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-The Project Gutenberg eBook, Fragonard, by Haldane Macfall
-
-
-This eBook is for the use of anyone anywhere at no cost and with
-almost no restrictions whatsoever.  You may copy it, give it away or
-re-use it under the terms of the Project Gutenberg License included
-with this eBook or online at www.gutenberg.org
-
-
-
-
-
-Title: Fragonard
-       Masterpieces in Colour Series
-
-
-Author: Haldane Macfall
-
-
-
-Release Date: February 17, 2013  [eBook #42118]
-
-Language: English
-
-Character set encoding: ISO-8859-1
-
-
-***START OF THE PROJECT GUTENBERG EBOOK FRAGONARD***
-
-
-E-text prepared by sp1nd and the Online Distributed Proofreading Team
-(http://www.pgdp.net) from page images generously made available by
-Internet Archive (http://archive.org)
-
-
+*** START OF THE PROJECT GUTENBERG EBOOK 42118 ***
 
 Note: Project Gutenberg also has an HTML version of this
       file which includes the original illustrations.
@@ -94,7 +60,7 @@ IN THE SAME SERIES
   CHARDIN.               PAUL G. KONODY.
   HOLBEIN.               S. L. BENSUSAN.
   BOUCHER.               C. HALDANE MACFALL.
-  VIGÉE LE BRUN.         C. HALDANE MACFALL.
+  VIGÉE LE BRUN.         C. HALDANE MACFALL.
   WATTEAU.               C. LEWIS HIND.
   MURILLO.               S. L. BENSUSAN.
             AND OTHERS.
@@ -169,7 +135,7 @@ LIST OF ILLUSTRATIONS
      V. Figure de Fantasie                            40
           In the Louvre
 
-    VI. Le Voeu à l'Amour                             50
+    VI. Le Voeu à l'Amour                             50
           In the Louvre (new acquisition)
 
    VII. The Fair-haired Boy                           60
@@ -198,7 +164,7 @@ steep little town of Grasse, embowered midst grey-green olive-trees.
 In as sombre a narrow street as there is in all her dark alleys, on
 the fifth day of April in the much bewigged and powdered year of 1732,
 there was born to a glovemaker of the town, worthy mercer Fragonard, a
-boy-child, whom the priest in the gloomy church christened Jean Honoré
+boy-child, whom the priest in the gloomy church christened Jean Honoré
 Fragonard.
 
 As the glovemaker looked out of his sombre house over the sunlit
@@ -230,10 +196,10 @@ calling to him to utter it to the world. It stole into his colour-box,
 and on to his palette, and so across the canvas into his master-work,
 and was to lead him through the years to a blithe immortality.
 
-The small boy with the big head was born in the year after François
+The small boy with the big head was born in the year after François
 Boucher came back to Paris from his Italian wanderings on the eve of
 his thirties and won to academic honour. The child grew up in his
-Provençal home, whilst Boucher, turning his back upon academic art on
+Provençal home, whilst Boucher, turning his back upon academic art on
 gaining his seat at the Academy, was creating the Pastorals,
 Venus-pieces, and Cupid-pieces that changed the whole style of French
 art from the pompous and mock-heroic manner of Louis Quatorze's
@@ -296,7 +262,7 @@ whole patronage of the sovereign with her pretty hands. The prizes of
 the army, of the church, of the magistracy, could only be secured
 through her good-will. As though these things were not load enough to
 bow the shoulders of any one human being she kept a rein upon every
-national activity. She created the porcelain factory of Sèvres,
+national activity. She created the porcelain factory of Sèvres,
 thereby adding a lucrative industry to France. She founded the great
 military school of Saint Cyr. She mothered every industry. She was
 possessed of a rare combination of talents and accomplishments, and of
@@ -312,7 +278,7 @@ own and the king's palaces and castles. And it was in the exercise and
 indulgence of her better qualities that she brought out the genius
 and encouraged to fullest achievement the art of Boucher, and of the
 great painters of her time. So Boucher brought to its full blossom the
-art that Watteau had created--the picture of "Fêtes galentès"--and
+art that Watteau had created--the picture of "Fêtes galentès"--and
 added to the artistic achievement of France the Pastorals wherein
 Dresden shepherds and shepherdesses dally in pleasant landscapes, and
 the Venus-pieces wherein Cupids flutter and romp--a world of elegance
@@ -351,7 +317,7 @@ burst with the shy youth into the studio of the dandified favourite
 artist of the king's majesty, Pompadour's Boucher--large-hearted,
 generous, much-sinning, world-famed Boucher, then at the very
 summit of his career--he was at that time living in the Rue
-Grenelle-Saint-Honoré, which he was about to leave, and in which
+Grenelle-Saint-Honoré, which he was about to leave, and in which
 Fragonard in his old age was destined to end his days.
 
 The lad glanced with wonder, we may be sure, at the great "Rape of
@@ -403,7 +369,7 @@ The Director-General of Buildings to the king (or, as we should
 nowadays call him, Minister of Fine Arts), Lenormant de Tournehem,
 kinsman to the Pompadour, died suddenly in the November of 1751; the
 Pompadour promptly caused to be appointed in his place her brother
-Abel Poisson de Vandières--a shy, handsome youth, a gentleman, a man
+Abel Poisson de Vandières--a shy, handsome youth, a gentleman, a man
 of honour, who brought to his office an exquisite taste, a loyal
 nature, and marked abilities. The king, who liked him well, and called
 him "little brother," soon afterwards created him Marquis de
@@ -420,7 +386,7 @@ Sacrificing to Idols." It was in this year that Boucher was given a
 studio and apartments at the Louvre.
 
 For three years thereafter, Fragonard was in the king's school of six
-_élèves protégés_ under Carle Van Loo. He continued to work in
+_élèves protégés_ under Carle Van Loo. He continued to work in
 Boucher's studio, as well as painting on his own account; and it is to
 these years that belong his "Blind Man's Buff" and several pictures
 in this style.
@@ -487,12 +453,12 @@ fellow's beginnings, was soon writing enthusiastically about him, and
 procured a lengthening of his stay in Rome.
 
 Here began that lifelong friendship with Hubert Robert, already making
-his mark as an artist, and with the Abbé de Saint-Non, a charming
+his mark as an artist, and with the Abbé de Saint-Non, a charming
 character, who was to engrave the work of the two young painters, and
 greatly spread their names abroad thereby. Saint-Non's influential
 relations procured him free residence in the Villa d'Este, where the
 other two joined him, and a delightful good-fellowship between the
-three men followed--the Abbé's artistic tastes adding to the bond of
+three men followed--the Abbé's artistic tastes adding to the bond of
 comradeship. So two years passed pleasantly along at the Villa d'Este,
 one of the most beautiful places in all Italy--the ancient ruins hard
 by, and the running waters and majestic trees leaving an impression
@@ -567,7 +533,7 @@ heroes and amongst picturesque ruins.
 Arrived in Paris, Fragonard at once set himself to the task of
 painting the historic or mythologic Academy-piece expected from the
 holder of the Prix de Rome on return from the Italian tour. He painted
-"The High Priest Coresus slaying himself to save Callirhoë," which,
+"The High Priest Coresus slaying himself to save Callirhoë," which,
 though badly hung at the Salon, and still to be seen at the Louvre,
 was hailed with high praise by the academicians and critics. The only
 adverse criticisms of coldness and timidity levelled against it sound
@@ -633,7 +599,7 @@ small pupils--here chasteness of feeling has taken the place of
 levity; and purity of statement is evidenced even in the half-nude
 little fellow who is receiving his first lesson in culture.]
 
-You shall look in vain for the affected innocence, the naïve
+You shall look in vain for the affected innocence, the naïve
 mawkishness, the chaste sentimentality of Greuze in the master-work of
 Fragonard. He knew nothing of these things--cared less. His was an
 ardent brush; and he used it ardently; but always you shall find him
@@ -644,7 +610,7 @@ of France.
 He had many qualities that go to make a decorative painter. Indeed, it
 is to the Frenchmen of the seventeen-hundreds to whom we may safely go
 for pictures that make the walls of a drawing-room a delight. Unlike
-the Italians, they are pleasing to live with. His painting of "La Fête
+the Italians, they are pleasing to live with. His painting of "La Fête
 de St. Cloud," in the dining-room of the Governor of the Bank of
 France, is one of the decorative landscapes of the world.
 
@@ -652,8 +618,8 @@ He was now producing works in considerable numbers--it is his first,
 his detailed period, somewhat severe in arrangement and style as to
 composition and handling--the years of "Love the Conqueror," the
 "Bolt," the "Fountain of Love," of "Le Serment d'Amour," the
-"Gimblette," "Les Baigneuses," the "Sleeping Bacchante," the "Début du
-modèle," and the like.
+"Gimblette," "Les Baigneuses," the "Sleeping Bacchante," the "Début du
+modèle," and the like.
 
 His master, Boucher, was grown old; he could not carry out the
 commissions for the decoration of rooms and for paintings with which
@@ -664,7 +630,7 @@ wealth, a lover of art, and an honorary member of the Royal
 Academy--who became one of Fragonard's most lavish patrons and most
 intimate friends. Bergeret de Grandcour commissioned several panels in
 this, Fragonard's thirty-fifth year--the year of his painting the
-superb "Fête de St. Cloud." This is towards the end of that period of
+superb "Fête de St. Cloud." This is towards the end of that period of
 minute and detailed painting which he did with such consummate skill,
 yet without bringing pettiness into his largeness of conception.
 
@@ -728,7 +694,7 @@ Guimard, he undertook the painting of a series of panels. The Guimard
 was the rage of Paris--she of the orgic suppers and the naughty dances
 with her comrade Vestris. Frago, who is said to have been more than a
 friend of the reckless one of the nimble feet, undertook the
-decoration of her house in the Chaussée d'Antin, known to the bloods
+decoration of her house in the Chaussée d'Antin, known to the bloods
 as the Temple of Terpsichore. He painted for the same room a portrait
 of the frail beauty as an opera-shepherdess--the simple pastoral
 life was the pose of this unsimple age. He was engaged upon the
@@ -787,7 +753,7 @@ Madame du Barry. For the Jesuits had no love for the king's minister
 Choiseul--and the madcap girl was but the lure whereby the king was to
 be drawn from his great minister. So religion rallied about the frail
 beauty, and hid behind her extravagant skirts--one of which cost close
-on £2000--and, with the old nobility, drank damnation to the king's
+on £2000--and, with the old nobility, drank damnation to the king's
 minister and To the devil with the new thought and with parliaments.
 Long live the king and the divine right of kings!
 
@@ -796,7 +762,7 @@ dated his certainty near upon a couple of months too soon.
 
