The present artists in France and their productions, improvements in Paris, fortifications, humanity to animals, education of females, personal appearance of the French, army and navy, scientific Societies, and commercial enterprises.
Never perhaps at any period was there so much encouragement given to the arts and sciences in general in France as at the present, nor ever was there a monarch who reigned over the French, who so much endeavoured to promote every object which tended to usefulness, or to the advancement of the fine arts. No country in the world has such advantages as France for nurturing talent, and giving it the opportunity of developing itself, so numerous are the societies and institutions where lectures and instruction are afforded gratuitously, hence the great assistance to young artists; without any expense or trouble, they are admitted into a drawing academy, where they may acquire the fundamental principles of the graphic art; afterwards there are other different establishments which they can enter as their studies progress, and when they attain any degree of proficiency, they have a chance of being sent at the expense of government to Rome, to complete their studies, and if they excel to a moderate degree, are sure to be employed by the King, or some member of the royal family, or by the nation. With all these immense advantages, how much might be expected of the French artists, but the fact does not realise those hopes that might be justly formed from the solid rudimental education which they have the power of receiving. The exhibition this year at the Louvre of the paintings of the living artists was a complete illustration of what I have stated, as every one allows that it was far inferior to that of last year, which was considered much worse than those of former years.
At the same time it must be admitted that several of the best artists have not sent any pictures for the last few years, and particularly the present, when amongst the absentees might be cited Ingres, Horace Vernet, Ary Scheffer, Delaroche, etc., who it appears were all employed by the King or government; the consequence was, although there was an immense mass of large historical and scriptural subjects, it was what might have been called a most sorry display. Amongst the number one alone evinced a superiority of talent, and that was the taking of Mazagran by Phillippoteaux, which really had considerable merit, and the artist it appears passed some time in Algiers, and therefore was enabled to give a faithful representation of the inhabitants of the country. Of miscellaneous subjects, or what the French call tableau de genre, there were many most exquisite pictures, amongst the rest, the Miller, his Son and his Ass, by H. Bellangé, which was so full of character and expression, that it needed not language to tell the tale; there were also several other pieces by the same artist, possessing equal merit. An Assembly of Protestants surprised by Catholic Troops, by Karl Girardet, was a most superior picture in Wilkie's best style; Reading the Bible, by Edward Girardet, also exceedingly clever; but one of the most delightful pictures in the exhibition was by Gué, of Raymond of Toulouse reconciling himself to the Church; I never yet saw any performance of that artist but evinced some great merit, either the finest imagination, the most beautiful execution, or the utmost truth to nature, according to the subject he undertakes. I should certainly pronounce Gué as one of the best artists who now send their pictures to the Louvre; one he had two years since of the Crucifixion, at the annual Exhibition, which certainly was a most sublime composition, the approach of night, with a slight glare of parting light, was most admirably represented, and gave a sort of wild gloom which so beautifully harmonised with the nature of the subject; he had also introduced the dead rising from their tombs, which contributed to augment the solemn tone which pervaded the whole picture. However lightly or frivolously the mind might be engaged, one glance at this exquisite painting must at once strike awe into the beholder; it was true that there was a great similarity with one on the same subject, in the Louvre, by Karel Dujardin, but not sufficiently so to say it was borrowed, or to detract from its merit. T. Johanot had but one picture this year, which was very clever, as his always are; his subjects are mostly historical, and his illustrations of Walter Scott are universally known and admired. Schopin is another of the French artists whose pictures will always live, his females are so truly graceful, such sweetness of expression in their countenances; this year he did not shine so much as he has before, having but one picture, which was from Ruth and Boaz, and the latter was made to appear too old. A paralyzed old Man on an Ass, which his son was leading, was a true picture of nature, by Leleux; the vigour of the one and the feebleness of the other were admirably contrasted, although rather flat from wanting more shade.
Of this description there were far too many pictures possessing merit than I can afford room to cite, but amongst the portraits there were some such wretched daubs, that they would have been a disgrace to any country; in fact this is a branch in which the French are peculiarly deficient, and in which we far surpass them. The portrait painter who has now the greatest vogue is Winterhatter, who certainly has a great degree of merit, but rather sacrifices the face to the drapery; his picture of the Queen was very justly admired in many respects, but the laboured accuracy with which the lace was given, was rendered so conspicuous, that the eye fell upon the costume before it lighted upon the features; this pleases the ladies, I am aware, who like to have an exact map of their blonde and guipure, and it certainly is too much the case that an artist is obliged to be more or less the slave of his sitters and their friends; his miscellaneous pieces, where his pencil roves freely, are all that is delightful. His portrait of the Comte de Paris and the Duchess de Nemours, certainly display considerable talent. Two favourite and fashionable portrait painters are Dubuffe and Court, the works of the former are well known in England, they are exceedingly attractive from their softness and brilliance, but they want the crispness and tone of nature, the drawing also is sometimes defective. These observations equally apply to both these artists. The younger Dubuffe is rising rapidly in the estimation of artists. I have seen some portraits very true to life by Coignet, Roller, Laure, Rouilliard, and Vinchon; one of Sébastiani, by the latter, was quite nature itself. There are several very clever painters of marine subjects, amongst others Gudin and Isabey, and there is not any department which is more encouraged by the King and the government; for the last several years the former has had orders for at least a dozen each year, of naval combats between France and her enemies, but those subjects which he paints from his own spontaneous suggestions, are infinitely superior to such as he executes to order. Fruits and flowers are branches of the art in which the French artists particularly excel, one piece of flowers by Bergon I think was one of the most perfect I have met with.
Latterly they have much advanced in their representation of cattle, their sheep and cows are particularly good; some draught horses by Casey were executed with infinite spirit, as also some wild horses by Lepoitevin. Some delightful domestic pieces must excite admiration, of fishermen, their wives and children, by Colin, very much in the style of our own Collins, but not quite so good, as also others by Le Camus Duval. Several interesting subjects attracted much of my attention, by Henry Scheffer, Meissonnier, Bouchot, Dupré, Steuben, Rubio, Signol, Charlet, Storelli, and a few others; in water colours the French are now advancing with rapid strides, this year there were some exquisite specimens in that department of painting, particularly by Heroult: but the style in which the French now are most happy, is in what they call pastel, which consists in a great variety of coloured chalks, rather harder than what we understand by crayons; the manner in which they execute portraits about a quarter the size of life, with these materials, is surprising, it infinitely surpasses their oil portrait or their miniatures. There are several foreign artists within the last two years, who have sent their works to the Louvre which must not be passed unnoticed, amongst the rest is a Spanish artist named Villa amil, whose interiors are far above mediocrity, and who has given us some rich specimens of Spanish monuments, which are now admirably illustrated in a periodical lithographic work. Our countrymen, Messrs. Callow and Barker, have also sent several pieces, which do them and their country credit, the former, some beautiful subjects in water colours, and the latter of varied descriptions, in some of which the game has been particularly admired.
Miniature painting in France I should decidedly say was much inferior to that of England, they are very fond of thick muddy back-grounds, their colouring partakes of the same dirty hue, there is generally a stiffness in the position, and much high finish without effect; there are certainly some exceptions to this rule, at the head of which is Madame Lezinska de Mirbel, whose miniatures are broad, bold, and natural, but always plainer than the originals; there are a few others who have come forward latterly, whose performances are above mediocrity. There were some landscapes which evinced much talent, both as to composition and execution; the selection of subjects being from some of the wild romantic provinces of France and Switzerland, aided greatly in affording them a certain degree of interest. Taking a comparative view of the artists of England and France, there is no doubt, generally speaking, that the latter are superior in drawing, and the former in colouring; many of the French artists have latterly adopted a leady tone in their flesh tints, which gives their figures a half dead appearance. With whatever faults he may possess, I doubt if there be any other man that can do so much as Horace Vernet; many may be found who may excel him in the separate objects which he must introduce in a general historical subject, as a landscape, an architectural building, a ship, a horse, etc., might be better executed by such artists as have exclusively studied any one of those subjects, but I do not think there is any painter now living who could produce the ensemble so well, and manage to give the effect to the composition in the same masterly style as Horace Vernet. Delaroche also has completed many pictures which with his name will be immortal; the same may be said of Ary Scheffer, whilst Ingres is known and cited all over Europe for the perfection of his drawing, supposed to be the only man who could correctly draw the naked human figure in any position without a model. In portrait and miniature painting, landscapes and water colours, the French are still decidedly inferior to the English artists.
With respect to sculpture, it is so far more encouraged in France than in England, that of course the numbers who profess it are far more numerous in the former country, and there is a great deal of talent to be found amongst the present French sculptors, but perhaps not quite of the highest class. I never have seen anything which I considered so beautiful as Bailey's Eve, and I doubt whether there are any of them who could produce a work equal to Gibson, or that could surpass Cockerill in the representation of a horse, still most of their statues which have been executed for the government, are certainly better than many of those which have been placed in different parts of London.
There is a great taste for sculptural subjects in general throughout Paris, numbers of houses which have been recently built are adorned with statues, and an immense variety of devices and ornaments of different descriptions, all of which afford employment for the young sculptor; in fact there exists now quite a mania for decoration, and those mansions which still remain of the middle ages present the same predilection for rich carve-work and elaborate ornament which is now revived, and undoubtedly it gives a very picturesque richness to the aspect of a city. As a department of sculpture I certainly must not omit to state to what a high degree the French have wrought the art of casting in bronze, and I am sure I shall be procuring my readers a treat in directing them to the establishment of M. De Braux d'Anglure, No. 8, Rue Castiglione; they will there find an infinite variety of very splendid subjects, some executed with the most exquisite delicacy, others in fine broad masses, as animals the size of life, and some equestrian figures of the middle ages after the first masters displaying the full merit of the original designs. But that which is still more interesting is to visit M. De Braux's foundry, and atelier, No. 15, Rue d'Astorg, where he takes a pleasure in explaining the whole process requisite in casting the different objects, and showing them throughout the various stages through which they pass before they are completed. The French have brought this art to a high perfection, which it appears is facilitated by their having a peculiar sort of sand near Paris (which they cannot find elsewhere), particularly serviceable for the purpose of casting. The orders which come from England for works in bronze is immense; whilst I was at M. de Braux's he was at work upon a bust of the Duke of Wellington, which was part of what was to be a figure the size of life, destined as a national monument (as M. de Braux understood) for some part of London. The great art which he now practises, is that of casting whole masses at once, instead of small bits which were joined together according to the former method. Every amateur of the arts will find the highest gratification in viewing the number of interesting objects which present themselves in various forms at M. de Braux's atelier.
