Pass we over the rest.--Mutilated, sick, weary, and ragged, François approached his native valley, and doubtful of his reception--for misery makes sad misanthropes--he sought the cottage of Madame Duval. The cottage was gone; and on inquiring for Madame Duval, he was directed to a fine farm-house by the banks of the stream. He thought there must be some mistake, but yet he dragged his heavy limbs thither, and knocked timidly against the door.
"Entrez!" cried the good-humoured voice of the old dame. François entered, and unbidden tottered to a chair. Madame Duval gazed on him for a moment, and then rushing to the stairs called loudly, "Come down, Marlette, come down, here is François returned!" Like lightning, Mariette darted down the stairs, saw the soldier's old great-coat, and flew towards it--stopped--gazed on his haggard face, and empty sleeve, and, gasping, fixed her eyes upon his countenance. 'Twas but for a moment she gazed on him thus in silence; but there was no forgetfulness, nor coldness, nor pride about her heart--there was sorrow, and joy, and love, and memory in her very glance.
"Oh François, François!" cried she, at length, casting her arms round his neck, "how thou hast suffered!" As she did so, the old great-coat fell back, and on his breast appeared the golden cross of the legion of honour. "N'importe!" cried she, as she saw it, "Voilà ta récompense." He pressed her fondly to his bosom. "My recompense is here," said he, "my recompense is here!"
THE PAINTINGS.
A painter must raise his ideas beyond what he sees, and form a model of perfection in his own mind, which is not to be found in reality, but yet such a one as is probable and rational.--Richardson.
When I was a child, nothing pleased me so much as the woodcuts in Gay's fables, and my nurse could do any thing with me if she promised me a pretty picture. The taste has grown up with me, and I have as much difficulty in passing a printseller's window without looking in, as some people have in passing a book-stall. In returning from our ramble, we fell upon a shop of the kind; but that which most amused us was an engraving of the departure of Louis XVIII., on the return of Napoleon from Elba. In truth, there was little to be represented, except the good old king getting into his carriage in a great fright. But the object of the painter was to represent the sorrow of the people of Paris; and for this purpose he has drawn the two sentinels in tears, one hiding his eyes with his hand, and the other on his knees, not a little embarrassed with his musket, while a great many other tragic attitudes were expended in the background. Frenchmen in many of their undertakings seem striving to do better than nature, and, consequently, nine times out of ten they caricature what they attempt. Their most glaring efforts of this kind are in painting and engraving, and there they appear to have totally forgotten that the beau ideal does not consist in generating what nature never produced, but in assembling the most beautiful objects which naturally harmonize together.
Painting is one of the most purely imitative of the arts, and the utmost licence which its greatest masters have allowed it, is simply the power of choosing and combining what is pleasing to the eye, and rejecting all that can offend it. This, however, does not content the present school of painting in France. They must have something such as never was, and never will be, and in their colouring especially they have succeeded to a miracle.
David's naked Spartans are brilliant instances of how far art can go beyond nature; for certainly never was any thing seen under heaven like the skins of those polished gentlemen. Take away the shields and helmets, and a very slight alteration would convert the three hundred arming for Thermopylæ, into Diana and her nymphs bathing; and even then they would be somewhat too pretty, for without doubt the goddess's hunting-parties, gave her a much more russet tint than David has thought proper to bestow upon the hardy warriors of Greece.
Perhaps the great corrector of all things, time, may deprive these pictures of their adventitious glare of colouring; but even then, though they may be admired for their fine bold outline, one violent defect can never be banished, the forced and extravagant attitudes of some of the principal figures. David had certainly a strange penchant for sans-culotteism; he never missed an opportunity of leaving his heroes without any apparel except a helmet, which sits rather preposterously on a naked man.
The grand and dignified simplicity of the ancient masters forms a most striking contrast with the laboured and overcharged productions of the present French school. A modern painter, certainly possessing very great talent, has attempted a picture of the deluge. He has crowded into it great many horrors, all very horrible; but the principal group will be sufficient. It consists of a family vainly endeavouring to escape from the surrounding destruction by climbing a rock in the foreground. The agonies of such a moment might have been expressed most touchingly, had the artist chosen to keep within the bounds of moderation: but no, he must out-herod Herod; and, consequently, he has contrived to make one of the most dreadful situations the human mind can conceive actually ludicrous.