 So it came about that before a year was out the old king was become
 the doting creature of a light-o'-love of Paris, the transfigured
-milliner and street-pedlar, Jeanne, natural child of one Anne Béqus,
+milliner and street-pedlar, Jeanne, natural child of one Anne Béqus,
 a low woman of Vaucouleurs. This Jeanne, of no surname and unknown
 father, a pretty, kindly, vulgar child of the gutters, with fair hair
 and of madcap habits, was some twenty-six years of age, when--being
@@ -881,9 +847,9 @@ MARRIAGE
 
 There lived in Grasse, with its rich harvests of flowers, and given to
 the distilling of perfumes therefrom, a family that had come from
-Avignon--its name, Gérard, and on friendly terms with the Fragonards.
+Avignon--its name, Gérard, and on friendly terms with the Fragonards.
 It so chanced that a young woman of the family, the seventeen-year-old
-Marie Anne Gérard, was sent to Paris, to the care of Fragonard, in
+Marie Anne Gérard, was sent to Paris, to the care of Fragonard, in
 order to earn her living in the shop of a scent-seller, one Isnard.
 The girl had artistic leanings, and fell a-painting of fans and
 miniatures. She had need of a teacher; and who better qualified for
@@ -895,15 +861,15 @@ proves; she had the rough accent of Provence; was thick-set and clumsy
 of figure, and of heavy features, but she had the youth and freshness
 and health of a young woman's teens, that hide the blemishes and full
 significance of these coarsenesses. She and Fragonard fell a-kissing.
-Fragonard, now thirty-seven, married Marie Anne Gérard in her
+Fragonard, now thirty-seven, married Marie Anne Gérard in her
 eighteenth year; and she bore him a much loved daughter, Rosalie--and
 ten years later, in 1780, a son, Alexandre Evariste Fragonard.
 
 There came to live with the newly married couple his wife's younger
-sister Marguerite and her young brother Henri Gérard, who was learning
+sister Marguerite and her young brother Henri Gérard, who was learning
 engraving.
 
-[Illustration: PLATE VI.--LE VOEU À L'AMOUR
+[Illustration: PLATE VI.--LE VOEU À L'AMOUR
 
 (In the Louvre)
 
@@ -935,9 +901,9 @@ France without clogging its grace. He is now content with his house
 and garden for scenery, with his family for models. He realises that
 an artist has no need to go abroad to find "paintable things."
 
-The "Heureuse Fécondité," the "Visit to the Nurse" (the second one),
+The "Heureuse Fécondité," the "Visit to the Nurse" (the second one),
 the "Schoolmistress," the "Good Mother," the "Retour au logis," the
-"L'Education fait tout," the "Dites donc, si'l vous plaît," are of
+"L'Education fait tout," the "Dites donc, si'l vous plaît," are of
 this period.
 
 In all he did he proves himself an artist, incapable of mediocrity,
@@ -987,7 +953,7 @@ were, would last as long as he; and he that came after him must shift
 for himself"? Ay; he came even nearer to the kernel of the
 significance of things, when, shrugging his no longer well-beloved
 shoulders, as the Pompadour had done, he repeated her cynical saying
-of "_Après nous le déluge_." It was to be a deluge indeed--scarlet
+of "_Après nous le déluge_." It was to be a deluge indeed--scarlet
 red.
 
 Wit and ruthless fatuity were the order of the day; these folk were
@@ -1034,7 +1000,7 @@ the wits and thinkers sent the new opinion broadcast amongst a people
 wholly scandalised and punished by the corruption of their governors.
 These writings made astounding and alarming way. The "intellectuals"
 were all on the side of the people--Montesquieu, Voltaire, Diderot,
-Rousseau, d'Alembert, Helvetius, Condillac, the Abbé Raynal. With wit
+Rousseau, d'Alembert, Helvetius, Condillac, the Abbé Raynal. With wit
 and sarcasm and invective and argument, they stirred passions,
 appealing to self-respect and dignity and honour and the innate love
 of freedom in the strong; they appealed to common-sense, to the
@@ -1123,7 +1089,7 @@ consternation that Bergeret de Grandcour angrily refused to give them
 up, claiming them as payment for his outlay upon him during the
 Italian journey. The sorry business ended in the law-courts, and in
 the loss of the lawsuit by Bergeret de Grandcour, who was condemned to
-give up the drawings or to pay a 30,000 livres fine (£6000). The ugly
+give up the drawings or to pay a 30,000 livres fine (£6000). The ugly
 breach that threatened to open between them, however, was soon healed
 by reconciliation; and Bergeret de Grandcour's son became one of
 Fragonard's closest and most intimate friends.
@@ -1156,13 +1122,13 @@ palace of the Louvre, as his master Boucher had been granted them
 before him.
 
 Settling in with his wife, his girl Rosalie, his son Alexandre
-Evariste, and his talented sister-in-law Marguerite Gérard, he lived
+Evariste, and his talented sister-in-law Marguerite Gérard, he lived
 thereat a life almost opulent, making large sums of money, some eight
 thousand pounds a year, at this time. He joyed in decorating his
 rooms. He was the life and soul of a group of brilliant men who
 gathered about him, having the deepest affection for him.
 
-His sister-in-law, Marguerite Gérard, was as gay and distinguished in
+His sister-in-law, Marguerite Gérard, was as gay and distinguished in
 manners, and as beautiful, as his jovial wife was dull and vulgar and
 coarse--the vile accent of Grasse, that made his wife's speech
 horrible to the ear, becoming slurred into a shadow of itself on
@@ -1216,7 +1182,7 @@ monarchy was at an end. In little over a month the States-General
 created itself the National Assembly. The Revolution was begun. The
 14th of July saw the fall of the Bastille. On the 22nd the people
 hanged Foulon to the street-lamp at the corner of the Place de
-Grève--and _à la lanterne!_ became the cry of fashion.
+Grève--and _à la lanterne!_ became the cry of fashion.
 
 Fragonard was in his fifty-seventh year when he heard in his lodging
 at the Louvre the thunderclap of this 14th of July 1789--saw the dawn
@@ -1234,7 +1200,7 @@ whom love of elegance had not prevented from sympathising with the
 sufferings of the people, and who had thrilled with the new thought.
 Fragonard's intelligence drew him naturally towards the new ideas;
 indeed he owed little to the Court; and when France was threatened by
-the coalition of Europe against her, he, with Gérard, David, and
+the coalition of Europe against her, he, with Gérard, David, and
 others, went on the 7th of September with the artist's womenfolk to
 give up their jewelry to the National Assembly.
 
@@ -1280,7 +1246,7 @@ June the Girondists had wholly fallen. Charlotte Corday's stabbing of
 Marat in his bath left the way clear for Robespierre's ambition. The
 Jacobins in power, the year of the Reign of Terror began--July 1793 to
 July 1794--with Robespierre as the lord of the hellish business. The
-scaffolds reeked with blood--from that of Marie Antoinette and Egalité
+scaffolds reeked with blood--from that of Marie Antoinette and Egalité
 Orleans to that of the Girondist deputies and Madame Roland, and the
 most insignificant beggar suspected of the vague charge of "hostility
 to the Republic." In a mad moment the Du Barry, who had shown the
@@ -1289,7 +1255,7 @@ bygone days of greatness, published a notice of a theft from her
 house. It drew all eyes to her wealth. And she went to the guillotine
 shrieking with terror and betraying all who had protected her. Then
 came strife amongst the Jacobins. Robespierre and Danton fought the
-scoundrel Hébert for life, and overthrew him. The Hebertists went to
+scoundrel Hébert for life, and overthrew him. The Hebertists went to
 the guillotine, dying in abject terror. Danton, with his appeals for
 cessation of the bloodshed of the Terror, alone stood between
 Robespierre and supreme power. Danton, Camille Desmoulins, Eglantine
@@ -1361,7 +1327,7 @@ and a panel over the fireplace, "Triumph of Love." He also painted
 during his stay the portraits of the brothers Maubert; and, to keep
 his host safe from ugly rumours and unfriendly eyes, he decorated the
 vestibule with revolutionary emblems, phrygian bonnet, axes and
-faggots, and the masks of Robespierre and the Abbé Gregoire, and the
+faggots, and the masks of Robespierre and the Abbé Gregoire, and the
 like trickings of red republicanism.... His host was the maternal
 grandfather of the Malvilan, at whose death in 1903, the room and its
 decorations were sold to an American collector for a huge sum of
@@ -1429,13 +1395,13 @@ In the year of 1806, on the New Year's Day of which were abolished the
 Republican reckonings of the years as established at the Revolution,
 suddenly came the suppression of the artists' lodging at the Louvre by
 decree of the Emperor. The Fragonards went to live hard by in the
-house of the restaurant-keeper Very, in the Rue Grenelle Saint-Honoré.
+house of the restaurant-keeper Very, in the Rue Grenelle Saint-Honoré.
 The move was for Fragonard but the prelude to a longer journey.
 
 The old artist walks now more sluggishly than of old, his
 four-and-seventy years have taken the briskness out of his step.
 Returning from the Champ de Mars on a sultry day in August he becomes
-heated--enters a café to eat an ice; congestion of the brain sets in.
+heated--enters a café to eat an ice; congestion of the brain sets in.
 At five of the clock in the morning of the 22nd day of August 1806,
 Fragonard enters into the eternal sleep--at the hour that his master
 Boucher had gone to sleep.
@@ -1444,7 +1410,7 @@ Thus passed away the last of the great painters of France's gaiety
 and lightness of heart.
 
 Madame Fragonard lived to be seventy-seven, dying in 1824. Marguerite
-Gérard had a happy career as an artist under the Empire and the
+Gérard had a happy career as an artist under the Empire and the
 Restoration, but never married--dying at seventy-six, loaded with
 honours and in comfortable circumstances in the year that Queen
 Victoria came to the throne of England. Thus peacefully ended the days
@@ -1482,362 +1448,4 @@ The plates are printed by BEMROSE & SONS, LTD., Derby and London
 
