 1789-'95. It is as hard to select extracts from M. Houssaye's volumes on account of the embarras des richesses, as it would be to choose a gem or two for our drawing-room from a gallery of Watteau and Greuze, or a row of Laucret's passets. Much as the reader, we doubt not, will enjoy those we have picked for him, he will still find equal or greater pleasure in those we have left untouched.
Here are the first steps in the ascent of Madame de Pompadour to that "bad eminence" she attained of virtual though virtueless Queen of France. The entire sketch is the best life of this celebrated woman with which we are acquainted:
"Madame de Pompadour was born in Paris, in 1720. She always said it was 1722. It is affirmed, that Poisson, her father, at least the husband of her mother, was a sutler in the army; some historians state that he was the butcher of the Hospital of the Invalides, and was condemned to be hung; according to Voltaire, she was the daughter of a farmer of Ferté-sous-Jouarre. What matters it, since he who was truly a father to her was the farmer-general, Lenormant de Tourneheim. This gentleman, thinking her worthy of his fortune, took her to his home, and brought her up, as if she had been his own daughter. He gave her the name of Jeanne-Antoinette. She bore till she was sixteen years of age this sweet name of Jeanne. From her infancy, she exhibited a passion for music and drawing. All the first masters of the day were summoned to the hotel of Lenormant de Tourneheim. Her masters did not disgust Jeanne with the fine arts of which she was so fond. Her talent was soon widely known. Fontenelle, Duclos, and Crébillon, who were received at the hotel as men of wit, went about every where, talking of her beauty, her grace, and talent.
"Madame de Pompadour was an example of a woman that was both handsome and pretty; the lines of her face possessed all the harmony and elevation of a creation of Raphael's; but instead of the elevated sentiment with which that great master animated his faces, there was the smiling expression of a Parisian woman. She possessed in the highest degree all that gives to the face brilliancy, charm, and sportive gayety. No lady at court had then so noble and coquettish a bearing, such delicate and attractive features, so elegant and graceful a figure. Her mother used always to say, 'A king alone is worthy of my daughter.' Jeanne had an early presentiment of a throne! at first, from the ambitious longings of her mother; afterward, because she believed that she was in love with the king. 'She confessed to me,' says Voltaire, in his memoirs, 'that she had a secret presentiment that the king would fall in love with her, and that she had a violent inclination for him.' There is a time in life when destiny reveals itself. All those who have succeeded in climbing the rugged mountain of human vanity relate that, from their earliest youth, dazzling visions revealed to them their future glory.
"Well, how was the throne of France to be reached, the very idea of which made her head turn? In the mean time, full of genius, always admired, and always listened to, she familiarized herself with the life of a beautiful queen; she saw at her feet all the worshippers of the fortune of her father; she gathered about her poets, artists, and philosophers, over whom she already threw a royal protection.
"The farmer-general had a nephew, Lenormant d'Etioles. He was an amiable young man, and had the character and manners of a gentleman; he was heir to the immense fortune of the farmer-general, at least, according to law. Jeanne, on her side, had some claim to a share of this fortune. It was a very simple way of making all agreed, by marrying the young people. Jeanne, as we have seen, was already in love with the king; she married D'Etioles without shifting her point in view: Versailles, Versailles, that was her only horizon. Her young husband became desperately enamored of her; but this passion of his, which amounted almost to madness, she never felt in the least. She received it with resignation, as a misfortune that could not last long.
"The hotel of the newly-married couple, Rue-Croix-des-Petits-Champs, was established on a lordly footing; the best company in Paris left the fashionable salons for that of Madame D'Etioles until that time, there had never been such a gorgeous display of luxury in France. The young bride hoped by this means to make something of a noise at court, and thus excite the curiosity of the king. Day after day passed away in feasts and brilliant entertainments. Celebrated actors, poets, artists, and foreigners, all made their rendezvous at this hotel, the mistress of which was its life and ornament; all the world went there, in one word, except the king."
