The sums of money distributed yearly by Bonaparte's agents for dedications to him by French and foreign authors, are still greater than those fixed for regular literary pensions. Instead of discouraging these foolish and impertinent contributions, which genius, ingenuity, necessity, or intrusion, lay on his vanity, he rather encourages them. His name is, therefore, found in more dedications published within these last five years than those of all other Sovereign Princes in Europe taken together for the last century. In a man whose name, unfortunately for humanity, must always live in history, it is a childish and unpardonable weakness to pay so profusely for the short and uncertain immortality which some dull or obscure scribbler or poetaster confers on him.
During the last Christmas holidays I dined at Madame Remisatu's, in company with Duroc. The question turned upon literary productions and the comparative merit of the compositions of modern French and foreign authors. "As to the merits or the quality," said Duroc, "I will not take upon me to judge, as I profess myself totally incompetent; but as to their size and quantity I have tolerably good information, and it will not, therefore, be very improper in me to deliver my opinion. I am convinced that the German and Italian authors are more numerous than those of my own country, for the following reasons: I suppose, from what I have witnessed and experienced for some years past, that of every book or publication printed in France, Italy, and Germany, each tenth is dedicated to the Emperor. Now, since last Christmas ninety-six German and seventy-one Italian authors have inscribed their works to His Majesty, and been rewarded for it; while during the same period only sixty-six Frenchmen have presented their offerings to their Sovereign." For my part I think Duroc's conclusion tolerably just.
Among all the numerous hordes of authors who have been paid, recompensed, or encouraged by Bonaparte, none have experienced his munificence more than the Italian Spanicetti and the German Ritterstein. The former presented him a genealogical table in which he proved that the Bonaparte family, before their emigration from Tuscany to Corsica, four hundred years ago, were allied to the most ancient Tuscany families, even to that of the House of Medicis; and as this house has given two queens to the Bourbons when Sovereigns of France, the Bonapartes are, therefore, relatives of the Bourbons; and the sceptre of the French Empire is still in the same family, though in a more worthy branch. Spanicetti received one thousand louis—in gold, a pension of six thousand livres—for life, and the place of a chef du bureau in the ministry of the home department of the Kingdom of Italy, producing eighteen thousand livres yearly.
Ritterstein, a Bavarian genealogist, proved the pedigree of the Bonapartes as far back as the first crusades, and that the name of the friend of Richard Coeur de Lion was not Blondel, but Bonaparte; that he exchanged the latter for the former only to marry into the Plantagenet family, the last branch of which has since been extinguished by its intermarriage and incorporation with the House of Stuart, and that, therefore, Napoleon Bonaparte is not only related to most Sovereign Princes of Europe, but has more right to the throne of Great Britain than George the Third, being descended from the male branch of the Stuarts; while this Prince is only descended from the female branch of the same royal house. Ritterstein was presented with a snuff-box with Bonaparte's portrait set with diamonds, valued at twelve thousand livres, and received twenty-four thousand livres ready money, together with a pension of nine thousand livres—in the year, until he could be better provided for. He was, besides, nominated a Knight of the Legion of Honour. It cannot be denied but that Bonaparte rewards like a real Emperor.
But artists as well as authors obtain from him the same encouragement, and experience the same liberality. In our different museums we, therefore, already, see and admire upwards of two hundred pictures, representing the different actions, scenes, and achievements of Bonaparte's public life. It is true they are not all highly finished or well composed or delineated, but they all strike the spectators more or less with surprise or admiration; and it is with us, as, I suppose, with you, and everywhere else, the multitude decide: for one competent judge or real connoisseur, hundreds pass, who stare, gape, are charmed, and inspire thousands of their acquaintance, friends, and neighbours with their own satisfaction. Believe me, Napoleon the First well knows the age, his contemporaries, and, I fear, even posterity.
That statuaries and sculptors consider him also as a generous patron, the numerous productions of their chisels in France, Italy, and Germany, having him for their object, seem to evince. Ten sculptors have already represented his passage over the Mount St. Bernard, eighteen his passage over Pont de Lodi, and twenty-two that over Pont d' Arcole. At Rome, Milan, Turin, Lyons, and Paris are statues of him representing his natural size; and our ten thousand municipalities have each one of his busts; without mentioning the thousands of busts all over Europe, not excepting even your own country. When Bonaparte sees under the windows of the Tuileries the statue of Caesar placed in the garden of that palace, he cannot help saying to himself: "Marble lives longer than man." Have you any doubt that his ambition and vanity extend beyond the grave?
The only artist I ever heard of who was disappointed and unrewarded for his labour in attempting to eternize the memory of Napoleon Bonaparte, was a German of the name of Schumacher. It is, indeed, allowed that he was more industrious, able, and well-meaning than ingenious or considerate. He did not consider that it would be no compliment to give the immortal hero a hint of being a mortal man. Schumacher had employed near three years in planning and executing in marble the prettiest model of a sepulchral monument I have ever seen, read or heard of. He had inscribed it: "The Future Tomb of Bonaparte the Great." Under the patronage of Count von Beast, he arrived here; and I saw the model in the house of this Minister of the German Elector Arch—Chancellor, where also many French artists went to inspect it. Count von Beast asked De Segur, the grand master of the ceremonies, to request the Emperor to grant Schumacher the honour of showing him his performance. De Segur advised him to address himself to Duroc, who referred him to Devon, who, after looking at it, could not help paying a just tribute to the execution and to the talents of the artist, though he disapproved of the subject, and declined mentioning it to the Emperor. After three months' attendance in this capital, and all petitions and memorials to our great folks remaining unanswered, Schumacher obtained an audience of Fouche, in which he asked permission to exhibit his model of Bonaparte's tomb to the public for money, so as to be enabled to return to his country.
"Where is it now?" asked Fouche.
"At the Minister's of the Elector Arch-Chancellor," answered the artist.
"But where do you intend to show it for money?" continued Fouche.