 The text at the BALLANTYNE PRESS, Edinburgh
 
-
-
-***END OF THE PROJECT GUTENBERG EBOOK FRAGONARD***
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-The Project Gutenberg eBook, Fragonard, by Haldane Macfall
-
-
-This eBook is for the use of anyone anywhere at no cost and with
-almost no restrictions whatsoever.  You may copy it, give it away or
-re-use it under the terms of the Project Gutenberg License included
-with this eBook or online at www.gutenberg.org
-
-
-
-
-
-Title: Fragonard
-       Masterpieces in Colour Series
-
-
-Author: Haldane Macfall
-
-
-
-Release Date: February 17, 2013  [eBook #42118]
-
-Language: English
-
-Character set encoding: ISO-646-US (US-ASCII)
-
-
-***START OF THE PROJECT GUTENBERG EBOOK FRAGONARD***
-
-
-E-text prepared by sp1nd and the Online Distributed Proofreading Team
-(http://www.pgdp.net) from page images generously made available by
-Internet Archive (http://archive.org)
-
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-Note: Project Gutenberg also has an HTML version of this
-      file which includes the original illustrations.
-      See 42118-h.htm or 42118-h.zip:
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-      or
-      (http://www.gutenberg.org/files/42118/42118-h.zip)
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-
-      Images of the original pages are available through
-      Internet Archive. See
-      http://archive.org/details/fragonardocad00macfuoft
-
-
-
-
-
-Masterpieces in Colour
-
-Edited by--T. Leman Hare
-
-FRAGONARD
-
-      *      *      *      *      *      *
-
-IN THE SAME SERIES
-
-    ARTIST.                AUTHOR.
-  VELAZQUEZ.             S. L. BENSUSAN.
-  REYNOLDS.              S. L. BENSUSAN.
-  TURNER.                C. LEWIS HIND.
-  ROMNEY.                C. LEWIS HIND.
-  GREUZE.                ALYS EYRE MACKLIN.
-  BOTTICELLI.            HENRY B. BINNS.
-  ROSSETTI.              LUCIEN PISSARRO.
-  BELLINI.               GEORGE HAY.
-  FRA ANGELICO.          JAMES MASON.
-  REMBRANDT.             JOSEF ISRAELS.
-  LEIGHTON.              A. LYS BALDRY.
-  RAPHAEL.               PAUL G. KONODY.
-  HOLMAN HUNT.           MARY E. COLERIDGE.
-  TITIAN.                S. L. BENSUSAN.
-  MILLAIS.               A. LYS BALDRY.
-  CARLO DOLCI.           GEORGE HAY.
-  GAINSBOROUGH.          MAX ROTHSCHILD.
-  TINTORETTO.            S. L. BENSUSAN.
-  LUINI.                 JAMES MASON.
-  FRANZ HALS.            EDGCUMBE STALEY.
-  VAN DYCK.              PERCY M. TURNER.
-  FRAGONARD.             C. HALDANE MACFALL.
-  LEONARDO DA VINCI.     M. W. BROCKWELL.
-
-    _In Preparation_
-
-  WHISTLER.              T. MARTIN WOOD.
-  RUBENS.                S. L. BENSUSAN.
-  BURNE-JONES.           A. LYS BALDRY.
-  J. F. MILLET.          PERCY M. TURNER.
-  CHARDIN.               PAUL G. KONODY.
-  HOLBEIN.               S. L. BENSUSAN.
-  BOUCHER.               C. HALDANE MACFALL.
-  VIGEE LE BRUN.         C. HALDANE MACFALL.
-  WATTEAU.               C. LEWIS HIND.
-  MURILLO.               S. L. BENSUSAN.
-            AND OTHERS.
-
-      *      *      *      *      *      *
-
-
-[Illustration: PLATE I.--CHIFFRE D'AMOUR. Frontispiece
-
-(In the Wallace Collection)
-
-Fragonard, like his master Boucher, soon found that the pompous,
-historical, and religious pictures which the critics demanded of him,
-pleased no one but the critics. It was a fortunate day for him when he
-turned his back upon them, and employed his charming gifts upon the
-statement of the life of his day. And in few paintings that created
-his fame has he surpassed the fine handling of this scene, in which
-the girl cuts her lover's initials on the trunk of a tree--the dainty
-figure silhouetted against the dreamlike background of sky and tree
-that he loved so well. There is over all the glamour of the poetic
-statement supremely done.]
-
-
-Fragonard
-
-by
-
-HALDANE MACFALL
-
-Illustrated with Eight Reproductions in Colour
-
-
-
-
-
-
-
-
-[Illustration]
-
-London: T. C. & E. C. Jack
-New York: Frederick A. Stokes Co.
-
-
-
-
-TO
-
-MY FRIEND
-
-WALTER EMANUEL
-
-
-
-
-LIST OF ILLUSTRATIONS
-
-
-  Plate
-     I. Chiffre d'Amour                     Frontispiece
-          In the Wallace Collection
-                                                    Page
-    II. The Music Lesson                              14
-          In the Louvre
-
-   III. L'Etude                                       24
-          In the Louvre
-
-    IV. The Schoolmistress                            34
-          In the Wallace Collection
-
-     V. Figure de Fantasie                            40
-          In the Louvre
-
-    VI. Le Voeu a l'Amour                             50
-          In the Louvre (new acquisition)
-
-   VII. The Fair-haired Boy                           60
-          In the Wallace Collection
-
-  VIII. Le Billet Doux                                70
-          In the Collection of M. Wildenstein, Paris
-
-
-
-
-[Illustration]
-
-
-
-
-I
-
-THE BEGINNINGS
-
-
-High up, amongst the Sea-Alps that stretch along the southern edge of
-France, where romantic Provence bathes her sunburnt feet in the blue
-waters of the Mediterranean, high on the mountain's side hangs the
-steep little town of Grasse, embowered midst grey-green olive-trees.
-In as sombre a narrow street as there is in all her dark alleys, on
-the fifth day of April in the much bewigged and powdered year of 1732,
-there was born to a glovemaker of the town, worthy mercer Fragonard, a
-boy-child, whom the priest in the gloomy church christened Jean Honore
-Fragonard.
-
-As the glovemaker looked out of his sombre house over the sunlit
-slopes of the grey-green olive-trees that stretched away to the deep
-blue waters of the sea, he vowed his child to commerce and a thrifty
-life in this far-away country place that was but little vexed with the
-high ambitions of distant, fickle, laughing Paris, or her splendid
-scandals; nay, scarce gave serious thought to her gadding fashions or
-her feverish vogues--indeed, the attenuated ghosts of these once
-frantic things wriggled southwards through the provinces on but
-sluggish feet to the high promenades of Grasse--as the worthy mercer
-was first in all the little town to know by his modest traffic in
-them; and that, too, only long after the things they shadowed were
-buried under new millineries and fopperies and fantastic riot in the
-gay capital. As a fact, the dark-eyed, long-nosed folk that trudged
-these steep and narrow thoroughfares were a sluggish people; and
-sunlit Grasse snored away its day in drowsy fashion.
-
-But if the room where the child first saw the light were gloomy enough
-within, the skies were wondrous blue without, and the violet-scented
-slopes were robed in a tender garment of silvery green, decked with
-the gold of orange-trees, and enriched with bright embroidery of
-many-coloured flowers that were gay as the gayest ribbons of distant
-Paris. And the glory of it bathed the lad's eyes and heart for sixteen
-years, so that his hands got them itching to create the splendour of
-it which sang within him; and the wizardry of the flower-garden of
-France never left him, casting its spell over all his thinking, and
-calling to him to utter it to the world. It stole into his colour-box,
-and on to his palette, and so across the canvas into his master-work,
-and was to lead him through the years to a blithe immortality.
-
-The small boy with the big head was born in the year after Francois
-Boucher came back to Paris from his Italian wanderings on the eve of
-his thirties and won to academic honour. The child grew up in his
-Provencal home, whilst Boucher, turning his back upon academic art on
-gaining his seat at the Academy, was creating the Pastorals,
-Venus-pieces, and Cupid-pieces that changed the whole style of French
-art from the pompous and mock-heroic manner of Louis Quatorze's
-century of the sixteen hundreds to the gay and elegant pleasaunces
-that fitted so aptly the elegant pleasure-seeking days of Louis the
-Fifteenth's seventeen hundreds.
-
-Gossip of high politics came trickling down to Grasse as slowly as the
-fashions, yet the eleven-year-old boy's ears heard of the death of the
-minister, old Cardinal Fleury, and of the effort of Louis to become
-king by act. Though Louis had small genius for the mighty business,
-and fell thenceforth into the habit of ruling France from behind
-petticoats, raising the youngest of the daughters of the historic and
-noble house of De Nesle to be his accepted consort under the rank and
-honours of Duchess of Chateauroux. All tongues tattled of the
-business, the very soldiery singing mocking songs; when--Louis
-strutting it as conqueror with the army, got the small-pox at Metz,
-and sent the Chateauroux packing at the threat of death. He recovered,
-to enter Paris soon after as the Well-Beloved, and to be reconciled
-with the frail Chateauroux before she died in the sudden agony in
-which she swore she had been poisoned.
-
-[Illustration: PLATE II.--THE MUSIC LESSON
-
-(In the Louvre)
-
-Fragonard had a profound admiration for the Dutch painters. Whether he
-went to Holland shortly after his marriage is not known; but he seems
-suddenly to have employed his brush as if he had come across fine
-examples of the Dutch school. "The Music Lesson" at the Louvre is one
-of these, and the Dutch influence is most marked both as to subject,
-treatment, and handling of the paint, if we allow for Fragonard's own
-strongly French personality.]
-
-At thirteen the boy listened to the vague rumours of a new scandal
-that set folk's tongues wagging again throughout all France. The
-king raised Madame Lenormant d'Etioles, a daughter of the rich
-financier class, to be Marquise de Pompadour, and yielded up to her
-the sceptre over his people.
-
-The nations, weary of war, agreed to sign the Peace of Aix-la-Chapelle
-in 1748. In this, our artist's sixteenth year, the Pompadour had been
-the king's acknowledged mistress for three years. From this time, the
-peace being signed, Louis the Fifteenth laid aside all effort to
-fulfil the duties of the lord over a great people; gave himself up to
-shameless and riotous living, and allowed the Pompadour to usurp the
-splendour of his throne and to rule over the land.
-
-For the next sixteen years she was the most powerful person at court,
-the greatest personality in the State--making and unmaking ministers
-like a sovereign, and disposing of high offices, honours, titles, and
-pensions. The king squandered upon her some seventy odd millions of
-the public money as money is now valued. Her energy and her industry
-must have been colossal. Her intelligence saved the king from the
-boredom of decision in difficult affairs. She made herself a necessity
-to his freedom from care. Every affair of State was discussed and
-settled under her guidance. Ministers, ambassadors, generals,
-transacted their business in her handsome boudoirs. She dispensed the
-whole patronage of the sovereign with her pretty hands. The prizes of
-the army, of the church, of the magistracy, could only be secured
-through her good-will. As though these things were not load enough to
-bow the shoulders of any one human being she kept a rein upon every
-national activity. She created the porcelain factory of Sevres,
-thereby adding a lucrative industry to France. She founded the great
-military school of Saint Cyr. She mothered every industry. She was
-possessed of a rare combination of talents and accomplishments, and of
-astounding taste. But her deepest affection was for the arts.
-
-The Pompadour had gathered about her, as the beautiful Madame
-d'Etioles, the supreme wits and artists and thinkers of her day;
-Voltaire and Boucher and Latour and the rest were her friends, and the
-new thought that was being born in France was nursed in her
-drawing-rooms. As the Pompadour she kept up her friendships. She was
-prodigal in her encouragement of the arts, in the furnishment of her
-own and the king's palaces and castles. And it was in the exercise and
-indulgence of her better qualities that she brought out the genius
-and encouraged to fullest achievement the art of Boucher, and of the
-great painters of her time. So Boucher brought to its full blossom the
-art that Watteau had created--the picture of "Fetes galentes"--and
-added to the artistic achievement of France the Pastorals wherein
-Dresden shepherds and shepherdesses dally in pleasant landscapes, and
-the Venus-pieces wherein Cupids flutter and romp--a world of elegance
-and charm presided over by the Goddess of Love.
-
-
-
-
-II
-
-ROME
-
-
-All this was but Paris-gossip amidst the olive-trees and steep streets
-of far-away Grasse, where the large-headed, small-bodied lad was
-idling through his fifteen summers, living and breathing the beauty of