The painters are among the pleasantest personages of Mr. Houssaye's book, as they generally are in whatever society or whatever time we find them, all the world over. Watteau is familiar to us all, if not from his works, at second-hand in engravings, or those dainty little china shepherdesses and shepherds which we have seen on our grandmothers' mantel-pieces, and which are again emerging from the glass corner cupboard to the rosewood and mirrored étagère. The following passages descriptive of his early life, are full of animation:
"He was born in 1684, at the time the king of France was bombarding Luxembourg. His family was poor, as a matter of course. He was put to school just long enough not to learn any thing. He was never able to read and write without great difficulty, but it was not in that his strength lay. He learned early to discover genius in a picture, to copy with a happy touch the gay face of Nature. There had been painters in his family, among others, a great uncle, who had died at Antwerp, without leaving any property. The father of Watteau had little leaning toward painting; but he was one of those who let men and things here below take their course. Watteau, therefore, was permitted to take his. Now Watteau was born a painter. God had given him the fire of genius, if not genius. His first master was chance, the greatest of all masters after God. His father lived in the upper story of a house with its gable-end to the street. Watteau had his nose out of the window oftener than over a book; he loved to amuse himself with the varied spectacle of the street. Sometimes it was the fresh-looking Flemish peasant-girl, driving her donkey through the market-place, sometimes the little girls of the neighborhood, playing at shuttlecock during the fine evenings. Peasant-maid and little child were traced in original lines in the memory of the scholar; he already admired the indolent naïveté of the one, the prattling grace of the other. He had his eye also on some smiling female neighbor, such as are to be found every where; but the most attractive spectacle to him was that of some strolling troop of dancers or country-players. On fête-days sellers of elixirs, fortune-tellers, keepers of bears and rattlesnakes, halted under his window. They were sure of a spectator. Watteau suddenly fell into a profound revery at the sight of Gilles and Margot upon the stage; nothing could divert his attention from this amusement, not even the smile of his female neighbor: he smiled at the grotesque coquetries of Margot; he laughed till out of breath at the quips of Gilles. He was frequently seen seated in the window, his legs out, his head bent, holding on with difficulty, but not losing a word or a gesture. What would he not have given to have been the companion of Margot, to kiss the rusty spangles of her robe, to live with her the happy life of careless adventure? Alas! this happiness was not for him. Margot descended from the boards, Gilles became a man as before, the theatre was taken down, Watteau still on the watch; but by degrees he became sad; his friends were departing, departing without him, with their gauze dresses, their scarfs fringed with gold, their silver lace, their silk breeches, and their jokes.—"Those people are truly happy," said he, "they are going to wander gayly about the world, to play comedy wherever they may be, without cares and without tears!"—Watteau, with his twelve-year-old eyes, saw only the fair side of life. He did not guess, be it understood, that beneath every smile of Margot there was a stifled tear. Watteau seems to have always seen with the same eyes; his glance, diverted by the expression and the color, did not descend as far down as the soul. It was somewhat the fault of his times. What had he to do while painting queens of comedy, or dryads of the opera, with the heart, tears, or divine sentiment?
"After the strollers had departed, he sketched on the margins of the 'Lives of the Saints,' the profile of Gilles, a gaping clown, or some grotesque scene from the booth. As he often shut himself up in his room with this book, his father, having frequently surprised him in a dreamy and melancholy mood, imagined that he was becoming religious. He, however, soon discovered that Watteau's attachment to the folio was on account of the margin, and not of the text. He carried the book to a painter in the city. This painter, bad as he was, was struck with the original grace of certain of Watteau's figures, and solicited the honor of being his master. In the studio of this worthy man, Watteau did not unlearn all that he had acquired, although he painted for pedlers, male and female saints by the dozen. From this studio he passed to another, which was more profane and more to his taste. Mythology was the great book of the place. Instead of St. Peter, with his eternal keys, or the Magdalen, with her infinite tears, he found a dance of fauns and naiads, Venus, issuing from the waves, or from the net of Vulcan. Watteau bowed amorously before the gods and demigods of Olympus; he had found the gate to his Eden. He progressed daily, thanks to the profane gods, in the religion of art. He was already seen to grow pale under that love of beauty and of glory which swallows up all other loves. On his return from a journey to Antwerp, his friends were astonished at the enthusiasm with which he spoke of the wonders of art. He had beheld the masterpieces of Rubens and Vandyke, the ineffable grace of Murillo's Virgins, the ingenuously-grotesque pieces of Teniers and Van Ostade, the beautiful landscapes of Ruysdael. He returned with head bent and eyes fatigued, and his mind filled with lasting recollections.
"He was not twenty when he set out for Paris with his master. The opera, in its best days, enlisted the aid of all painters of gracefulness. At the opera, Watteau threw the lightning flashes of his pencil right and left: mountains, lakes, cascades, forests, nothing dismayed him, not even the Camargos, whom he had for models. He ended by taming himself down to this cage of gayly-singing and fluttering birds. A dancing-girl, who had not much to do, deigned to grant the little Flemish dauber, the favor of sitting for her portrait. Fleming as he was, Watteau made the progress of the portrait last longer than the scornfulness of Mademoiselle la Montagne. This was not all: the portrait was considered so graceful in the dancing-world, that sitters came to him every day, on the same terms.
"He left the opera with his master, as soon as the new decorations were finished. Besides Gillot, the great designer of fauns and naiads had returned there more flourishing than ever. The master returned to Valenciennes, Watteau remained at Paris, desiring to depend upon his fortune, good or bad. He passed from the opera into the studio of a painter of devotional subjects, who manufactured St. Nicholases for Paris and the provinces, to suit to the price. So Watteau manufactured St. Nicholases, 'My pencil,' he said, 'did penance.' The opera always attracted him; there he could give free scope to all the extravagance of his fancy, to all the charming caprices of his pencil; but at the opera, his master and himself had given way to Gillot; and the latter was not disposed to give way to any body."
An allegro morceau from the life of Grétry: