These are the materials on which Genius ought to work, and without which the most promising talent may be greatly misapplied, if not entirely lost. It was by studying closely these correct models, that the great MICHAEL ANGELO, the, sublime RAPHAEL, and other eminent masters, acquired that idea of excellence which is the result of the accumulated experience of successive ages. Here, in one visit, the student may imbibe those principles to ascertain which many artists have consumed the best part of their days; and penetrated by their effect, he is spared the laborious investigation by which they came to be known and established. It is unnecessary to expatiate on the advantages which the fine arts may expect to derive from such a repository of antiques in a capital so centrical as Paris. The contemplation of them cannot fail to fire the genius of any artist of taste, and prompt his efforts towards the attainment of that grand style, which, disdaining the minute accidental particularities of individual objects, improves partial representation by the general and invariable ideas of nature.
A vast collection of antiquities of every description is still expected from Italy, among which are the Venus of Medicis and the Pallas of Veletri, a finely-preserved statue, classed by artists among those of the first rank, dug up at Veletri in 1799, in consequence of the researches made there by order of the French commissioners. Upwards of five hundred cases were lying on the banks of the Tiber, at Rome, ready to be sent off to France, when the Neapolitans entered that city. They carried them all away: but by the last article of the treaty of peace with the king of Naples, the whole of them are to be restored to the French Republic. For the purpose of verifying their condition, and taking measures for their conveyance to Paris, two commissioners have been dispatched to Italy: one is the son of CHAPTAL, Minister of the Interior, and the other is DUFOURNY, the architect. On the arrival of these cases, even after the fifteen departmental Museums have been supplied, it is asserted that there will yet remain in the French capital, antiquities in sufficient number to form a museum almost from Paris to Versailles.
The CENTRAL MUSEUM OF THE ARTS is open to the public in general on the 8th, 9th, and 10th of each decade;[[1]] the other days are appropriated to the study of young pupils; but a foreigner has only to produce his permis de séjour to gain admission gratis every day from the hour of ten o'clock to four. To the credit of the nation, I must observe that this exception in favour of foreigners excites no jealousy whatever.
It is no more than a justice due to the liberality of the French republican government to add, that they set a noble example which is worthy of being followed, not only in England, but in every other country, where the arts and sciences are honoured, or the general interests of mankind held in estimation. From persons visiting any national establishment, whether museum, library, cabinet, or garden, in this capital, no sort of fee or perquisite is now expected, or allowed to be taken. Although it was not a public day when I paid my first visit to the CENTRAL MUSEUM, no sooner did I shew my permis de séjour, than the doors were thrown open; and from M. VISCONTI, and other members of the Council, who happened to be present, I experienced the most polite and obliging attention. As an Englishman, I confess that I felt a degree of shame on reflecting to what pitiful exaction a foreigner would be subject, who might casually visit any public object of curiosity in our metropolis.
[Footnote 1]: By a subsequent regulation, Saturday and Sunday are the days on which the CENTRAL MUSEUM is open to public inspection. [Return to text]
[LETTER IX.]
Paris, October 31, 1801.
In answer to your question, I shall begin by informing you that I have not set eyes on the petit caporal, as some affect to style the Chief Consul. He spends much of his time, I am told, at Malmaison, his country-seat; and seldom appears in public, except in his box at the Opera, or at the French theatre; but at the grand monthly parade, I shall be certain to behold him, on the 15th of the present month of Brumaire, according to the republican calendar, which day answers to the 6th of November. I have therefore to check my impatience for a week longer.
However, if I have not yet seen BONAPARTE himself, I have at least seen a person who has seen him, and will take care that I shall have an opportunity of seeing him too: this person is no less than a general—who accompanied him in his expedition to Egypt—who was among the chosen few that returned with him from that country—who there surveyed the mouths of the Nile—who served under him in the famous campaign of Syria; and who at this day is one of the first military engineers in Europe. In a word, it is General A----y, of the artillery, at present Director of that scientific establishment, called the DÉPÔT DE LA GUERRE. He invited me the day before yesterday to breakfast, with a view of meeting some of his friends whom he had purposely assembled.
I am not fond of breakfasting from home; mais il faut vivre à Rome comme à Rome. Between ten and eleven o'clock I reached the Dépôt, which is situated in the Rue de l'Université, Faubourg St, Germain, at the ci-devant Hôtel d'Harcourt, formerly belonging to the duke of that name. Passing through the gate-way, I was proceeding boldly to the principal entrance of the hotel, when a sentinel stopped me short by charging his bayonet. "Citizen," said he fiercely, at the same time pointing to the lodge on the right, "you must speak to the porter." I accordingly obeyed the mandate. "What's your business, citizen?" inquired the porter gruffly.—"My business, citizen," replied I, "is only to breakfast with the general."—"Be so good, citizen," rejoined he in a milder tone, "as to take the trouble to ascend the grand stair-case, and ring the bell on the first-floor."