-the pleasant land of romance that bred him, when, like bolt from the
-blue, fell the news upon him that his father, tearing aside the fabric
-of the lad's dreams, had articled him as junior clerk to a notary.
-
-But the French middle-class ideal of respectability meant no heaven
-for this youth's goal, no ultimate aim for his ambition. He idled his
-master into despair; "wasting his time" on paint-pots and
-pencil-scribblings until that honest man himself advised that the lad
-should be allowed to follow his bent.
-
-So it came about--'twas in that year of the Treaty of Aix-la-Chapelle,
-the year that saw the Pompadour come to supreme power (she had been
-for three years the king's acknowledged mistress)--the youth's mother,
-with all a French mother's shrewdness and common-sense, gathered
-together the sixteen-year-old lad's sketches, and bundled off with him
-in a diligence to Paris.
-
-Arrived in Paris she sought out the greatest painter of the day, and
-burst with the shy youth into the studio of the dandified favourite
-artist of the king's majesty, Pompadour's Boucher--large-hearted,
-generous, much-sinning, world-famed Boucher, then at the very
-summit of his career--he was at that time living in the Rue
-Grenelle-Saint-Honore, which he was about to leave, and in which
-Fragonard in his old age was destined to end his days.
-
-The lad glanced with wonder, we may be sure, at the great "Rape of
-Europa" that stood upon the master's easel, whilst his mother poured
-out in the rough accent of Provence the tale of the genius of her
-son--stole, too, a stealthy scrutiny of the Venus-pieces and Pastorals
-that stood about the studio, and was filled with awed admiration. The
-mother besought the genius of France to make a genius of her son; and
-Boucher, with kindly smile upon his lips, glancing over the immature
-work of the prodigy, told the lad that he might come back to him in
-six months' time, pointing out to him, with all that large-hearted
-friendliness and sympathy that made him the loved idol of the
-art-students, that he lacked sufficient dexterity in the use of his
-tools to enter his studio or to benefit by apprenticeship to him, and
-advising the anxious mother to take him to Chardin as the supreme
-master in France from whom to learn the mastery of his craft.
-
-To Chardin the youth went; and France's consummate master in the
-painting of still-life, putting the palette on the youngster's thumb
-straightway, from the very first day--as his custom was--and making
-him use sienna upon it as his only pigment, advising him as he went,
-set him to the copying of the prints from the masterpieces of his own
-time, insisting on his painting large and broad and solid and true.
-
-Young Fragonard made so little progress that Chardin wrote to his
-parents that he could get nothing out of him; and sent the lad, bag
-and baggage, out of his studio.
-
-Thrown upon his own resources, the young fellow haunted the churches
-of Paris, brooded over the masterpieces that hung therein, fixed them
-in his mind's eye, and, returning to his lodging, painted them, day by
-day, from memory.
-
-At the end of six months he called again upon Boucher, his sketches
-under his arm; and this time he was not sent away. Astounded at the
-youth's progress, struck by his enthusiasm, Boucher took him into his
-studio, and set him to work to prepare the large decorative cartoons
-that artists had to make from their paintings for use at the Gobelins
-and Beauvais looms. The artist painted his picture "in little"; he was
-also required to paint an "enlargement" of the size that the weavers
-had to make into tapestry--this enlargement was mostly done by pupils,
-the State demanding, however, that the artist should work over it
-sufficiently to sign his name upon it--the head of the factory keeping
-custody of the "painting in little" to guide him; the weavers working
-from the enlargement. This work upon the enlargement of Boucher's
-paintings was an ideal training for Fragonard.
-
-The Director-General of Buildings to the king (or, as we should
-nowadays call him, Minister of Fine Arts), Lenormant de Tournehem,
-kinsman to the Pompadour, died suddenly in the November of 1751; the
-Pompadour promptly caused to be appointed in his place her brother
-Abel Poisson de Vandieres--a shy, handsome youth, a gentleman, a man
-of honour, who brought to his office an exquisite taste, a loyal
-nature, and marked abilities. The king, who liked him well, and called
-him "little brother," soon afterwards created him Marquis de
-Marigny--and Fragonard, like many another artist of his day, was to be
-beholden to him.
-
-After a couple of years' training under Boucher, Fragonard's master,
-with that keen interest that he ever took in the efforts and welfare
-of youth, and particularly of his own pupils, urged the young fellow
-to compete for the Prix de Rome, pointing out to him the advantages of
-winning it. At twenty, without preparation, and without being a pupil
-of the Academy, Fragonard won the coveted prize with his "Jeroboam
-Sacrificing to Idols." It was in this year that Boucher was given a
-studio and apartments at the Louvre.
-
-For three years thereafter, Fragonard was in the king's school of six
-_eleves proteges_ under Carle Van Loo. He continued to work in
-Boucher's studio, as well as painting on his own account; and it is to
-these years that belong his "Blind Man's Buff" and several pictures
-in this style.
-
-Meanwhile the quarrels between priests and parliaments had grown very
-bitter. The king took first one side, then the other. It was in 1756,
-Louis having got foul of his Parliament, that the unfortunate and
-foolish Damiens stabbed the king with a penknife slightly under the
-fifth rib of his left side, as he was stepping into his carriage at
-Versailles, and suffered by consequence the terrible tortures and
-horrible death that were meted out to such as attempted the part of
-regicide.
-
-This was the year when, at twenty-four, Fragonard was entitled to go
-to Rome at the king's expense--the Italian tour being a necessary part
-of an artist's training who desired to reach to academic distinction,
-and honours in his calling. He started on his journey to Italy with
-Boucher's now famous farewell advice ringing in his ears: "My dear
-Frago, you go into Italy to see the works of Raphael and Michael
-Angelo; but--I tell you in confidence, as a friend--if you take those
-fellows seriously you are lost." ("Lost" was not the exact phrase,
-Boucher being a Rabelaisian wag, but it will pass.)
-
-[Illustration: PLATE III.--L'ETUDE
-
-(In the Louvre)
-
-The picture of a young woman sometimes known as "L'Etude" (but perhaps
-better known as "La Chanteuse" or "Song") at the Louvre is another of
-those little canvases painted by Fragonard under the strong influence
-of the Dutch school, as we may see not only in the handling of the
-paint, and in the arrangement of the figure, but in the very ruffle
-about the girl's neck, the lace cuffs to the sleeves, and the
-treatment of the dress.]
-
-Arrived in Rome, Fragonard, like his master before him, was torn with
-doubts and uncertainties and warring influences. For several months he
-did no work, or little work; and though he stood before the
-masterpieces of Michael Angelo and Raphael, stirred by the grandeur of
-their design, and eager to be busy with his brush, he was too much of
-a Frenchman, too much in sympathy with the French genius, too much
-enamoured of the art of his master, to be affected creatively by them.
-His hesitations saved him, and won France a master in her long roll of
-fame. He escaped the taint of learning to see through the eyes of
-others, evaded the swamping of his own genius in an endeavour to utter
-his art in halting Italian. Rome was not his grave, as it has been the
-grave of so many promising young sons of France; and he came out of
-the danger a strong and healthy man. Tiepolo brought him back vision
-and inspiration, and the solid earth of his own age to walk upon. And
-the French utterance of his master Boucher called back his dazed wits
-to the accents of France. At last the genius that was in him quickened
-and strove to utter itself.
-
-The bright colours of Italy, the glamour of her landscapes, these
-were the living lessons that bit deeper into his art than all the
-works of her antique masters; and the effort to set them upon his
-canvas gave to his hand's skill an ordered grace and dignity that were
-of more vital effect upon his achievement than the paintings of the
-great dead.
-
-So it came about that Natoire, then director of the royal school in
-the Villa Mancini, having written his distress to Marigny at the young
-fellow's beginnings, was soon writing enthusiastically about him, and
-procured a lengthening of his stay in Rome.
-
-Here began that lifelong friendship with Hubert Robert, already making
-his mark as an artist, and with the Abbe de Saint-Non, a charming
-character, who was to engrave the work of the two young painters, and
-greatly spread their names abroad thereby. Saint-Non's influential
-relations procured him free residence in the Villa d'Este, where the
-other two joined him, and a delightful good-fellowship between the
-three men followed--the Abbe's artistic tastes adding to the bond of
-comradeship. So two years passed pleasantly along at the Villa d'Este,
-one of the most beautiful places in all Italy--the ancient ruins hard
-by, and the running waters and majestic trees leaving an impression
-upon Fragonard's imagination, which passed to his canvases, and never
-left his art--developing a profound sense of style, and a knowledge of
-light and air that bathed the scenes he was to paint with such rare
-skill and insight. Here grew that love of stately gardens which are
-the essence of his landscapes, and which won to the heart of a child
-of Provence.
-
-In distant Paris the making of history was growing apace. Gossip of it
-reached to Italy. A backstairs intrigue almost dislodged the Pompadour
-from power. D'Argenson and the queen's party threw the beautiful and
-youthful Madame de Choiseul-Romanet, not wholly unflattered at the
-adventure, into the king's way to lure him from the favourite. The
-king wrote her a letter of invitation. The girl consulted her noble
-kinsman, the Comte de Stainville, of the Maurepas faction or queen's
-party, a bitter enemy to the Pompadour. De Stainville, his pride of
-race wounded that a kinswoman of his should be offered to the king,
-went to the Pompadour, exposed the plot, and forthwith became her
-ally--soon her guide in affairs of State.
-
-In the midst of disasters by sea and land the Pompadour persuaded the
-king to send for De Stainville, and to make him his Prime Minister.
-He was created Duc de Choiseul in December 1758. He had as ally one of
-the most astute and subtle and daring minds in eighteenth-century
-France--his sister Beatrice, the famous Duchesse de Grammont. The king
-found a born leader of men. Choiseul brought back dignity to the
-throne. He came near to saving France. Choiseul was the public opinion
-of the nation. He founded his strength on Parliament and on the new
-philosophy. He became a national hero. He could do no wrong. He rose
-to power in 1758; and at once stemmed the tide of disaster to France.
-
-The Parliament men took courage. Philosophy, with one of its men in
-power, spoke out with no uncertain voice. All France was listening.
-
-Fragonard had at last to turn his face homewards; and dawdling through
-Italy with Saint-Non, staying his feet at Bologna and Venice awhile,
-the two friends worked slowly towards Paris, Fragonard entering his
-beloved city, after five wander-years, in the autumn of 1761, in his
-twenty-ninth year, untainted and unspoiled by academic training, his
-art founded upon that of Boucher, enhanced by his keen study of
-nature. He reached Paris, rich in plans for pictures, filled with
-ardour and enthusiasm for his art, ambitious to create masterpieces,
-and burning to distinguish himself.
-
-
-
-
-III
-
-THE DU BARRY
-
-
-When Fragonard came back to Paris on the edge of his thirtieth year it
-was to find that a great change had come over his master Boucher. The
-old, light-hearted, genial painter was showing signs of the burning of
-the candle of life at both ends. His art also was being bitterly
-assailed by the new critics--the new philosophy was asking for
-ennobling sentiments from the painted canvas, and the teaching of a
-moral lesson from all the arts. Boucher stood frankly bewildered,
-blinking questioning eyes at the frantic din. Old age had come upon
-him, creeping over the shrewd kindly features, dulling the exquisite
-sight. He could not wholly ignore the change that was taking place in
-public taste. The ideas of the philosophers were penetrating public
-opinion. The man of feeling had arisen and walked in the land. They
-were beginning to speak of the great antique days of Greece and Rome.
-Fickle fashion was about to turn her back upon Dresden shepherds and
-shepherdesses and leafy groves, and to take up her abode awhile with
-heroes and amongst picturesque ruins.
-
-Arrived in Paris, Fragonard at once set himself to the task of
-painting the historic or mythologic Academy-piece expected from the
-holder of the Prix de Rome on return from the Italian tour. He painted
-"The High Priest Coresus slaying himself to save Callirhoe," which,
-though badly hung at the Salon, and still to be seen at the Louvre,
-was hailed with high praise by the academicians and critics. The only
-adverse criticisms of coldness and timidity levelled against it sound
-strange in the light of his after-career, which, whatever its
-weaknesses, was not exactly marked with coldness nor eke with
-timidity.
-
-For two years thereafter he essayed the academic style.
-
-But the praises of Diderot and Grimm failed to fill his pockets; and
-he decided to paint no more academic pieces for the critics' praise.
-He had indeed no taste for such things, no sympathy with ancient
-thought nor with the dead past. He was, like his master, a very son
-of France--a child of his own age, glorying in the love of life and
-the beauty of his native land.
-
-Having done his duty by his school, he turned his back upon it
-gleefully, as Boucher had also done before him, and set himself
-joyously to the painting of the life about him.
-
-His great chance soon came, and in strange guise.
-
-It so happened that a young blood at the court, one Baron de
-Saint-Julien, went to the painter Doyen with his flame, and asked him
-to paint a picture of the pretty creature being swung by a bishop
-whilst he himself watched the display of pretty ankles as the girl
-went flying through the air. Doyen had scruples; but recommended
-Fragonard for the naughty business.
-
-Fragonard seized the idea readily enough, except that he made the
-frail girl's husband swing the beauty for her lover's eyes, using the
-incident, as usual, but as the trivial theme for a splendid setting
-amidst trees, glorying in the painting of the foliage--as you may see,
-if you step into the Wallace galleries, where is the exquisite thing
-that brought Fragonard fame--the world-famous "Les hazards heureux de
-l'Escarpolette."
-
-The effect was prodigious. De Launay's brilliant engraving of it
-popularised it throughout the land. Nobles and rich financiers, and
-all the gay world of fashion besides, now strove to possess canvases
-signed by Fragonard. Boucher was grown old and ailing; and just as
-Boucher had been the painter of the France of fashion under the
-Pompadour, so Fragonard was now to become the mirror of the court, of
-the theatre, of the drawing-room, of the boudoir, of the age of Du
-Barry.
-
-Finding a ready market for subjects of gallantry, he gave rein to his
-natural bent, and straightway leaped into the vogue. Pictures were the
-hobby of the nobility and the rich; and France under the Pompadour,
-and particularly at this the end of her reign, was madly spendthrift
-upon its hobbies and fickle fancies. The pretty house, delicately
-tinted rooms, fine furniture, dainty decorations, and charming
-pictures, were a necessity for such as would be in the fashion.
-
-[Illustration: PLATE IV.--THE SCHOOLMISTRESS
-
-(In the Wallace Collection)
-
-After his marriage Fragonard's brush turned to the glorification of
-family life; and one of the most beautiful designs he conceived in
-this exquisite series was the picture of the schoolmistress and her
-small pupils--here chasteness of feeling has taken the place of
-levity; and purity of statement is evidenced even in the half-nude
-little fellow who is receiving his first lesson in culture.]
-
-You shall look in vain for the affected innocence, the naive
-mawkishness, the chaste sentimentality of Greuze in the master-work of
-Fragonard. He knew nothing of these things--cared less. His was an
-ardent brush; and he used it ardently; but always you shall find him
-using his subject, however naughty, as the mere excuse for a
-glorious picture of trees. He is one of the great landscape-painters
-of France.
-
-He had many qualities that go to make a decorative painter. Indeed, it
-is to the Frenchmen of the seventeen-hundreds to whom we may safely go
-for pictures that make the walls of a drawing-room a delight. Unlike
-the Italians, they are pleasing to live with. His painting of "La Fete
-de St. Cloud," in the dining-room of the Governor of the Bank of
-France, is one of the decorative landscapes of the world.
-
-He was now producing works in considerable numbers--it is his first,
-his detailed period, somewhat severe in arrangement and style as to
-composition and handling--the years of "Love the Conqueror," the
-"Bolt," the "Fountain of Love," of "Le Serment d'Amour," the
-"Gimblette," "Les Baigneuses," the "Sleeping Bacchante," the "Debut du
-modele," and the like.
-
-His master, Boucher, was grown old; he could not carry out the
-commissions for the decoration of rooms and for paintings with which
-he was overwhelmed; and it was in order to help forward his brilliant
-pupil, his "Frago," that he now introduced him to his old friend and
-patron the farmer-general Bergeret de Grandcour--a man of great
-wealth, a lover of art, and an honorary member of the Royal
-Academy--who became one of Fragonard's most lavish patrons and most
-intimate friends. Bergeret de Grandcour commissioned several panels in
-this, Fragonard's thirty-fifth year--the year of his painting the
-superb "Fete de St. Cloud." This is towards the end of that period of
-minute and detailed painting which he did with such consummate skill,
-yet without bringing pettiness into his largeness of conception.
-
-Meantime, Choiseul's masterly mind, having secured peace abroad, saw
-that France, if she were to keep her sovereign State, must be first
-cleansed from the dangers that threatened from within. He turned to
-the blotting out of the turbulent order of the Jesuits, whose
-vindictive acts against, and quarrels with, the Parliaments, and whose
-galling and oppressive tyranny, had roused the bitter hatred of the
-magistracy and of the people throughout the land. Choiseul they
-treated as their bitterest enemy. He decided to blot them out, root
-and branch, from France. The popular party closed up its ranks.
-Choiseul had not long to wait. The chance came in odd fashion enough.
-An attempt by the Order to end the Pompadour's scandalous relations
-with the king was the quaint thing--the match that started the
-explosion. With all his skill of state-craft, Choiseul leaped to the
-weapon. In secret concert with the king's powerful favourite he struck
-at them through the bankruptcy of their banking concerns in the West
-Indies, caused by their losses in the wars with England; and Louis
-abolished the society out of the land, secularising its members, and
-seizing its property.
-
-The Pompadour lived but a short while to enjoy her triumph. Worn-out
-by her vast activities, and assailed by debt, she fell ill of a cough
-that racked her shrunken body. She died, transacting the king's
-business and affairs of State, on the 15th of April 1764, in her
-forty-second year.
-
-Whatever may be said of this cold-blooded, calculating, grasping
-woman, who crushed down every nice instinct of womanhood to win a
-king's favour, who knew no scruple, who was without mercy, without
-pardon or forgiveness, without remorse; bitter and adamant in revenge;
-who turned a deaf ear to the cries from the Bastille; whose heart knew
-no love but for self; it must be allowed that at least for Art she did
-great and splendid service. She not only encouraged and brought out
-the best achievement of her age; she did Art an even more handsome
-benefit. She insisted on artists painting their age and not aping the
-dead past.
-
-To Fragonard personally she rendered no particular service. His real
-achievement began on the eve of her death, when she was a worn-out and
-broken woman. Nor had Fragonard ever that close touch with the royal
-house or its favourites during any part of his lifetime that meant so
-much to the fortunes of his master, Boucher.
-
-There were two patrons for whom Fragonard was about to create a series
-of masterpieces in the decoration of their splendid and luxurious
-homes--works of Art which were to have strange adventures and
-histories. They were both women.
-
-[Illustration: PLATE V.--FIGURE DE FANTASIE
-
-(In the Louvre)
-
-Here we have one of the rare examples of Fragonard's painting of a
-man's portrait. It is in strange contrast to his more delicate
-handling of domestic subjects.]
-
-For the prodigal and eccentric dancer, the notorious Mademoiselle
-Guimard, he undertook the painting of a series of panels. The Guimard
-was the rage of Paris--she of the orgic suppers and the naughty dances
-with her comrade Vestris. Frago, who is said to have been more than a
-friend of the reckless one of the nimble feet, undertook the
-decoration of her house in the Chaussee d'Antin, known to the bloods
-as the Temple of Terpsichore. He painted for the same room a portrait
-of the frail beauty as an opera-shepherdess--the simple pastoral
-life was the pose of this unsimple age. He was engaged upon the
-business, off and on, for several years; and the many delays at last
-fretted the light one. Fragonard, anything but energetic, liked always
-to take his own time at his work. The Guimard got to pestering
-him--she had a sharp tongue--and at last, one fine day, upbraided him
-roundly, taunting him with a sneer that he would never get the work
-finished. Fragonard lost patience and temper, goaded by her
-ill-manners, her abuse, and her biting tongue. "It _is_ finished,"
-said he; and walked out of the house. The Guimard could never get him
-back; but one day he slipped in alone, painted the set dancer's-smile
-from the dancer's mouth, and placed there instead a snarl upon her
-lips.
-
-Before this breach between them Fragonard had painted several
-portraits of the Guimard.
-
-However, the work for the lady was to have far-reaching results little
-dreamed of. For the completion of the room, Fragonard procured the
-commission for David, then twenty-five; and David never forgot the
-service rendered. He was to repay it tenfold when black days
-threatened; and with rare courage, when even the courage of gratitude
-was a deadly dangerous commodity.
-
-However, this was not as yet; the sun shone in the skies; and all was
-gaiety and laughter still.
-
-The "Chiffre d'Amour," the picture of a pretty girl who cuts her
-lover's monogram in the bark of a tree's trunk, the shadowed tree and
-figure telling darkly against the glamorous half light beyond, was one
-of Fragonard's happiest inspirations of these years, as any one may
-see who steps into the Wallace galleries. Here also may be seen to-day
-the exquisite "Fair-haired Boy." The boldly painted "L'Heure de
-Berger" was wet upon the canvas about this year, though its boldness
-of handling foretells his later manner, whilst the spirit of Boucher
-is over all.
-
-Four years after the death of the Pompadour the patient neglected
-queen, amiable dull Marie Leczinska, followed her supplanter to the
-grave. The king's grief and contrition and his solemn vows to mend his
-ways came somewhat over-late; they lasted little longer than the
-drying of his floods of tears over the body of his dead consort.
-
-On the Eve of Candlemas, the first day of February 1769, at a
-convivial party in Paris that was not wholly without political
-significance, a Jesuit priest raised his glass _To the Presentation!_
-adding after the toast--"To that which has taken place to-day, or will
-take place to-morrow, the presentation of the new Esther, who is to
-replace Haman and release the Jewish nation from oppression!"
-
-He spoke figuratively--it was safer so. But 'twas understood. Indeed,
-the pretty sentiment was well received by the old aristocrats and
-young bloods about the table; and they drank a bumper to the pretty
-Madame du Barry. For the Jesuits had no love for the king's minister
-Choiseul--and the madcap girl was but the lure whereby the king was to
-be drawn from his great minister. So religion rallied about the frail
-beauty, and hid behind her extravagant skirts--one of which cost close
-on L2000--and, with the old nobility, drank damnation to the king's
-minister and To the devil with the new thought and with parliaments.
-Long live the king and the divine right of kings!
-
-Our worthy priest seems to have had the ear of destiny, though he
-dated his certainty near upon a couple of months too soon.
-
