  Paris, November 13, 1801. Enriched, as this capital now is, with the spoils of Greece and Italy, it may literally be termed the repository of the greatest curiosities existing. In the CENTRAL MUSEUM are collected all the prodigies of the fine arts, and, day after day, you may enjoy the sight of these wonders. I know not whether you are satisfied with the abridged account I gave you of the GALLERY OF ANTIQUES; but, on the presumption that you did not expect from me a description of every work of sculpture contained in it, I called your attention to the most pre-eminent only; and I shall now pursue the same plan, respecting the master-pieces of painting exhibited in the great GALLERY OF THE LOUVRE This gallery, which is thirteen hundred and sixty-five feet in length by thirty in breadth, runs north and south all along the quays of the river Seine, and joins the Louvre to the palace of the Tuileries. It was begun by Charles IX, carried as far as the first wicket by Henry IV, to the second by Lewis XIII, and terminated by Lewis XIV. One half, beginning from a narrow strip of ground, called the Jardin de l'Infante, is decorated externally with large pilasters of the Composite order, which run from top to bottom, and with pediments alternately triangular and elliptical, the tympanums of which, both on the side of the Louvre, and towards the river, are charged with emblems of the Arts and Sciences. The other part is ornamented with coupled pilasters, charged with vermiculated rustics, and other embellishments of highly-finished workmanship. In the inside of this gallery are disposed the chefs d'oeuvre of all the great masters of the Italian, Flemish, and French schools. The pictures, particularly the historical ones, are hung according to the chronological order of the painters' birth, in different compartments, the number of which, at the present period, amounts to fifty-seven; and the productions of each school and of each master are as much as possible assembled; a method which affords the advantage of easily comparing one school to another, one master to another, and a master to himself. If the chronology of past ages be considered as a book from which instruction is to be imbibed, the propriety of such a classification requires no eulogium. From the pictures being arranged chronologically, the GALLERY OF THE LOUVRE becomes a sort of dictionary, in which may be traced every degree of improvement or decline that the art of painting has successively experienced. The entrance to the great GALLERY OF PAINTINGS is precisely the same as that to the GALLERY OF ANTIQUES. After ascending a noble stone stair-case, and turning to the left, you reach the SALOON OF THE LOUVRE. This apartment, which serves as a sort of antichamber to the great Gallery, is, at the present moment, appropriated to the annual monthly exhibition of the productions of living painters, sculptors, architects, engravers, and draughtsmen. Of these modern works, I shall, perhaps, speak on a future occasion. But, in the course of a few days, they will give place to several master-pieces of the Italian School, some of which were under indispensable repair, when the others were arranged in the great Gallery. It would be no easy task to express the various sentiments which take possession of the mind of the lover of the arts, when, for the first time, he enters this splendid repository. By frequent visits, however, the imagination becomes somewhat less distracted, and the judgment, by degrees, begins to collect itself. Although I am not, like you, conversant in the Fine Arts, would you tax me with arrogance, were I to presume to pass an opinion on some of the pictures comprised in this matchless collection? Painting being a representation of nature, every spectator, according to the justness of his ideas, may form an opinion how far the representation is happily pourtrayed, and in beholding it, experience a proportionate degree of pleasure: but how different the sensations of him who, combining all the requisites of a connoisseur, contemplates the composition of a masterly genius! In tracing the merits of such a production, his admiration gradually becomes inflamed, as his eye strays from beauty to beauty. In painting or sculpture, beauty, as you well know, is either natural, or generally admitted: the latter depends on the perfection of the performance, on certain rules established, and principles settled. This is what is termed ideal beauty, which is frequently not within the reach of the vulgar; and the merit of which may be lost on him who has not learned to know and appreciate it. Thus, one of the finest pictures, ever conceived and executed by man, might not, perhaps, make an impression on many spectators. Natural beauty, on the contrary, is a true imitation of nature: its effect is striking and general, so that it stands not in need of being pointed out, but is felt and admired by all. Notwithstanding this truth, be assured that I should never, of my own accord, have ventured to pronounce on the various degrees of merit of so many chefs d'oeuvre, which all at once solicit attention. This would require a depth of knowledge, a superiority of judgment, a nicety of discrimination, a fund of taste, a maturity of experience, to none of which have I any pretension. The greatest masters, who have excelled in a particular branch, have sometimes given to the world indifferent productions; while artists of moderate abilities have sometimes produced master-pieces far above their general standard. In a picture, which may, on the whole, merit the appellation of a chef d'oeuvre, are sometimes to be found beauties which render it superior, negligences which border on the indifferent, and defects which constitute the bad. Genius has its flights and deviations; talent, its successes, attempts, and faults; and mediocrity even, its flashes and chances. Whatever some persons may affect, a true knowledge of the art of painting is by no means an easy acquirement; it is not a natural gift, but demands much reading and study. Many there are, no doubt, who may be able to descant speciously enough, perhaps, on the perfections and defects of a picture; but, on that account alone, they are not to be regarded as real judges of its intrinsic merit. Know then, that, in selecting the most remarkable productions among the vast number exhibited in the CENTRAL MUSEUM, I have had the good fortune to be directed by the same first-rate connoisseur who was so obliging as to fix my choice in the GALLERY OF ANTIQUES. I mean M. VISCONTI. Not confining myself either to alphabetical or chronological order, I shall proceed to point out to you such pictures of each school as claim particular notice. ITALIAN SCHOOL.N. B. Those pictures to which no number is prefixed, are not yet publicly exhibited. RAFFAELLO.
