Monsieur Récamier was a tall, vigorous, handsome man, of easy, agreeable manners. Perfectly polite, he was deficient in dignity, and preferred the society of his inferiors to that of his equals. He wrote and spoke Spanish with fluency, had some knowledge of Latin, and was fond of quoting Horace and Virgil. "It would be difficult to find," says his niece, "a heart more generous than his, more easily moved, and yet more volatile. Let a friend need his time, his money, his advice, it was immediately at his service; but let that same friend be taken away by death, he would scarcely give two days to regret: 'Encore un tiroir fermé', he would say, and there would end his sensibility. Always ready to give and willing to serve, he was a good companion, and benevolent and gay in his temper. He carried his optimism to excess, and was always content with everybody and everything. He had fine natural abilities, and the gift of expression, being a good story-teller." He was married in 1793, the most gloomy period of the Reign of Terror, and went every day to see the executions, wishing, he said, to familiarize himself with the fate he had every reason to fear would be his own.
The first four years of her marriage were passed by Madame Récamier in retirement, but when the government was settled under the Consulate she mingled freely and gayly in society. This was probably the happiest period of her life. Her husband was at the height of financial prosperity, and lavished every luxury upon his beautiful wife. Both their country-seat at Clichy and their town-house in the Rue Mont Blanc were models of elegant taste. Large dinner-parties and balls were given at the latter, but all the intimate friends went to Clichy, where Madame Récamier chiefly resided with her mother. Her husband only dined there, driving in to Paris every night. She was very fond of flowers, and filled her rooms with them. At that time floral decorations were a novelty, and another attraction was added to the charms of Clichy. Not only there, but in society, Madame Récamier reigned a queen. She had been pronounced by acclamation "the most beautiful," and she enjoyed her triumphs with all the gayety and freshness of youth. Madame Lenormant asserts that she was unconscious of her beauty, and yet, with an amusing inconsistency, she adds that Madame Récamier always dressed in white and wore pearls in preference to other jewels, that the dazzling whiteness of her skin might eclipse their softness and purity. It was, in fact, impossible to be unconscious of a beauty so ravishing that it intoxicated all beholders. At the theatre, at the promenade, at public assemblies, she was followed by admiring throngs.
"She was sensible," writes one who knew her well, "of every look, every word of admiration,—the exclamation of a child or a woman of the people, equally with the declaration of a prince. In crowds from the side of her elegant carriage, which advanced slowly, she thanked each for his admiration by a motion of the head and a smile."
As an instance of the effect she produced, Madame Lenormant gives the testimony of a contemporary, Madame Regnauld de Saint-Jean d'Angely, who, talking over her own beauty and that of other women of her youth, named Madame Récamier. "Others," she said, "were more truly beautiful, but none produced so much effect. I was in a drawing-room where I charmed and captivated all eyes. Madame Récamier entered. The brilliancy of her eyes, which were not, however, very large, the inconceivable whiteness of her shoulders, crushed and eclipsed everybody. She was resplendent. At the end of a moment, however, the true amateurs returned to me."
It was not her own countrymen alone who raved about her beauty. The sober-minded English people were quite as much impressed. When she visited England during the short peace of Amiens, she created intense excitement. The journals recorded her movements, and on one occasion in Kensington Gardens the crowd was so great that she narrowly escaped being crushed. At the Opera she was obliged to steal away early to avoid a similar annoyance, and then barely succeeded in reaching her carriage. Châteaubriand tells us that her portrait, engraved by Bartolozzi, and spread throughout England, was carried thence to the isles of Greece. Ballanche, remarking on this circumstance, said that it was "beauty returning to the land of its birth."
Years after, when the allied sovereigns were in Paris, and Madame Récamier thirty-eight years old, the effect of her beauty was just as striking. Madame de Krüdener, celebrated for her mysticism and the power she exerted over the Emperor Alexander, then held nightly reunions, beginning with prayer and ending in a more worldly fashion. Madame Récamier's entrance always caused distraction, and Madame de Krüdener commissioned Benjamin Constant to write and beseech her to be less charming. As this piquant note will lose its flavor by translation, we give it in the original.
"Je m'acquitte avec un peu d'embarras d'une commission que Mme. de Krüdener vient de me donner. Elle vous supplie de venir la moins belle que vous pourrez. Elle dit que vous éblouissez tout le monde, et que par là toutes les âmes sont troublées, et toutes les attentions impossibles. Vous ne pouvez pas déposer votre charme, mais ne le rehaussez pas."
Madame Récamier's personal appearance at eighteen is thus described by her niece:—
"A figure flexible and elegant; neck and shoulders admirably formed and proportioned; a well-poised head; a small, rosy mouth, pearly teeth, charming arms, though a little small, and black hair that curled naturally. A nose delicate and regular, but bien français, and an incomparable brilliancy of complexion. A countenance full of candor, and sometimes beaming with mischief, which the expression of goodness rendered irresistibly lovely. There was a shade of indolence and pride in her gestures, and what Saint Simon said of the Duchess of Burgundy is equally applicable to her: 'Her step was that of a goddess on the clouds.'"
Madame Récamier retained her beauty longer than is usual even with Frenchwomen, nor did she seek to repair it by any artificial means. "She did not struggle," says Sainte-Beuve, "she resigned herself gracefully to the first touch of Time. She understood, that, for one who had enjoyed such success as a beauty, to seem yet beautiful was to make no pretensions. A friend who had not seen her for many years complimented her upon her looks. 'Ah, my dear friend,' she replied, 'it is useless for me to deceive myself. From the moment I noticed that the little Savoyards in the street no longer turned to look at me, I comprehended that all was over.'" There is pathos in this simple acknowledgment, this quiet renunciation. Was it the result of secret struggles which taught her that all regret was vain, and that to contrast the present with the past was but a useless and torturing thing for a woman?