-So it came about that before a year was out the old king was become
-the doting creature of a light-o'-love of Paris, the transfigured
-milliner and street-pedlar, Jeanne, natural child of one Anne Bequs,
-a low woman of Vaucouleurs. This Jeanne, of no surname and unknown
-father, a pretty, kindly, vulgar child of the gutters, with fair hair
-and of madcap habits, was some twenty-six years of age, when--being
-reborn under a forged birth-certificate at the king's ordering, as
-Anne de Vaubernier, and being married by the same orders to the Count
-du Barry, an obliging nobleman of the court--she appeared at
-Versailles as the immortally frail Countess du Barry.
-
-The remonstrances of Choiseul with the king against this new
-degradation of the throne of France, and his unconcealed scorn and
-disgust of the upstart countess, made a dangerous enemy for France's
-great minister, and was to cost him and his France very dear.
-
-The king's infatuation brought royalty into utter contempt amongst the
-people. It was to cost France a terrible price--and Fragonard not
-least of all.
-
-One of the first gifts from the king to the Du Barry was the little
-castle of Louveciennes; and she proceeded with reckless extravagance
-to furnish her handsome home. Drouais, the artist, sold to her for
-1200 livres (double florins), as overdoors for one of the rooms, four
-panels that he had bought from Fragonard. They have vanished; but
-they served Fragonard a good turn--he received an order to decorate Du
-Barry's luxurious pavilion of Luciennes, which she had had built to
-entertain the king at her "little suppers."
-
-Thus it chanced that for this wilful light-o'-love Fragonard painted
-the great master-work of his life--the five world-famous canvases of
-the series of "The Progress of Love in the Heart of Maidenhood," or,
-as they are better known, "The Romance of Love and Youth"--the old
-king masquerading therein as a young shepherd, and the Du Barry as a
-shepherdess. In "The Ladder" ("L'Escalade" or "Le Rendezvous") the Du
-Barry plays the part of a timid young girl who starts as she sees her
-shepherd-lover to be the king; the "Pursuit" follows; then the
-"Souvenirs" and "Love Crowned." The last of the five, the discarded
-mistress in "Deserted," was only begun; and was not completed by
-Fragonard until twenty years later at Grasse, to complete the set.
-
-What it was that struck a chill into the frail Du Barry's favour, so
-that the masterpieces of Fragonard never entered within her doors, is
-not fully known. Whatsoever the cause, these canvases were rejected by
-her. It is said that the work was found to be disappointing, being
-lacking as to the indecencies by the Du Barry and the king, who
-preferred the more suggestive panels of Vien. It is true that
-Fragonard's earlier four panels which she possessed were in
-questionable taste, and that these five were pure; indeed, their
-trivial story matters little amidst the massy foliage and the majestic
-trees that spring into the swinging heavens. Fragonard suspected, and
-somewhat resented the suspicion, that he was being made to paint in a
-sort of artistic duel with Vien. At any rate, Vien was chosen. So it
-came that the discarded pictures lay in Fragonard's studio for over
-twenty years, when we shall see them, rolled up, making a chief part
-of the strange baggage of Fragonard's flight from his beloved Paris.
-
-The fact was that the Du Barry was of the gutter. She had the crude
-love of fineries of the girl promoted from the gutter. She loved
-display. But into her home she brought the vulgar singers of the
-lowest theatres, where the Pompadour had brought the wits and leading
-artists of her time. The old culture was gone. Louis laughed now at
-ribald songs, and was entertained by clowns.
-
-It is part of the irony of life that Fragonard, who never entered
-into the favourite's friendship, should have become the recognised
-artist of her day. It was a part of that grim irony that caused the Du
-Barry, whose age he honours, to reject the most exquisite work of his
-hands--in which his art is seen at its highest achievement, the tender
-half-melancholy of the thing stated with a lyric beauty that displays
-his genius in its supreme flight.
-
-A search through the Du Barry's bills--and there are four huge bound
-volumes of them--reveals the list of pictures painted by Boucher, by
-Vien, by Greuze, and by others, for the spendthrift woman; but of
-transaction with Fragonard there is no slightest hint.
-
-
-
-
-IV
-
-MARRIAGE
-
-
-There lived in Grasse, with its rich harvests of flowers, and given to
-the distilling of perfumes therefrom, a family that had come from
-Avignon--its name, Gerard, and on friendly terms with the Fragonards.
-It so chanced that a young woman of the family, the seventeen-year-old
-Marie Anne Gerard, was sent to Paris, to the care of Fragonard, in
-order to earn her living in the shop of a scent-seller, one Isnard.
-The girl had artistic leanings, and fell a-painting of fans and
-miniatures. She had need of a teacher; and who better qualified for
-the business than her townsman, the famous Fragonard? What more
-natural than that Fragonard should become her master? She was a jovial
-girl. So they would talk of home, and the people amongst whom they had
-been bred. She was no particular beauty, as her picture by Fragonard
-proves; she had the rough accent of Provence; was thick-set and clumsy
-of figure, and of heavy features, but she had the youth and freshness
-and health of a young woman's teens, that hide the blemishes and full
-significance of these coarsenesses. She and Fragonard fell a-kissing.
-Fragonard, now thirty-seven, married Marie Anne Gerard in her
-eighteenth year; and she bore him a much loved daughter, Rosalie--and
-ten years later, in 1780, a son, Alexandre Evariste Fragonard.
-
-There came to live with the newly married couple his wife's younger
-sister Marguerite and her young brother Henri Gerard, who was learning
-engraving.
-
-[Illustration: PLATE VI.--LE VOEU A L'AMOUR
-
-(In the Louvre)
-
-This is an example of Fragonard in his grand-manner mood--a picture of
-the large decorative years that produced such masterpieces as the
-"Serment d'Amour," in which we see him ever interested above all
-things in the painting of bosky leafage and the dignity of great trees
-for background.]
-
-Fragonard's marriage at once affected his habits and his art. The wild
-oats of his artistic career were near sown. The naughtinesses of
-girls of pleasure gave place to the grace and tenderness of the
-home-life--the cradle took the place of the bed of light adventures;
-and children blossomed on to his canvases. He set aside the
-make-believe shepherds and shepherdesses of the vogue; and henceforth
-painted the "real thing" in rural surroundings.
-
-He brought to his homeliest pictures a beauty of arrangement, a sense
-of style, and a dignity worthy of the most majestic subjects. He came
-at this time under the influence of the Dutch landscapists, and stole
-from them the solidity of their massing in foliage, the truth of their
-character-drawing, the close observation of their cattle and
-animal-life, their cloudy skies, and the finish and force of their
-craftsmanship. Whether he went into Holland is disputed. He was too
-keen an artist, his was too original a genius, to imitate their style
-or take on their Dutch accent. He simply took from them such part of
-their craftsmanship as could enter into the facile gracious genius of
-France without clogging its grace. He is now content with his house
-and garden for scenery, with his family for models. He realises that
-an artist has no need to go abroad to find "paintable things."
-
-The "Heureuse Fecondite," the "Visit to the Nurse" (the second one),
-the "Schoolmistress," the "Good Mother," the "Retour au logis," the
-"L'Education fait tout," the "Dites donc, si'l vous plait," are of
-this period.
-
-In all he did he proves himself an artist, incapable of mediocrity,
-bringing distinction and style to all that he touches.
-
-Fragonard also excelled in the painting of miniatures. And there are
-small portraits under fancy names to be seen at the Louvre, painted
-with a breadth and force that prove him to have known the work of
-Franz Hals. The figure of a man, known as "Figure de Fantaisie" or
-"Inspiration," is stated with a directness and vividness worthy of the
-great Dutch master. Indeed, there is much in the direct handling of
-the paint and the life of the thing that recalls Franz Hals--the very
-arrangement of the dress and the treatment of the hand being a
-careless attempt to recall the habits and fashions of the Dutchman.
-"La Musique" repeats the impression. And even the more pronouncedly
-French style of the pretty woman in "La Chanteuse" does not disguise
-the inspiration of Franz Hals in the painting of the bodice, the
-cuffs, and the details--the high ruffle is "dragged in" from Hals's
-day. The "Music Lesson" at the Louvre was painted about the same time.
-
-Fragonard's old master, Boucher, for some time had been "going about
-like a shadow of himself." The year after Fragonard's marriage the old
-painter was found dead, sitting at his easel before an unfinished
-picture of Venus, the brush fallen out of his fingers--the light of
-the "Glory of Paris" gone out.
-
-Boucher died a few months before that Christmas Eve of 1770 that saw
-Choiseul driven from power by the trio of knaves who used the vulgar
-but kindly woman Du Barry as their tool--indeed she refused to pull
-the great minister down until she had made handsome terms on his
-behalf; Choiseul was too astute a man not to recognise what lay beyond
-the shadow of her pretty skirts--nay, does he not turn in the
-courtyard as he leaves the palace to go into banishment, his _lettre
-de cachet_ in his pocket, and, seeing a woman looking out from a
-window at the end of an alley, bow and kiss his hand to the window
-where gazes out of tear-filled eyes this strange doomed beauty who has
-won to the sceptre of France? 'Twas four years before the small-pox
-took the king--four years during which this same Du Barry, with her
-precious trio, d'Aiguillon, Maupeou, and Terray, sent the members of
-Parliament into banishment--years that launched royal France on its
-downward rushing, with laughter and riot, to its doom, whilst the
-apathetic Louis shrugged his now gross royal shoulders at all warnings
-of catastrophe, which to give him due credit, he was scarce witless
-enough or blind enough not to foresee. Nay, did he not even admit it
-in his constantly affirmed, if cynical, creed that "things, as they
-were, would last as long as he; and he that came after him must shift
-for himself"? Ay; he came even nearer to the kernel of the
-significance of things, when, shrugging his no longer well-beloved
-shoulders, as the Pompadour had done, he repeated her cynical saying
-of "_Apres nous le deluge_." It was to be a deluge indeed--scarlet
-red.
-
-Wit and ruthless fatuity were the order of the day; these folk were
-wondrous full of the neatly turned phrase and the polished epigram.
-Most fatuous of them all, and as ruthless as any, was Terray--he who
-tinkered with finance, with crown to his many infamies the scandalous
-_Pacte de Famille_, that mercantile company that was to produce an
-artificial rise in the price of corn by buying up the grain of France,
-exporting it, and bringing it back for sale at vast profit--with
-Louis of France as considerable shareholder. Had not the owners of the
-land the right to do what they would with their own? 'Twas small
-wonder that the well-beloved became the highly-detested of the
-groaning people--he and his precious privileged class.
-
-Yet Louis of France spake prophecy--if unwitting of it. The guillotine
-was not to have him. In 1774 he was stricken down with the small-pox,
-and the sick-room in the palace saw the Du Barry and her party fight a
-duel with Choiseul's party for his possession--never, surely, was a
-more grim, more fantastic warfare than that bitter intrigue to get the
-confessor to the king's bedside, that meant the dismissal of the
-favourite before he should be allowed to receive the Absolution--in
-which the strange blasphemy was enacted of the Eucharist being
-hustled about the passages, whilst the bigots strove against its
-administration, and the freethinkers demanded the last consolation of
-the Church. On the 10th of May the small-pox took his distempered
-body, "already a mass of corruption," that was hastily flung into a
-coffin and hurried without pomp, or circumstance, or pretence of
-honours to St. Denis--being rattled thereto at the trot, the crowd
-that lined the way showering epigrams not wholly friendly upon its
-passing; and was buried amongst the bones of the ancient kings of his
