CHAPTER XVIII
FROM NICOLAS POUSSIN TO COROT
French seventeenth-century Art does not offer any such difficult problems as those presented to us by the portrait-painters who lived and laboured during the period of the Clouets, for the artists of this latter period in most cases were accustomed to sign their names to at least a certain number of their works, whereby they can be easily identified.
On the very threshold of this new Art-development we find the Brothers le Nain, who, choosing a totally different type of work, kept aloof from kings, princes and courtiers and devoted their attention chiefly to scenes of peasant life. _Le Repos des Paysans_ at the Louvre is one of their best and most characteristic works. So also are _La Forge_ and a portrait of _Henry II de Montmorency_, the last of his race, which ought to be at Chantilly. There is in the Cabinet Clouet at the Musée Condé a powerful portrait of _Dr. Fagon_, physician to Louis XIV, by Mathias le Nain. Chardin, who continued in their tradition a century later, is unfortunately not represented in the Musée Condé.
Nicolas Poussin also adopted a style of his own, although it was of a different kind. He was greatly attracted by the antique and his heart was set on visiting Rome, whither, after long struggles in Paris, he at length found his way. There he received from the painter Domenichino the necessary training for the work which he desired to take up. The French sculptor Quesnoy befriended him, and the poet Marino introduced him to Cardinal Barberini, who commissioned from him two pictures: _The Death of Germanicus_ and _The Capture of Jerusalem_. When fame came to him France reclaimed him. He was greatly favoured by Richelieu and entrusted with the decoration of the Louvre. He found, however, a rival in this enterprise in the person of Simon Vouet; and difficulties arose, because Poussin claimed his right to carry out the whole work independently and on his own responsibility. Finding that he could not attain this object, he returned to Rome under the pretext of fetching his wife and never returned. He lived thenceforth in Italy; for, like the Brothers le Nain, he had no desire to become a Court Painter. His pictures were, nevertheless, greatly admired in France during his lifetime; and there are no less than nine large canvases by him in the Galerie des Peintures at the Musée Condé, besides numerous drawings. Amongst these may be noted: _The Infancy of Bacchus_; _Theseus finding his Father's Sword_ (with a striking architectural background); and _Numa Pompilius and the Nymph Egeria_, a composition wherein the artist displays to the full his skill in dealing with romantic landscape. A drawing of _Daphne[131] flying to her father's protection_ who transforms her into a laurel-bush, has special charm and shows those characteristics which he handed on to his brother-in-law and pupil Dughet, called after him "Gaspar Poussin." There are two landscapes by the latter at Chantilly (Galerie des Peintures): _An Alley in a Wood_, and _A View of the Roman Campagna_, a subject of which he never tired. His sunsets foreshadow those of Claude Lorraine, who in his power of rendering atmospheric effect and the rays of the sun was only equalled by Turner some centuries later. The National Gallery and the Louvre possess some of Claude's finest landscapes, while Chantilly has chiefly drawings, amongst which the most noteworthy are the _Castello di S. Angelo_ and the _Aqueducts of the Roman Campagna_.[132]
Philippe de Champaigne, who came in his youth to France from Brussels, was a college friend of Poussin at Laon in 1623; and shares with him that same sense of freedom in his work. Poussin reached his goal in Rome through classical work, whilst Philippe de Champaigne devoted himself to portraiture, in which class of work he was most assiduous. His portraits of _Cardinals Richelieu_ and _Mazarin_ in the Musée Condé came from the Gallery in the Palais-Royal and are magnificent examples of his methods.
Another portrait-painter who deserves mention here is Jacques Stella, who painted the _Grand Condé_ as the Hero of Rocroy, at the age of twenty-two--a portrait which is singularly attractive and has a special historical interest. This painting, which was always highly prized by the Bourbon-Condé family, now hangs in the Galerie des Batailles.
Another portrait of the same personage, painted after he had reaped further laurels at Fribourg and at Nördlingen, is by Beaubrun, the same artist who painted his only sister _Geneviève de Bourbon_. Both these pictures are in the Cabinet Clouet.
A figure which stands out with some insistence amongst French artists of the seventeenth century is Charles Le Brun. He was first of all a pupil of Simon Vouet, but becoming acquainted with Nicolas Poussin and urged on by enthusiasm for his work, followed this master to Rome. Returning to Paris with an established reputation, he fell in with Colbert, who perceived in him the very person needed for the Gobelins Factory. Le Brun fully realised these expectations since he not only organised this great concern but subsequently, with the assistance of Van Meulen, furnished designs for a _History of the Kings of France_, which was presently reproduced in tapestry in those celebrated workshops. He was also the founder of the French Academy in Rome; and Louis XIV, who conferred on him the office of Court Painter, took him to Flanders during the campaign of 1676. The portrait at Chantilly of _Pomponne de Bellièvre_, first President of the Parlement of Paris (engraved by Van Schuppen), represents his skill as a painter of portraits. His work can, however, be more profitably studied in the Galerie d'Apollon at the Louvre.
Eustache Le Sueur, another pupil of Simon Vouet, earned fame by his decorative work in the Hotel Lambert at Paris and by his _Scenes from the Life of St. Bruno_, now in the Louvre. He is represented at the Musée Condé by some fine drawings.
