A Bibliographical, Antiquarian and Picturesque Tour in France and Germany, Volume Two

by Thomas Frognall Dibdin

THE COLLECTIONS OF DENON, QUINTIN CRAUFURD, AND THE MARQUIS DE SOMMARIVA.

All the world has heard of the famous DENON, the Egyptian traveller; and editor of the great work of the Antiquities of Egypt, published in 1802, in two sumptuous folio volumes. As you possess a copy of the French work,[164] with choice impressions of the plates, I need say nothing further upon the subject--except that I believe it to be one of the very finest works of the kind, which has ever appeared ... on the score of art. But the author has other claims to attention and popularity. He was an intimate friend--and certainly the confidential adviser--of Buonaparte, in all public schemes connected with the acquisition of pictures and statues: and undoubtedly he executed the task confided to him with ability. He was verging oh his sixtieth year, when he started with his master upon the Egyptian expedition--a proof at least of energy, as well as of good disposition, in the cause. But Denon has been a great European traveller: he has had access to private, as well as to public, cabinets; and has brought home some rich fruits of his enterprise and taste.

His house, on the Quai Malaquais, is the rendezvous of all the English of any taste--who have respectable letters of introduction; and I must do him the justice to say, that, never did a man endure the inconveniences which must frequently result from keeping such open house, with greater adroitness and good humour than does the Baron Denon. I have sometimes found his principal rooms entirely filled by my countrymen and countrywomen; and I once, from the purest accident, headed a party of twenty-two ... in which were three British officers, and more than that number of members of either University. I will fairly own that, on receiving us, he drew me quietly aside, and observed:--"Mon ami, quand vous viendrez une autre fois, ne commandez pas, je vous prie, une armée si nombreuse. Je m'imaginois encore en Egypte." What was still more perplexing, we found there a party of English as numerous as ourselves. It was thus, however, that he rebuked my indiscretion.

We had twice exchanged visits and cards before we met. The card of Denon was worth possessing, from the simple, unaffected modesty which it evinced. You merely read the word DENON upon it!... The owner of the collection which I am about to describe, is certainly "un peu passé" as to years; but he has a cheerful countenance, with the tint of health upon it; small, gray, sparkling eyes, and teeth both regular and white.[165] He is generally dressed in black, and always as a gentleman. His figure, not above the middle height, is well formed; and his step is at once light and firm. There is doubtless a good deal which is very prepossessing in his manners. As he understands nothing of the English language, he can of course neither read nor speak it.

It is now time to give you some idea of this curious collection. You ascend a lofty and commodious stone staircase (not very common in Paris) and stop at the first floor:--another comfort, also very rare in Paris. This collection is contained in about half a dozen rooms: lofty, airy, and well furnished. The greater number of these rooms faces the Seine. The first contains a miscellaneous assemblage of bronze busts, and pictures of Teniers, Watteau, and of the more modern School of Paris. Of these, the Watteau is singular, rather than happy, from its size.[166] The two Teniers are light, thin, pictures; sketches of pigs and asses; but they are very covetable morsels of the artist.[167] In a corner, stands the skeleton of a female mummy in a glass case, of which the integuments are preserved in a basket. This is thought to be equally precious and uncommon. M. Denon shews the foot of the figure (which is mere bone and muscle) with amazing triumph and satisfaction. He thinks it is as fine as that of the Venus de Medicis, but there is no accounting for tastes. Among the busts is one of West, of Neckar, and of Denon himself: which latter I choose here to call "Denon the First." The second room contains a very surprising, collection of Phoenician, Egyptian, and other oriental curiosities: and in a corner, to the left, is a set of small drawers, filled with very interesting medals of eminent characters, of all descriptions, chiefly of the sixteenth century. Above them is a portrait of the owner of the collection--which I choose to call "Denon the Second." This room exhibits a very interesting mélange. Over the fire place are some busts; of which the most remarkable are those of Petrarch and Voltaire; the former in bronze, the latter in terra-cotta; each of the size of life. Voltaire's bust strikes me as being the best representation of the original extant. It is full of character; a wonderful mixture of malignity, wit, and genius.[168]

The third room is the largest, and the most splendidly hung with pictures. Of these, the circular little Guercino--a holy family--is, to my poor judgment, worth the whole.[169] The Rysdael and Both are very second rate. As you approach the fire-place, your attention is somewhat powerfully directed to a small bronze whole length figure of Buonaparte--leaning upon a table, with his right hand holding a compass, and his left resting upon his left thigh.[170] Some charts, with a pair of compasses, are upon the table; and I believe this represents him in his cabin, on his voyage to Egypt. Is there any representation of him, in the same situation, upon his return? However, it is an admirable piece of workmanship. In this room is also (if I remember rightly) the original colossal head of the ex-emperor, when a young man, in white marble, by CANOVA. But I must not omit informing you that here is also another portrait, in oil, of the owner of the collection--which, if you please, we will call "Denon the Third." You next enter a narrow, boudoir-shaped apartment, which contains, to my taste, the most curious and precious morsels of art which the Baron Denon possesses. They are specimens of the earlier schools of painting, commencing with what are called Giottos and Cimabues--down to a very striking modern picture of a group of children, by a late French artist, just before the time of our Reynolds. This latter you would really conceive to have been the production of Sir Joshua himself. Of the specimens of the earlier schools, I was most struck with the head of PISANI, the inventor of medals--of the fifteenth century--painted by Antonello da Messina, a pupil of John Van Eyk. It is full of nature and of character. I could not get away from it. "Is it possible to obtain a copy of this picture?"--said I to its owner. "I understand you, (replied Denon) you wish to carry that copy to your own country. And to have it engraved there?" ... "Most unquestionably"--resumed I. "It is at your service (he rejoined); Laurent will copy it admirably." I hardly knew how to thank Mons. Denon sufficiently.[171]

PISANI.
From the Original Portrait by Antonella da Messina
In the Collection of Baron Denon.

DENON.
Engraved by J. Thomson from a Drawing by Laguiche.