There was another head ...but "non omnia possumus omnes." I mean, one of a female in profile, by MASACCIO. It was full of expression.[172] "What, (said its owner,) must you have an engraving of that head also? It is bespoke; by myself. In short, every thing which you behold in these rooms (including even your favourite Pisani) will be lithographised for the publication of my own collection." Of course, after this declaration, I was careful of what I did or said. "But there was yet one thing in this collection--of which, as I saw such a variety, he could not refuse me a copy." "What might that be?" "A portrait of HIMSELF: from marble, from oil, or from enamel." "Take your choice: he replied: "faites ce que vous voulez,"--and it was agreed that M. Laguiche should make a drawing of the bust, in white marble, (I think the sculptor's name is Bosio) which is indeed very like him.[173] There is also a large and beautiful enamel of Denon, full dressed with all his orders, by Augustin; perhaps the most perfect specimen of that artist which France possesses. It is the work of several years past, when Denon had more flesh upon his cheek, and more fire in his eye. We may therefore say that this room contains "Denon the Fourth, and Denon the Fifth!"
In the same room you observe a very complete specimen of a papyrus inscription; brought from Egypt. Indeed the curiosities brought from that country (as might naturally be supposed) are numerous and valuable. But my attention was directed to more understandable objects of art. Opposite to the bust of Denon, is one of his late master, the ex-Emperor, in bronze: and above this latter, is a small picture, by Lucas Cranach, of a man with a bag of money tempting a young woman: full of character, and singularly striking. This room--or the one adjoining, I have forgotten which--contains M. Denon's collection of the prints of MARC ANTONIO or of REMBRANDT--or of both; a collection, which is said to be unequalled.[174] Whether the former be more precious than the latter, or whether both be superior to what our British Museum contains of the same masters, is a point which has not yet been fairly determined. But I asked, one morning, for a glimpse of the Rembrandts. We were alone; just after we had breakfasted together. M. Denon commenced by shewing me two different states of the Coach Landscape, and the two great Coppinols with white grounds--each varying somewhat!!! "Enough," cried I--holding up both hands,--"you beat all in England and all in France!"
From hence you pass into a fourth room, which is M. Denon's bed-chamber. About the fire-place are numerous little choice bits of the graphic art. Two small Watteaus, in particular, are perfectly delicious;[175] as well as a very small Sebastian Bourdon; of a holy family. In a corner, too much darkened, is a fine small portrait of Parmegiano in profile: full of expression--and, to the best of my recollection, never engraved. These are, I think, the chief bijoux in the bed-room; except that I might notice some ancient little bronzes, and an enamel or two by Petitot. You now retrace your steps, and go into a fifth room, which has many fair good pictures, of a comparatively modern date; and where, if I mistake not, you observe at least one portrait in oil of the master of the premises. This therefore gives us "Denon the Seventh!" It is here that the master chiefly sits: and he calls it his workshop. His drawers and port-folios are, I think, filled with prints and old-drawings: innumerable, and in the estimation of the owner, invaluable. You yet continue your route into a further room,--somewhat bereft of furniture, or en dishabille. Here, among other prints, I was struck with seeing that of the late Mr. Pitt; from Edridge's small whole length. The story attached to it is rather singular. It was found on board the first naval prize (a frigate) which the French made during the late war; and the Captain begged Monsieur Denon's acceptance of it. Here were also, if I remember rightly, prints of Mr. Fox and Lord Nelson; but, as objects of art, I could not help looking with admiration--approaching to incredulity--upon three or four large prints, after Rembrandt and Paul Potter, which M. Denon assured me were the production of his burin! I could scarcely believe it. Whatever be the merits of Denon, as a critical judge of art, ancient or modern, there is no person, not wholly blinded by prejudice, or soured by national antipathies, that can deny him great zeal, great talent, and great feeling ... in the several pursuits of art, of which his apartments furnish such splendid evidence.
But, you may be disposed to add, "has this celebrated man no collection of Books?--no LIBRARY? At least he must have a missal or two?" 'Tis even so, my friend. Library, he has none: for as "one swallow does not make a summer," so three or four pretty little illuminated volumes do not constitute a library. However, what he has of this kind, has been freely exhibited to me; and I here send you a transscript of some notes taken upon the spot.
I was first shewn a small missal, prettily executed in a gothic type, of the Italian form, after the models of those of Jenson and Hailbrun. The calendar has the paintings injured. On the reverse of the last leaf of the Calendar, we read, in roman capitals, the following impressive annotation: DEUM TIME, PAUPERES SUSTINE, MEMENTO FINIS. On the reverse of the ensuing leaf, is a large head of Christ, highly coloured: but with the lower part of the face disproportionately short: not unlike a figure of a similar kind, in the Duke of Devonshire's Missal, described on a former occasion.[176] The crucifixon, on the next leaf but one, is full of spirit and effect. Then commence the Drolleries: or a series of subjects most whimsically conceived, but most sweetly touched and finished. You cannot imagine any thing more perfect of their kind and for their size, than are the beasts, birds, insects, fruits, and flowers. The vellum harmonises admirably, from its colour and quality. There are several comparatively large illuminations: some with very small figures; and two (one of St. John the Baptist, and the other of Christ mocked) are of great beauty in respect to force of colour. The initial capitals are executed with equal attention to taste in composition, and delicacy in colouring. This diminutive volume is only four inches high, by about two inches and three quarters wide. It is bound in red velvet, and mounted with silver knobs, with heads of cherubim upon them. It is fastened by a silver clasp; upon which is painted, and glazed, a head of Christ--of the time, as I conceive. M. Denon told me he bought this little gem of a bookseller in Italy, for 400 francs.
He has another Missal, about half an inch wider and taller, in the binding of the time, with stamped ornaments. This exhibits flowers, fruits, and birds, in the margins; touched with great delicacy and truth. Some of the borders have a gold ground, shaded with brown, upon which the fruit is richly brought out in relief: others have human figures; and the border, encircling the temptation of our first Parents, has nothing superior to it--and is really worth an engraved fac-simile: but not in lithography! It is on the forty-fifth leaf. One of the heads, in the border, is like that of our Edward VI. The third illuminated ms. volume, in M. Denon's possession, is probably the most valuable. It is a quarto, written in the Spanish language, and bearing the date of 1553. The scription is in red and black letters, alternately. This book contains several large illuminations, and coloured borders; and I was told, by its owner, that it was the very book upon which the OATHS OF INITIATION INTO THE SPANISH INQUISITION were administered. Its condition is most perfect. The first large illumination represents a Saint, with his scull divided by a sword, and blood streaming copiously from him: a palm, with three crowns, is in his right hand; a book is in his left: at top we read "Exsurge Domine, et judica Causam tuam." The Saint is surrounded by a border of fruits and flowers. It is the principal embellishment in the volume. This book is in its original, black leather, stamped binding, with knobs and clasps. A marginal note thus remarks: "ynoscan obligados asseruier cargome offo. de ella salbo si de su voluntad loquisier en servi."
In my last visit to Denon,[177] I met with ANDRIEU; a name which reflects lustre upon the Fine Arts. As a medallist, he has no equal, nor perhaps ever had any, among the French. Our own SIMON enables us to oppose to him a rival of great and unquestionable talents; but we have slept soundly, both in the medallic and numismatic art, since the time of Cromwell: except that we were shook a little out of our slumbers during the reigns of Anne and George I. Andrieu has more of the pure Greek feeling about him, than Simon ever evinced: and prefers executing his hair more in masses than in detail. He is therefore on this head, a copyist; but he transfuses into the countenance that soul and intelligence which we delight to contemplate, and which we are prompt to own, in the countenances upon Greek coins. The series of Bonaparte-Medals are, almost entirely, I believe, the work of his hand. But every head is safe with Andrieu. He had just brought a medal of the present King (Louis XVIII.) to shew Denon. It was about the size of our half crown, in bronze. The countenance was in profile:--an admirable, and a very strong resemblance. The reverse was the equestrian statue of Henri IV., upon the Pont-Neuf.[178] Upon the whole, quite as good, as an effort of art, as what has been done for Bonaparte. The artist had well nigh succeeded in drawing me into a sort of half temptation to bespeak an impression of the medal in gold. "It was but a trifling sum--some twenty louis, or thereabouts. It would look so sharp and splendid in gold! and...." "I thank you much Sir, (replied I) but twenty louis will carry me almost to Strasbourg, whither I am to proceed in about a week or ten days." One thing I must add, much to his good sense and pure patriotic feeling:--he had been indirectly solicited to strike some medals, commemorative of the illustrious achievements of our WELLINGTON: but this he pointedly declined. "It was not, Sir, for me to perpetuate the name of a man who had humbled the power, and the military glory, of my own country." Such was his remark to me. What is commendable in MUDIE,[179] would have been ill-timed, if not disgraceful, in Andrieu.
Come with me, now, to a very different exhibition: to a unique collection, of its kind: to a collection, not frequently visited: as little known; but undoubtedly well deserving both of being often visited and described. It is of the Collection of Paintings belonging to MR. QUINTIN CRAUFURD, living in the Rue d'Anjou, no. 21, that I am about to speak:--the fruits of a long residence (upwards of thirty years) in France; during the alternate commotions of republicanism and despotism. A letter of introduction procured me every facility of access to make repeated examinations of these treasures; and during my sojournings I fancied myself holding converse alternately with some of the grandees of the time of Francis I. and Louis XIV.
Such a collection of French portraits--almost entirely of characters who have cut a figure in history--is no where else to be seen in Paris. In my estimation, it is beyond all price.
Facing you, as you enter, stands--firmly upon his legs, and looking you manfully in the face--- the gallant and faithful Comte De Brienne, Grand Master of the Ceremonies to Francis I. and Henry II. A fine picture; and quite perfect.[180] To the left, is a charming whole length portrait, by Velasquez: a tender and exquisitely careful specimen of art. Of other whole lengths, but subordinately executed, you should notice one of Christine, Duchesse de Savoie, daughter of Henry II. and Catherine de Medicis; very curious, and in perfect preservation. There is a duplicate of this picture in the Louvre. A much more curious picture is a whole length, supposed to be of Agnes Sorel, mistress of Charles VII. One minute's reflection will correct this designation of the portrait. In the time of Agnes Sorel, portrait painting, in oil, was unknown--at least in France. The costume betrays the misnomer: for it is palpably not of the time of Agnes Sorel. Here is also a whole length of Isabella, daughter of Philip II. and Governess of the Low Countries. There are several small fancy pictures; among which I was chiefly, and indeed greatly struck, with a woman and two children by Stella. 'Tis a gem of its kind.