-race, unattended by the Court, and amidst the contempt and loud curses
-of his people.
-
-Even the poor weeping Du Barry was gone, hustled from the palace at
-the wandering orders of the dying delirious king. D'Aiguillon also,
-and Maupeou and Terray were gone. And the Court was hailing the new
-king and his queen--ill-fated Louis the Sixteenth and tactless Marie
-Antoinette.
-
-The scandalous levity of the privileged class of the day, and its
-ruthless vindictiveness when thwarted, had near done their work. A
-proud and gallant people touched bottom in humiliation. The pens of
-the wits and thinkers sent the new opinion broadcast amongst a people
-wholly scandalised and punished by the corruption of their governors.
-These writings made astounding and alarming way. The "intellectuals"
-were all on the side of the people--Montesquieu, Voltaire, Diderot,
-Rousseau, d'Alembert, Helvetius, Condillac, the Abbe Raynal. With wit
-and sarcasm and invective and argument, they stirred passions,
-appealing to self-respect and dignity and honour and the innate love
-of freedom in the strong; they appealed to common-sense, to the
-craving for liberty in man's being, to the rights of the individual;
-and the printing-press scattered their wit and wisdom throughout the
-land to the uttermost corners of France. They sneered away false
-aristocracy, false religion. They wrought to overthrow the old order,
-and brought it into contempt. And they needed to manufacture no
-evidence. France had lain supine, a mighty people as they proved
-themselves when their right arms were freed--lain in chains under the
-heel of a king who had been capable of setting their necks under the
-feet of a trivial and foolish woman, whose nursery had been the
-gutter.
-
-Yet Du Barry, when all her faults are set against her, suffered undue
-execration. She had no grain of ill-will in her nature. During her
-reign the Bastille received no prisoner at her ordering--vengeance was
-not in her. She was the tool of unscrupulous men; but she came between
-them and their base vengeances, and kept the Court free from the
-brutalities that the Pompadour meted out to her enemies without a pang
-of remorse. During the whole of her reign, she visited her old mother
-every fortnight, and lavished benefits on her kin--whom most women,
-thus suddenly raised to the noblesse, would have avoided like a
-plague. The scoundrels who made her their toy were responsible for
-every evil deed that she was accused of committing. And even the new
-king, whose sharp _lettre de cachet_, written two days after he came
-to the throne, banished her to a convent, soon relented, and allowed
-her to go back to her home at Luciennes. The Du Barry had striven to
-abolish the _lettre de cachet_; the new king brought it back,
-inaugurating his reign by having one sent to the woman whose
-gentleness and kindliness had shrunk from the accursed thing. It was a
-fit omen of the well-meaning but incompetent king's tragic reign which
-was about to begin.
-
-To Fragonard these things were but tattle; yet the doing of them was
-to reach to his hearth; the consequences of them were to strip him
-bare and wreck him--he was to see his wife and womenkind dragging
-through the streets of Paris to beg bread and meat at the gates of the
-city. But the future was mercifully hidden from him. He was now at the
-height of his career; and was to taste wider success.
-
-[Illustration: PLATE VII.--THE FAIR-HAIRED BOY
-
-(In the Wallace Collection)
-
-To the visitor to the Wallace collection the picture by Fragonard next
-best known after the "Chiffre d'Amour" and the "Swing," is this
-exquisite study of a fair-haired boy--the child is painted with a
-subtle grace and consummate delicacy rarely combined with the
-directness and impressionism here displayed by Fragonard.]
-
-Fragonard's name will always be linked with that of his friend and
-patron, a wealthy man, the farmer-general Bergeret de Grandcour.
-His family visited at the rich man's houses in town and country.
-
-Now the career of a rich man was incomplete without the making of the
-Grand Tour. At the least the gentleman of means must have roamed
-through Italy. And it was thus that, with Bergeret de Grandcour,
-Fragonard now made his second journey into Italy in his forty-second
-year.
-
-Fragonard was delighted at the prospect of seeing his loved Italy
-again after twelve years. It was a family party--Fragonard and his
-wife, with Bergeret de Grandcour and his son, to say nothing of
-Bergeret's servants and cook and following. It was a happy, merry
-journeying in extravagant luxury.
-
-Fragonard had aforetime gone into Italy as a penniless student and an
-unknown man; he now travelled in the grand style as the guest of a man
-of affairs, visiting palaces and churches, received in state by the
-highest in the land, dining with the Ambassador of France, having
-audience of the Pope, advising Bergeret de Grandcour in the buying of
-art-treasures. He tasted all the delights of great wealth. He went to
-a concert "chez le lord Hamilton," seeing and speaking with _la belle
-Emma_--Nelson's Emma. He stood in Naples; he tramped up Vesuvius. It
-was at Naples the news came that Louis the Fifteenth lay dying of the
-small-pox--a few days later the old king died.
-
-The party at once turned their faces homewards, returning to Paris in
-leisurely fashion by way of Venice, Vienna, and Germany, only to know,
-at the journey's ending, one of those miserable and sordid quarrels
-that seem to dog the friendships of men of genius. Going to Bergeret
-de Grandcour's house in Paris to get his portfolios of sketches, made
-throughout the journey, Fragonard found to his amazement and
-consternation that Bergeret de Grandcour angrily refused to give them
-up, claiming them as payment for his outlay upon him during the
-Italian journey. The sorry business ended in the law-courts, and in
-the loss of the lawsuit by Bergeret de Grandcour, who was condemned to
-give up the drawings or to pay a 30,000 livres fine (L6000). The ugly
-breach that threatened to open between them, however, was soon healed
-by reconciliation; and Bergeret de Grandcour's son became one of
-Fragonard's closest and most intimate friends.
-
-
-
-
-V
-
-THE TERROR
-
-
-Louis the Sixteenth, third son of the Dauphin who had been Louis the
-Fifteenth's only lawful son, ascended the throne in his twentieth
-year, a pure-minded young fellow, full of good intentions, sincerely
-anxious for the well-being of his people; but of a diffident and timid
-character, and under the influence of a young consort, the beautiful
-Queen Marie Antoinette, of imperious temper and of light and frivolous
-manners, who brought to her counsels a deplorable lack of judgment.
-
-The Du Barry sent a-packing, and d'Aiguillon and the rest of their
-crew, the young king recalled the crafty old Maurepas who had been
-banished by the Pompadour, an ill move--though the setting of Turgot
-over the finances augured well. And when the great minister Turgot
-fell, he gave way to as good a man, the worthy honest banker, Neckar.
-
-In a happy hour Fragonard was granted by the king the eagerly sought
-haven of the artists of his time--a studio and apartments at the old
-palace of the Louvre, as his master Boucher had been granted them
-before him.
-
-Settling in with his wife, his girl Rosalie, his son Alexandre
-Evariste, and his talented sister-in-law Marguerite Gerard, he lived
-thereat a life almost opulent, making large sums of money, some eight
-thousand pounds a year, at this time. He joyed in decorating his
-rooms. He was the life and soul of a group of brilliant men who
-gathered about him, having the deepest affection for him.
-
-His sister-in-law, Marguerite Gerard, was as gay and distinguished in
-manners, and as beautiful, as his jovial wife was dull and vulgar and
-coarse--the vile accent of Grasse, that made his wife's speech
-horrible to the ear, becoming slurred into a shadow of itself on
-Marguerite's tongue, and turned by the enchanting accents of the
-younger sister's lips into seduction. This girl's friendship and
-companionship became an ever-increasing delight to the aging painter.
-Their correspondence, when apart, was passionately affectionate. Ugly
-scandals got abroad--scandals difficult to prove or disprove. The man
-and woman were of like tastes, of like temperaments; it was, likely
-enough, little more than that. The girl was of a somewhat cold nature;
-and we must read her last letters as censoriously as her first--when,
-in reply to Fragonard, evil days having fallen upon him, and being
-old and next to ruined, on his asking her for money to help him, she,
-who owed everything to him, refused him with the trite sermon: "to
-practise economy, to be reasonable, and to remember that in brooding
-over fancies one only increases them without being any the happier."
-But this was not as yet.
-
-Fragonard, happy in his home at the Louvre, free from cares, content
-amongst devoted friends, reached his fifty-fifth year when he had
-suddenly to gaze horrified at the first ugly hint that, in the years
-to come, he must expect to hear the scythe of the Great Reaper--know
-the passing of friends and loved ones. He was to reel under the first
-serious blow of his life. His bright, witty, winsome girl Rosalie died
-in her eighteenth year. It nearly killed him.
-
-But there was a blacker, a vaster shadow came looming over the land--a
-threat that boded ill for such as took life too airily.
-
-In an unfortunate moment for the royal house, and against the will of
-the king and of Neckar, the nation went mad with enthusiasm over
-England's revolted American colonies; and the alliance was formed that
-France swore not to sever until America was declared independent. It
-started the war with England. The successes of the revolted colonies
-made the coming of the Revolution in France a certainty. The fall of
-Neckar and the rise of the new minister, Calonne, sent France rushing
-to the brink. The distress of the people became unbearable. The royal
-family and the Court sank in the people's respect, and the people were
-no longer the people of the decade before--they had watched the
-Revolution in America, and they had seen the Revolution victorious.
-The fall of Calonne only led to the rise of the turbulent and stupid
-Cardinal de Brienne; and the Court was completely foul of the people
-when De Brienne threw up office in a panic and fled across the
-frontier, leaving the Government in utter confusion.
-
-The king recalled Neckar. The calling of the States-General now became
-assured. Paris rang with the exultation of the Third Estate.
-
-The States-General met at Versailles on the 5th of May 1789. The
-monarchy was at an end. In little over a month the States-General
-created itself the National Assembly. The Revolution was begun. The
-14th of July saw the fall of the Bastille. On the 22nd the people
-hanged Foulon to the street-lamp at the corner of the Place de
-Greve--and _a la lanterne!_ became the cry of fashion.
-
-Fragonard was in his fifty-seventh year when he heard in his lodging
-at the Louvre the thunderclap of this 14th of July 1789--saw the dawn
-of the Revolution.
-
-The rose of the dawn was soon to turn to blood-red crimson. The storm
-had been muttering and growling its curses for years before the death
-of Louis the Fifteenth. It came up in threatening blackness darkly
-behind the dawn, and was soon to break with a roar upon reckless
-Paris. It came responsive to the rattle of musketry in the far West,
-hard by Boston harbour.
-
-Fragonard and his friends were of the independents--they were liberals
-whom love of elegance had not prevented from sympathising with the
-sufferings of the people, and who had thrilled with the new thought.
-Fragonard's intelligence drew him naturally towards the new ideas;
-indeed he owed little to the Court; and when France was threatened by
-the coalition of Europe against her, he, with Gerard, David, and
-others, went on the 7th of September with the artist's womenfolk to
-give up their jewelry to the National Assembly.
-
-But the storm burst, and soon affairs became tragic red.
-
-There came, for the ruin of the cause of a constitutional monarchy and
-to end the last hope of the Court party, the unfortunate death of
-Mirabeau--the hesitations of the king--his foolish flight to
-Varennes--his arrest.
-
-The constitutional party in the Legislative Assembly, at first
-dominant, became subordinate to the more violent but more able
-_Girondists_, with their extreme wing of _Jacobins_ under Robespierre,
-and _Cordeliers_ under Danton, Marat, Camille Desmoulins, and Fabre
-d'Eglantine. The proscription of all emigrants quickly followed. It
-was as unsafe to leave as to stay in Paris. The queen's insane enmity
