The subjects with which these fans were decorated embrace every class. Thus we have representations of ancient history, both sacred and profane, subjects which recorded important current events, subjects fanciful of almost every description.
That of the ‘Rape of Helen’ occurs often; the fine fan in the possession of Mr. J. G. Rosenberg of Karlsruhe has this subject for its principal medallion, the style recalling Le Brun, with sixteen smaller subjects from classic mythology, these divided by a gold band. Also in the beautiful example in the possession of Lady Lindsay this same subject is treated, though in a very different manner. (Illustrated facing p. 30.)
In the cabinet of Madame Riant is the ‘Judgment of Paris,’ the subject en cartouche, with smaller cartouches in the Chinese taste.
Probably one of the earliest of these ‘Vernis Martin’ fans (ivory brisé fans had been painted earlier, during the latter part of the seventeenth century) is the bridal-fan of the Duchess of Burgundy, Adelaide of Savoy, mother of Louis XV. The subject represents the fêtes at Versailles on the occasion of the marriage of the grandson of Louis XIV. in 1709. On the obverse the bride appears seated upon a dais with attendants bearing floral offerings. In the centre the king dances a minuet with Madame de Maintenon, ‘ma tante,’ as the dauphin endearingly called her. Other dancing figures, musicians, etc., complete the composition, which is enclosed in a large cartouche of fruits, masks, instruments, etc.; on the field of the fan are representations of country life.
| The Rape of Helen, ‘Vernis Martin’, c. 1745. | Lady Northcliffe. |
On the lower semicircle, en cartouche, the bride again appears playing a guitar, the remaining space being occupied by subjects of a Chinese character. On the reverse we have a representation of the fêtes in the palace gardens, with scenes from the life of the prince—as pupil of Fénelon, and as lover; miniatures of the prince and princess appear on the panaches. This important fan has been attributed to the pencil of Watteau, but with small grounds, being quite unlike the character of Watteau’s work except in the type of some of the figures represented.
The example which formed part of the royal collection at Windsor Castle is so well known that it scarcely needs description here. It consists of a large number of cartouches of classical and pastoral subjects divided by gold borderings. It formerly belonged to Marie-Antoinette, and was procured for Her Majesty Queen Victoria by the Queen of the Belgians.
The fan representing the ‘Toilette of Madame la Marquise de Montespan,’ and ‘the Promenade,’ in the possession of the Countess Duchâtel, has become historic. It was sent by Madame de Sévigné to her daughter, Madame de Grignan, and is thus referred to in her 149th letter: ‘My fan has then become most useful, doubtless. Do you not think it beautiful? Alas, what a bagatelle! You would not take away from me this small pleasure when occasion presents itself—you would thank me for that pleasure, although it is a mere nothing.’
We are enabled, by the courtesy of Mr. Leopold de Rothschild, to illustrate (facing p. 142) one of the best-preserved examples of this interesting type of fan. The subject represents a company of musicians in a garden, with trellised background and fountain; on the lower cartouche a classical landscape; on the panaches are figures of Harlequin, Pierrot, etc., the ornamental portions being painted with the most minute finish.