The shopkeepers and proprietors of coffee-houses, restaurants, etc., also have afforded much occupation to artists of moderate talent, having reliefs and paintings introduced upon their walls, that are by no means contemptible, and it is quite an amusement, in walking the streets of Paris, to observe to what an extent it is carried; many of the new houses in the most frequented thoroughfares, above the shops, are now so handsome that if they were appropriated for national purposes would be admired as public monuments, some of these may be remarked even in several of the narrow shabby streets, only (as already stated) they are compelled, by the Municipality, to build them a few feet farther back, to give greater width to the street. One of the beauties and attractions of Paris at the present period, is the Passages, in which are to be found some of the most splendid assortments of every article which the most refined luxury can desire; of such a description are the Passages des Panoramas, Saumon, Choiseul, Vero-Dodat, Vivienne, Opera and Colbert; in the latter is a Magasin de Nouveauté, styled the Grand Colbert, which peculiarly merits the attention, both of the amateur and the connaisseurs of such merchandise as will be found there displayed. In Paris there are many establishments of this nature on the most colossal scales, even surpassing in extent the far famed Waterloo House, but in none is the public more honourably served, or treated with a greater degree of courtesy and attention, than at the Grand Colbert; the taste and discernment with which their stock is selected, does the highest credit to the proprietors, and their premises being arranged and decorated so as to resemble a Moresque temple, as the purchasers behold spread around them in gay profusion all the rich and glowing tints which Cashmere can produce, they may almost fancy that they are in some oriental Bazaar, where the costly manufactures of those climes are displayed for the admiring gaze of the delighted spectator. In the choice of silks is developed the beau ideal of all that the genius, art, and industry of Lyons can effect, which has been selected as regards the tints and designs, with an artistical tact. A great advantage of this establishment is that one partner is French, possessing that degree of taste for which his countrymen are so justly celebrated in all that relates to fancy goods, whilst the other partner is English, partaking of that truly national character which pries deeply into the worth and solidity of every article, before it is presented to the public. Thus far I can speak from experience, having for sixteen years been accustomed to purchase every thing I required at the Grand Colbert, either in linen, drapery, mercery, hosiery, lace, millinery, etc. The premises are entered from two different points, the Rue Vivienne, and the Rue Neuve-des-Petits-Champs, of which streets it forms the corner. The central position adds another recommendation to the stranger, being close to the Palais Royal, in a street communicating with the Bourse, and the most fashionable part of the Boulevards, but a few minutes' walk from all the principal Theatres, at the back of the Royal Library, and in fact in the midst of the most attractive and frequented parts of Paris. Whilst a long range of immense squares of plate glass not only have an ornamental appearance but have the effect of throwing so powerful a light upon the premises that every possible advantage may be afforded for the examination of the goods.
Just near this spot they are about to open a new street, which will be on the spacious and handsome plan of those which have been recently constructed; many others are projected on the same system, and will have a most beneficial effect, in adding to the salubrity of the capital, by clearing away a number of little dirty lanes and alleys, hundreds of which have already been absorbed in the great improvements which have been effected in Paris within my recollection. The extensive projects which are in contemplation for the embellishing of the city, would cost some hundreds of millions of francs to carry into effect, but could have been executed, had not so large a sum been required for the erection of the fortifications, which are proceeding, if not rapidly, at any rate steadily. Concerning their utility or the policy of such a measure, opinion is much divided, but the majority conceive that such circumstances as could render them necessary are never likely to arrive, as they consider that by keeping the frontiers always in the best state of defense, there never could be any fear of an army reaching Paris, as when it occurred under Napoleon, it was after the resources of France had been exhausted by a war of upwards of twenty years, an event that in all probability never could happen again, and that the immense outlay of capital might be applied to purposes so much more calculated to promote the welfare of the country. Others contend that supposing France to be assailed by three armies, and even that she be victorious over two of them, and it be not the case with the third, that force might march on Paris, which might be immediately taken if it were open as at present, whereas if fortified, the resistance it would be enabled to make would give time for either of the victorious armies to come to its relief. Whilst a third party pretend that the fortifications are intended more to operate against Paris than in its defence; that in case of any formidable popular commotion the surrounding cannon can be pointed against the city and inhabitants, and any refractory bands that might be disposed to pour in from the province to join the factious could be effectually prevented entering Paris. Whatever may be the different opinions on the subject, every one must regret such a tremendous expense for almost a visionary object, whilst there is so much capital and labour required for increasing the facilities of communication by means of improved roads, canals, or railways from the opposite points of the kingdom.