-towards Lafayette finished the king's business. On the night of the
-9th of August the dread tocsin sounded the note of doom to the royal
-cause--herald to the bloodshed of the morrow. Three days afterwards,
-the king and the royal family were prisoners in the Temple.
-
-The National Convention met for the first time on the 21st of
-September 1792; decreed the First Year of the Republic, abolished
-Royalty and the titles of courtesy, decreed in their place _citoyen_
-and _citoyenne_, and the use of _tu_ and _toi_ for _vous_.
-
-[Illustration: PLATE VIII.--LE BILLET DOUX
-
-(In the Collection of M. Wildenstein, Paris)
-
-Here we see Fragonard in his phase of sentimental recorder of
-love-scenes so typical of the art of Louis the Fifteenth's day.]
-
-The National Convention also displayed the antagonism of the two wings
-of the now all-powerful Girondist party--the Girondists and the
-Jacobins or Montagnards. The conflict began with the quarrel as to
-whether the king could be tried. The 10th of January 1793 saw the
-king's head fall to the guillotine--the Jacobins had triumphed. War
-with Europe followed, and the deadly struggle between the Girondists
-and Jacobins for supreme power. The 27th of May 1793 witnessed the
-appointment of the terrible and secret Committee of Public Safety. By
-June the Girondists had wholly fallen. Charlotte Corday's stabbing of
-Marat in his bath left the way clear for Robespierre's ambition. The
-Jacobins in power, the year of the Reign of Terror began--July 1793 to
-July 1794--with Robespierre as the lord of the hellish business. The
-scaffolds reeked with blood--from that of Marie Antoinette and Egalite
-Orleans to that of the Girondist deputies and Madame Roland, and the
-most insignificant beggar suspected of the vague charge of "hostility
-to the Republic." In a mad moment the Du Barry, who had shown the
-noblest side of her character in befriending the old allies of her
-bygone days of greatness, published a notice of a theft from her
-house. It drew all eyes to her wealth. And she went to the guillotine
-shrieking with terror and betraying all who had protected her. Then
-came strife amongst the Jacobins. Robespierre and Danton fought the
-scoundrel Hebert for life, and overthrew him. The Hebertists went to
-the guillotine, dying in abject terror. Danton, with his appeals for
-cessation of the bloodshed of the Terror, alone stood between
-Robespierre and supreme power. Danton, Camille Desmoulins, Eglantine
-and their humane fellows, were sent to the guillotine. Between the
-10th of June and the 27th of July, in 1794, fourteen hundred people in
-Paris alone died on the scaffold.
-
-Fragonard dreaded to fly from the tempest. It was as safe to remain in
-Paris as to leave the city. Any day he might be taken. Sadness fell
-upon him and ate into his heart. The old artist could not look without
-uneasiness upon the ruin of the aristocracy, of the farmers-general,
-and of the gentle class, now in exile or prison or under trial--his
-means of livelihood utterly gone. Without hate for Royalty or for the
-Republic, the artists, by birth plebeian and in manners bourgeois,
-many of them old men, could but blink with fearful eyes at the vast
-upheaval. Their art was completely put out of fashion--a new art,
-solemn and severe, classical and heroic, was born. For half a century
-the charming art of France of the eighteenth century lay wholly
-buried--a thing of contempt wherever it showed above the ashes.
-
-Fragonard's powerful young friend David, the painter, now stood
-sternly watchful over the old man's welfare; and David was at the
-height of his popularity--he was a member of the Convention. He took
-every opportunity to show his friendship publicly, visited Fragonard
-regularly, secured him his lodgings at the Louvre, brought about his
-election to the jury of the Arts created by the Convention to take the
-place of the Royal Academy.
-
-But the old artist was bewildered.
-
-The national enthusiasm was not in him. The artists were ruined by the
-destruction of their pensions. The buyers of Fragonard's pictures were
-dispersed, their power and their money gone, their favour dissipated.
-Fragonard worked on without conviction or truth. The new school
-uprooted all his settled ideals. He struggled hard to catch the new
-ideas, and failed. He helped to plant a tree of liberty in the court
-of the Louvre, meditating the while how he could be gone from
-Paris--it was a tragic farce, played with his soul. The glories of the
-Revolution alarmed the old man. He saw the kinsfolk of his friends
-dragged off to the guillotine. He had guarded against suspicion and
-arrest by giving a certificate early in 1794, the year of the Terror,
-stating that he had no intention of emigrating, adding a statement of
-residence, and avowing his citizenship. He felt that even these acts
-were not enough protection in these terrible years. No man knew when
-or where the blow might fall--at what place or moment he might be
-seized, or on what charge, and sent to the guillotine. Friends were
-taken in the night. Hubert Robert was seized and flung into Saint
-Lazare, escaping death but by an accident. The state of misery and
-want amongst the artists and their wives and families at this time was
-pitiable.
-
-Fragonard gladly snatched at the invitation of an old friend of his
-family, Monsieur Maubert, to go to him at Grasse during these anxious
-times of the travail that had come upon France.
-
-Shortly after that Sunday in December when the Du Barry went shrieking
-to her hideous death at the guillotine, Fragonard, turning his face to
-the South of his birth, was rolling up amongst his baggage the four
-finished canvases of "The Romance of Love and Youth," and the
-unfinished fifth canvas, "Deserted," ordered and repudiated by the Du
-Barry. He bundled his family into a chaise, and lumbered out of
-Paris, rumbling on clattering wheels through the guards at the gates,
-and making southwards towards Provence for his friend's house at
-Grasse. Here, far away from the din and strife, Fragonard set up his
-world-famous decorative panels in the salon of his host, which they
-admirably fitted, painting for the overdoors, "Love the Conqueror,"
-"Love-folly," "Love pursuing a Dove," "Love embracing the Universe,"
-and a panel over the fireplace, "Triumph of Love." He also painted
-during his stay the portraits of the brothers Maubert; and, to keep
-his host safe from ugly rumours and unfriendly eyes, he decorated the
-vestibule with revolutionary emblems, phrygian bonnet, axes and
-faggots, and the masks of Robespierre and the Abbe Gregoire, and the
-like trickings of red republicanism.... His host was the maternal
-grandfather of the Malvilan, at whose death in 1903, the room and its
-decorations were sold to an American collector for a huge sum of
-money.
-
-Meanwhile, able and resolute men had determined that Robespierre and
-the Terror must end. Robespierre went to the guillotine. The
-Revolution of the Ninth Thermidor put an end to the Terror in July
-1794.
-
-All this time the armies of France were winning the respect of the
-world by their gallantry and skill. The 23rd of September 1795, saw
-France establish the Directory--the 5th of October, the Day of the
-Sections, saw the stiff fight about the Church of St. Roch, and
-Napoleon Bonaparte appointed second-in-command of the army. The young
-general was soon Commander-in-Chief. And France thenceforth advanced,
-spite of the many blunders of the Directory, with all the genius of
-her race, to the splendid recovery of her fortunes, and to a greatness
-which was to be the wonder and admiration and dread of the world.
-
-The Revolution of the 18th and 19th of Brumaire (9th and 10th of
-November 1799) destroyed the Directory and set the people's idol,
-Napoleon Bonaparte, at the helm of her mighty state.
-
-
-
-
-VI
-
-THE END
-
-
-To Paris Fragonard crept back, he and his family, to his old quarters
-at the Louvre, when Napoleon was come to power, and the guillotine was
-slaked with blood. He returned to Paris a poor old man.
-
-The enthusiasm was gone out of his invention, the volition out of his
-hand's cunning, the breath out of his career. He was out of the
-fashion; a man risen from the dead. His efforts to catch the spirit of
-the time were pathetic. He painted rarely now. He won a passing
-success with an historic canvas or so, done in the new manner. But
-what did Fragonard know of political allegories? what enthusiasm had
-he for the famous days of the Revolution? what were caricature or
-satire to him, any more than the heroic splendour of Greece and Rome?
-The gods of elegance were dead; a severe and frigid morality stood
-upon their altars.
-
-We have a pen-picture of the old painter at this time--short, big of
-head, stout, full-bodied, brisk, alert, ever gay; he has red cheeks,
-sparkling eyes, grey hair very much frizzed out; he is to be seen
-wandering about the Louvre dressed in a cloak or overcoat of a mixed
-grey cloth, without hooks or eyes or buttons--a cloak which the old
-man, when he is at work, ties at the waist with it does not matter
-what--a piece of string, a crumpled chiffon. Every one loves "little
-father Fragonard." Through every shock of good and evil fortune he
-remains alert and cheerful. The old face smiles even through tears.
-
-Thus, walking with aging step towards the end, he saw Napoleon created
-Emperor of the French, his triumphant career marred only at rare
-intervals by such disasters as Trafalgar--heard perhaps of the suicide
-of the unfortunate but gallant Villeneuve at the disgrace of trial by
-court-martial for this very loss of Trafalgar.
-
-In the year of 1806, on the New Year's Day of which were abolished the
-Republican reckonings of the years as established at the Revolution,
-suddenly came the suppression of the artists' lodging at the Louvre by
-decree of the Emperor. The Fragonards went to live hard by in the
-house of the restaurant-keeper Very, in the Rue Grenelle Saint-Honore.
-The move was for Fragonard but the prelude to a longer journey.
-
-The old artist walks now more sluggishly than of old, his
-four-and-seventy years have taken the briskness out of his step.
-Returning from the Champ de Mars on a sultry day in August he becomes
-heated--enters a cafe to eat an ice; congestion of the brain sets in.
-At five of the clock in the morning of the 22nd day of August 1806,
-Fragonard enters into the eternal sleep--at the hour that his master
-Boucher had gone to sleep.
-
-Thus passed away the last of the great painters of France's gaiety
-and lightness of heart.
-
-Madame Fragonard lived to be seventy-seven, dying in 1824. Marguerite
-Gerard had a happy career as an artist under the Empire and the
-Restoration, but never married--dying at seventy-six, loaded with
-honours and in comfortable circumstances in the year that Queen
-Victoria came to the throne of England. Thus peacefully ended the days
-of Fragonard and his immediate kin after the turmoil and fierce tragic
-years of the Terror.
-
-Painting with prodigal hand a series of elegant masterpieces in a
-century that made elegance its god, Fragonard disappeared, neglected
-and well-nigh discredited for years, with Watteau and Boucher and
-Greuze for goodly company; but with them, he is come into his own
-again, lord of a very realm of beauty.
-
-To understand the atmosphere of the France of the seventeen-hundreds
-before the Revolution it is necessary to understand the art of
-Watteau, of Boucher, of Fragonard, and of Chardin. Of its pictured
-romance, Watteau and Boucher and Fragonard hold the keys. To shut the
-book of these is to be blind to the revelation of the greater part of
-that romance. Watteau states the new France of light airs and gaiety
-and pleasant prospects, tinged with sweet melancholy, that became the
-dream of a France rid of the pomposity and mock-heroics of the Grand
-Monarque; Boucher fulfils the century; Fragonard utters its swan's
-note. The art of Fragonard embodies astoundingly the pulsing evening
-of a century of the life of France, uttering its gay blithe note,
-skimming over the dangerous deeps of its mighty significance, yet not
-wholly disregarding the deeps as did the art of his two great
-forerunners. His is the last word of that mock-heroic France that
-Louis the Fourteenth built on stately and pompous pretence; that Louis
-the Fifteenth still further corrupted by the worship of mere elegance;
-that Louis the Sixteenth sent to its grave--a suffering people out of
-which a real France arose, from mighty and awful travail, like a
-giant, and stood bestriding the world, a superb reality.
-
-
-The plates are printed by BEMROSE & SONS, LTD., Derby and London
-
-The text at the BALLANTYNE PRESS, Edinburgh
-
-
-
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