This is one of the master-pieces of RAPHAEL for vigour of colouring, and for the beauty of the heads and of the child. It is in his second manner; although his third is more perfect, seldom are the pictures of this last period entirely executed by himself. This picture was originally painted on pannel, and was in such a lamentable state of decay, that doubts arose whether it could safely be conveyed from Italy. It has been recently transferred to canvass, and now appears as fresh and as vivid, as if, instead of a lapse of three centuries, three years only had passed since it was painted. Never was an operation of the like nature performed in so masterly a manner. The process was attended by a Committee of the National Institute, appointed at the particular request of the Administration of the Museum. The Madonna di Foligno is to be engraved from a drawing taken by that able draughtsman DU TERTRE.
This valuable picture of RAPHAEL'S third manner is one of the most perfect that ever came from his pencil. It belonged to the old collection of the crown, and is engraved by EDELINCK. Although superior to the Madonna di Foligno as to style and composition, it is inferior in the representation of the child, and in vigour of colouring.
This is the last production of RAPHAEL, and his most admirable chef d'oeuvre as to composition and grace of the contours in all its figures. It is not yet exhibited, but will be shortly. This picture is in perfect preservation, and requires only to be cleaned from a coat of dust and smoke which has been accumulating on it for three centuries, during which it graced the great altar of St. Peter's church at Rome. Among the portraits by RAPHAEL, the most surprising are:
Every thing that RAPHAEL'S pencil has produced is in the first order. That master has something greatly superior in his manner: he really appears as a god among painters. Addison seems to have been impressed with the truth of this sentiment, when he thus expresses himself: "Fain would I RAPHAEL'S godlike art rehearse, LEONARDO DA VINCI. There are several pictures by this master in the present exhibition; but you may look here in vain for the portrait of La Gioconda, which he employed four years in painting, and in which he has imitated nature so closely, that, as a well-known author has observed, "the eyes have all the lustre of life, the hairs of the eye brows and lids seem real, and even the pores of the skin are perceptible." This celebrated picture is now removed to the palace of the Tuileries; but the following one, which remains, is an admirable performance.
FRA BARTOLOMEO.
These two pictures, which were in the Pitti palace at Florence, give the idea of the most noble simplicity, and of no common taste in the distribution of the lights and shades. GIULIO ROMANO.
This picture belonged to the old collection of the crown. The figures in it are about a foot and a half in height. It is a real chef d'oeuvre, and has all the grace of the antique bas-reliefs. TIZIANO.
This large picture, which presents a grand composition in colossal figures, with a country of extraordinary beauty in the back-ground, is considered as the chef d'oeuvre of TITIAN. It was painted on pannel; but, having undergone the same operation as the Madonna di Foligno, is now placed on canvass, and is in such a state as to claim the admiration of succeeding ages.
Both these pictures belonged to the old collection of the crown, and are to be admired for grace and beauty.
There is a wonderful vigour of colouring in these two capital pictures. The preceding are the most admirable of the productions which are at present exhibited of this inimitable master, the first of painters for truth of colouring. CORREGGIO.
This picture, commonly distinguished by the appellation of the St. Jerome of CORREGGIO, is undoubtedly his chef d'oeuvre. In the year 1749, the king of Portugal is said to have offered for it a sum equal in value to £18,000 sterling.
