Several women were noted as engravers on copper; among them Claudine Bonzonnet Stella has been called the first in France, and practiced the art with her two sisters. Jane Frances and Mary Ann Ozanne, the sisters of a French engraver, worked chiefly in engraving sea-side scenes.
ELIZABETH SOPHIE CHÉRON.
But she who occupies the highest place among all the artists of this period is Elizabeth Sophie Chéron. Born in Paris in 1648, she received instruction from her father in miniature and enamel painting, in which she attained such perfection that she may be regarded as the leader of the host of French artists who devoted themselves especially to this branch. At the age of twenty-six she was admitted a member of the Academy, at the proposal of Charles Le Brun. She was received with distinction; his portrait by her being her reception picture.
Her merits were a fine tone, exquisite taste and harmony in design, and finely-disposed draperies. She often made portraits from memory. Her portraits were so frequently treated in an allegorical manner they might be called historical; and her history-pieces were much admired. She designed much after the antique.
Her father had educated Elizabeth in the strictest principles of Calvinism; but her mother, Marie Lefevre, a Catholic, persuaded her to become a member of that church, after a year’s seclusion in the community of Madame de Miramion. The difference in faith did not impair her affection to her family. She supported her brother Louis for some time in Italy, whither he went to study painting.
This accomplished artist passed the maturity of life without any of the experiences, with which almost every young girl is familiar, of the tender passion. Her emotions seem to have been altogether spiritual. She translated many of the Psalms into French verse; and they were published with illustrations by Louis. She played admirably on the lute, and was accustomed to practice in the parlor with her nieces and pupils, who performed on different instruments. Louis XIV. gave her a pension of five hundred livres.
The most eminent scholars of the day were her friends and visitors; and in conversation she evinced the highest mental cultivation. Her portraits were chiefly painted as presents to her friends, or as ornaments to her own cabinet. “I have the pleasure,” she would say, “of seeing them in their absence.”
In spiritual lyrics she was the precursor of J. B. Rousseau, with whom in warmth of feeling she may be compared; and in narrative poetry she acquired much reputation. The Academy dei Ricovrati, in Padua, received her as a member in 1699, under the name of Erato. She possessed beauty and engaging manners, and to all the honors lavished on her she joined the crowning grace of modesty.
The attractions of this gifted being did not depart with the beauty of fleeting youth. At the age of sixty she fascinated the affections of the Sieur Le Hay, a gentleman about her own age, on whom she bestowed her hand, simply with the generous motive, it was said, of promoting his good fortune. Tradition reports that, when they came out of the church after the ceremony had been performed, the bride made a speech to her husband, implying that esteem, not romantic love, had influenced her choice. She is said to have alluded to him, under the name of Damon, in one of her poems.
As of Madame Dacier, it might be said of this artist—the traits of a great and manly nature might be discerned in her face. Her features wore an expression of decision and firmness. Her hair, in her portrait, curls from the top and floats in ringlets. She was remarkable for the modesty and simplicity of her dress. Her large and sympathizing heart made her the protector and benefactor of needy artists, while her social qualities drew around her the brilliant circles that habitually were found at her house, including many of the most gifted and illustrious of that day. Her death took place in 1711, at the age of sixty-three, and she was buried at St. Sulpice. She was lamented by Fermelhuis in a canto of praise. The Abbé Bosquillon wrote the following lines to be inscribed under her portrait: