The stranger in France

by Sir John Carr

This spot, which, from its enchanting scenery, is calculated only to recall, or to inspire the most tender, and generous, and elegant sentiments, which has been the favoured resort of so many kings, and the scene of every gorgeous spectacle, was doomed to become the human shambles of the brave and good, and the Golgotha of the guillotine! In the centre, is an oblong square railing, which encloses the exact spot where formerly stood that instrument of death, which was voted permanent by its remorseless employers.

A temporary model in wood, of a lofty superb monument, two hundred feet high, intended to be erected in honour of Bonaparte and the battle of Marengo, was raised in this place, for his approval, but from policy or modesty, he declined this distinguished mark of public approbation. I was a little surprised to observe, in the windows of the principal print shops, prints exposed to sale, representing the late king, in his full robes of state, under which was written, Le Restaurateur de la liberté, (an equivoque, no doubt) and the parting interview between that unhappy sovereign and his queen and family in the temple, upon the morning of his execution.

This little circumstance will show the confidence which the present rulers feel in the strength and security of the present government; for such representations are certainly calculated to excite feelings, and to restore impressions which might prove a little hazardous to both, were they less powerfully supported.

I was also one morning a little surprised, by hearing from my window, the exhilarating song of "Rule Britannia" played upon a hand organ; upon looking down into the street, I beheld a Savoyard very composedly turning the handle of his musical machine, as he moved along, and a french officer humming the tune after him. Both were, no doubt, ignorant of the nationality of the song, though not of the truth of its sentiment.

In the course of one of my morning walks, I went to the metropolitan abbey of Notre Dame, which is situated at the end of a large island in the Seine, which forms a part of Paris, and is filled with long narrow streets. It is a fine gothic pile, but in my humble opinion, much inferior to our Westminster abbey, and to the great churches of Rouen.

From this building I visited, with a large party, the celebrated museum, or palace of the arts, which I afterwards generally frequented every other day.

This inestimable collection contains one thousand and thirty paintings, which are considered to be the chefs d'œuvre of the great ancient masters, and is a treasury of human art and genius, unknown to the most renowned of former ages, and far surpassing every other institution of the same nature, in the present times.

The first apartment is about the size of the exhibition room of Somerset house, and lighted as that is, from above. It contains several exquisite paintings, which have been presented to Bonaparte by the princes, and rulers of those states which have been either subdued by his arms, or have cultivated his alliance. The parisians call this apartment Bonaparte's nosegay. The most costly pictures in the room, are from the gallery of the grand duke of Tuscany. Amongst so many works, all exquisite and beautiful, it is almost temerity to attempt to select, but if I might be permitted to name those which pleased me most, I should particularize the Ecce Homo, by Cigoli Ludovico Cardi.

The breast of the mild and benevolent Saviour, striped with the bruises of recent punishment, and his heavenly countenance, benignly looking forgiveness upon his executioners, are beautifully delineated. L'Annonciation, by Gentileschi, in which the divine look of the angel, the graceful plumage of his wings, and the drapery of the virgin, are incomparable. La Sagesse chassant les Vices, which is a very ancient and curious painting, by Andrea Mantegna, in which the figure of Idleness, without arms, is wonderfully conceived. Les Noces de Cana, by Paul Veronese, which is considered to be the best of his works. It is the largest painting I ever beheld. The figures which are seated at the banquet, are chiefly the portraits of contemporary royal personages of different nations. From this room we passed into the gallery of the Louvre.

I cannot adequately describe the first impressions which were awakened, upon my first entering it, and contemplating such a galaxy of art and genius. This room is one thousand two hundred feet long, and is lined with the finest paintings of the french, flemish, and italian schools, and is divided by a curious double painting upon slate, placed upon a pedestal in the middle of the room, which represents the front and back view of the same figures.