This last-mentioned picture has just been engraved in an excellent manner by an Italian artist, M. ROSA-SPINA. The grace of his pencil and his chiaro oscuro place CORREGGIO in the first class of painters, where he ranks the third after RAPHAEL and TITIAN. He is inferior to them in design and composition; however the scarceness of his pictures frequently gives them a superior value. Poor CORREGGIO! It grieves one to recollect that he lost his life, in consequence of the fatigue of staggering home under a load of copper coin, which avaricious monks had given him for pictures now become so valuable that they are not to be purchased for their weight, even in gold. No collection is so rich in pictures of CORREGGIO as that of the CENTRAL MUSEUM. PAOLO VERONESE.
These are astonishing compositions for their vast extent, the number and beauty of the figures and portraits, and the variety and truth of the colouring. Nothing in painting can be richer. ANDREA DEL SARTO.
ANDREA SQUAZZELLI (his pupil.)
This capital picture is not in the catalogue. GIORGIONE DEL CASTEL-FRANCO.
This master-piece is worthy of TITIAN. GUERCINO.
This large picture was executed for St. Peter's church in the Vatican, where it was replaced by a copy in Mosaic, on being removed to the pontificate palace of Monte Cavallo, at Rome. In the great Gallery are exhibited no less than twenty-three pictures by GUERCINO: but to speak the truth, though, in looking at some of his productions, he appears an extremely agreeable painter, as soon as you see a number of them, you can no longer bear him. This is what happens to mannerists. The dark shades at first astonish you, afterwards they disgust you. ANDREA SACCHI.
This picture was always one of the most esteemed of those in the churches at Rome. It was the altar-piece of the church of St. Remuald in that city. ALBANO.
In the Gallery are twenty-nine pictures of this master, and all of them graceful; but the preceding four, representing the elements, which were taken from the royal Cabinet of Turin, are the most remarkable. BAROCCIO.
These are the best pictures of BAROCCIO already exhibited. His colouring is enchanting. It is entirely transparent and seems as if impregnated with light: however, his forms, and every thing else, bespeak the mannerist. ANNIBALE CARRACCI.
Of the CARRACCI, ANNIBALE is the most perfect. He is also remarkable for the different manners which he has displayed in his works. They appear to be by two or three different painters. Of more than twenty in the Gallery, the above are the best of his productions. MICHAEL ANGELO DA CARAVAGGIO.
This wonderful picture, which was brought from Rome, is, for vigour of execution and truth of colouring, superior to all the others by the same master. Every one of his works bears the stamp of a great genius. DOMENICHINO.
This picture, the master-piece of DOMENICHICO, comes from the great altar of the church of San Geronimo della CaritÀ, at Rome. It will appear incredible that for a work of such importance, which cost him so much time, study, and labour, he received no more than the sum of about £10 sterling.
This capital performance is now removed to the drawing-room of the First Consul, in the palace of the Tuileries. After RAPHAEL, DOMENICHINO is one of the most perfect masters; and his St. Jerome, together with RAPHAEL'S Transfiguration, are reckoned among the most famous chefs d'oeuvre of the art of painting. GUIDO.
These are the finest of the twenty pictures by that master, now exhibited in the CENTRAL MUSEUM. They both came from Rome; the former, from the Vatican; the latter, from the Capitol. GUIDO is a noble and graceful painter; but, in general, he betrays a certain negligence in the execution of several parts. LUINI.
In this picture, LUINI has fallen little short of his master, LEONARDO DA VINCI. ANDREA SOLARIO.
SOLARIO is another worthy pupil of LEONARDO. This very capital picture belonged to the collection of the crown, and was purchased by Lewis XIV. PIERUNO DEL VAGA.
An excellent picture from Versailles. BALTASSARE PERUZZI.
A remarkably fine production. SEBASTIANO DEL PIOMBO.
This picture is worthy of the pencil of RAPHAEL. It is not yet exhibited. PIETRO DA CORTONA.
These are the finest pictures in the collection by this master. We have now noticed the best productions of the Italian School: in our next visit to the CENTRAL MUSEUM, I shall point out the most distinguished pictures of the French and Flemish Schools. P. S. Lord Cornwallis is sumptuously entertained here, all the ministers giving him a grand dinner, each in rotation. After having viewed the curiosities of Paris, he will, in about a fortnight, proceed to the congress at Amiens. On his Lordship's arrival, I thought it my duty to leave my name at his hotel, and was most agreeably surprised to meet with a very old acquaintance in his military Secretary, Lieut. Col. L--------s. For any of the ambassador's further proceedings, I refer you to the English newspapers, which seem to anticipate all his movements. |
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