Four Years in France / or, Narrative of an English Family's Residence there during that Period; Preceded by some Account of the Conversion of the Author to the Catholic Faith

by Henry Digby Beste

The Museum of the Louvre consists of the lower apartments, in which the statues are placed, and of the gallery of paintings; but as it has become usual to call the gallery by the name of the Gallery only, the lower rooms have retained sole possession of the name of Museum. At the door may be bought catalogues of the statues and paintings, which enter, in some cases, into a short detail of their history and merits. The statues are well placed: one may go round them, and see them on every side. Common sense directs, that a statue should be placed thus; yet at Rome, statues, the admiration of the world, are placed in dark cabinets, in niches, close to the wall; as if statues, like paintings, were to be seen only on one side: they are thus robbed of half their glory, nay of all their glory; since, to judge of a statue, it must be contemplated as a whole. "They order these things better in France."

It is easy to say, and it has often been said, that the gallery is too long,—too long, that is, for its breadth: but who would wish it to be shorter? and as, on each side, there is sufficient distance to allow a good view of the pictures opposite, it cannot be said to be too narrow for its use. By two arches, thrown across the ceiling, it seems to be divided into three compartments; and thus the length is, in some sort, broken. The paintings of the Italian school have the place of honour, in the compartment at the end furthest from the door; the French school is, however, in a most flourishing state, and boasts great names: it will soon rival, if it does not already rival, the old Italian school; to surpass it, is, I suppose, impossible.

This gallery, originally intended as a passage from the Louvre to the Tuilleries, from the town-house to the country-house of the kings of France,—is now, with the rooms on the ground-floor, and some large chambers that have been added, the repository of the finest collection of monuments of the arts, that is to be found out of Italy. Indeed no single Italian collection equals it, saving always the reverence due to certain renowned and incomparable chefs-d'œuvre.

The Museum of Natural History, in the Jardin des Plantes, is said to be the first in the world. That class of society which has but one day in the week of relief from labour is admitted here as well as at the Louvre. Sunday is not the day on which the museums are closed; as the French government has not discovered the wisdom of driving the people into the cabaret by depriving them of all other amusement on that day. I have attended on that day at both museums, and have been equally surprised and pleased in witnessing the behaviour of those who on that day only have leisure to attend in great numbers. They had not the pretensions of savans and connoisseurs; though probably there might be found amongst them their fair proportion of connoisseurs and savans. There was no crowding or jostling,—not so much as I have sometimes observed in assemblies of people more fashionably dressed: there was no noise or clamour; they conducted themselves with the greatest decorum: in the botanical garden, they kept themselves on the walks and allées without ever stepping among the plants; they did not even teaze the poor animals imprisoned in the ménagerie. No apprehension seemed to be entertained by any one that they would injure any object of art or science. This love of mischief is only excited in the people by the jealousy or disdain of their superiors, refusing to share with them pleasures that may, at so cheap a rate, be made common to all. Dr. Willis used to have some of the persons entrusted to his charge as his daily guests at dinner: he was asked how he succeeded in making his patients behave so well at table,—"By treating them as if they were in their senses."

The palace of the Luxembourg contains many very fine paintings, the works chiefly of living authors: its beautiful garden is a source of health and enjoyment to the inhabitants of this distant quarter of the city; and this garden, as well as that of the Tuilleries, is open every day to the public. Even the passage from the Place du Carousel to the garden, through the château, or from the front door to the back door of the king's palace, is a public thoroughfare; a practice not very respectful to the king, say some: I say it is a mark of his kindness; and I hope the people, to reward him for it, and show their gratitude, will cry "Vive le Roi" whenever his Majesty appears on the balcony.

The library of the king of France is second only to that of the Vatican, and superior to the imperial library at Vienna, and to the Bodleian at Oxford: it is not generally known, even to the English, that this last-named ranks as the fourth library in Europe. The king of France gives the use of his library to the public during four hours every day of the week not a festival, except Thursdays. Persons are in attendance, who, with an air of civility, as if pleased with the service required of them, find and present every book that may be asked for; and although the number of readers is great, the most perfect decorum and silence prevail. There are five or six other great public libraries at Paris, at all of which the same accommodation is afforded. The apartment in which the king's library is kept is handsome, but not sufficiently so, and is in the midst of other buildings: if a fire should happen, a risk is incurred of an irreparable loss. When the building, now in construction, opposite to the Museum of the Louvre, shall be completed, and the Place du Carousel shall form one vast quadrangle, it is to be hoped that this building will contain a gallery, like that of the paintings, in which may be deposited this superb and useful collection of books. With two palaces united by two such galleries, the king of France will be more magnificently lodged than any monarch of ancient or modern time: he need not envy the golden palace of the Cæsars: he may even be contented under the inconvenience consequent on his condescension to the wants of his people,—of having no place where he can take the air, but that very balcony, on which I augur to him the continuance of their felicitations. The Pont Neuf is a fine point of view from which to see the eastern and southern fronts of this edifice, with the garden and Champs Elysées and country beyond.

Of the churches of Paris, the cathedral of Notre Dame may rank with the cathedral churches of the second order in England. Ste. Geneviève, sometime the Pantheon, although the inscription, "aux grands hommes la patrie reconnoissante,"[13] was still legible in 1818, is now restored to the use for which it was built. The portico is so extremely beautiful, that the architect was blamed by a pun, not transferable into English, for having turned all his architecture out of doors,—"mis à la porte toute son architecture." A greater and more unequivocal fault than this was committed; it was found necessary to support the dome by a double thickness of wall within. This church is not equal in grandeur to St. Paul's, which the little boy called "the church of England;" but the inside is more beautiful, and would appear larger, (as the pillars do not occupy so much space,) were it not too short in the part beyond the dome; shorter than the due proportion of the cross demands.

A traveller, soon after the restoration, having visited the tombs below the pavement of this church, and seen the torch, typical of philosophy, issuing from that of Voltaire,—observed a monument which seemed to him a new one; he inquired whose it was, and was told by the attendant, "that of a member of the ancient Senate."—"But," said the traveller, "I thought this edifice was the place of interment for great men."—"C'est vrai; mais, en attendant, on y enterre des sénateurs."[14] It is not certain whether this was said in simplicity or in persiflage.

I recommend to the attention of those who visit the church of St. Sulpice an image or statue of the Blessed Virgin, with the infant Saviour in her arms, seated on a globe, and surrounded by angels. The light, from an unseen opening above, falls on the figures in such a manner, as to give to the whole scene an appearance of animation beyond what the sculptor, however great his merit, could have produced. There are other objects in this church worthy of notice. The double portico, or rather two porticos, one above the other, are much to be admired. I cannot be persuaded, however, even by the numerous examples of this practice, that it is not absurd for pillars to support pillars: it seems as if children were playing at architecture, and trying how high they could make their building reach. Yet there is nothing childish in these porticos; they are grand and imposing.