When Colbert was supplanted by Louvois another painter came to the front in the person of Mignard, also a pupil of Vouet. He studied in Rome, where he copied a number of paintings in the Farnese Gallery for the Cardinal of Lyons, Richelieu's brother. He married the beautiful Anna Avolara, daughter of a Roman architect and model for his _Madonnas_, for which there was a great demand. No sooner had he acquired a certain amount of fame than the King of France commanded him to return home. On the way, however, he fell ill, and had to stop at Avignon. Here he first became acquainted with Molière; and the portrait which he painted of this great poet is beyond doubt his _chef d'oeuvre_.[133] It occupies a prominent position in the Tribune at Chantilly, where it commands much attention and admiration. The great esteem in which the author of _Tartuffe_ was held by the Grand Condé is well known and it is by a singular piece of good fortune that the best of all the existing portraits of Molière should have found its way into the Musée Condé. If Mignard--and not without reason--is sometimes accused of superficiality, this complaint must surely be modified by the evidence of this portrait, which displays an artist of very considerable power.
There is at Chantilly another portrait by Mignard of special interest. It is that of _Madame Henriette d'Angleterre_, the beautiful and ill-fated daughter of Charles I, first wife of Philippe, Duc d'Orléans, the King's brother. He also repeatedly painted likenesses of the young King himself, including one sent to Spain to be shown to his intended bride the Infanta Marie Thérèse.
At a maturer age Louis XIV was painted by Rigaud, a pupil of Le Brun. The portrait of him at Chantilly (Cabinet Clouet) is a smaller replica, signed by the painter himself, of the larger work executed in 1701 for his son, Philip V of Spain--a painting which was, however, kept back at Versailles and is now in the Louvre.
Hyacinthe Rigaud was considered a great portrait-painter and many personages of note gave him commissions. There is also a fine portrait at Chantilly by his younger contemporary and follower, Largillière, of _Mademoiselle Duclos_, a celebrated _tragédienne_ who made her _début_ at the Comédie Française in 1683. She is here portrayed in the rôle of _Ariane_ (Salle Caroline), and her sumptuous robes are painted with all the care and minuteness so characteristic of this artist. These qualities are again displayed in a portrait of the _Princess Palatine, Charlotte Elizabeth_, second wife of Philippe d'Orléans and mother of the Regent. In this portrait Largillière shows his highest talents, and had it not been for the fact that "Liselotte" (although already middle-aged) followed the taste of her time by permitting herself to be painted as a Naiad this would perhaps have been one of the most faithful likenesses of this interesting princess.
Largillière resided for many years in England and studied for some time under Sir Peter Lely. On his return to Paris he was taken up by Charles Le Brun. His style belongs as much to the seventeenth as to the eighteenth century. Elegance and luxury, and a touch of serenity prevail in all his portraits. Mariette was greatly struck by his personal vigour and tells us that he went on working even up to his eighty-sixth year. Although too often over-exuberant he generally succeeded in imparting to his patrons great liveliness of aspect, and they _live_ still, clad in their most sumptuous apparel. Such is the portrait of the elegant "_Unknown_"[134] at Chantilly, once in the Collection at the Palais Bourbon; from which circumstance we may suppose that the sitter was some intimate friend of the Condé family.
By Jean Marc Nattier there is at Chantilly a life-size portrait of _Mademoiselle Nantes_, daughter of Louis XIV by Madame de Montespan, and wife of the Duc de Bourbon, grandson of the Grand Condé. Her daughter Louise Henriette, who married the Prince de Bourbon Conti, was also painted by Nattier[135]; and by the same artist--one of his best works--is the above-mentioned portrait of _Charlotte Elizabeth Soubise_,[136] the young wife of Louis Joseph, Prince de Condé, represented plucking carnations in the gardens at Chantilly.
Nattier's portraits of the Royal Family of Bourbon, both in the Louvre and at Versailles, are very numerous. He painted every one of Louis XV's daughters[137] and many other fair women, who, however, bear a strong general resemblance to one another, whereby his portraits are often rendered conventional and monotonous.
It is therefore rather refreshing to turn from Jean Nattier to Desportes and Oudry, who both stand on the threshold of the eighteenth century and who revived realistic landscape painting--an art which had practically lain dormant since the days of Pol de Limbourg; for Claude Lorraine and the Poussins had directed it into wholly diverse channels. _Briados_ and _Balthazar_, two Spanish hounds formerly belonging to the House of Condé, are exquisitely painted by Desportes, who was highly thought of by all lovers of the chase and was a constant guest at the hunting-parties held in the various French châteaux. A painting by him in the Louvre representing a _Huntsman with his dog and bag of game_ standing in a fine landscape shows his skill at its very best.
Oudry's compositions come very near those of Desportes: for example, his _Chasse du Loup_ and _Chasse du Renard_ at Chantilly, both of which are noted in the _Inventory_ of the Palais Bourbon. Oudry was encouraged by Largillière to take up decoration also, which he did with conspicuous success. He was admitted into the Academy in 1699, and being appointed to the Directorship of the Tapestry Factory at Beauvais instilled new life into that interesting branch of art, which had sadly decayed under the direction of Charles Le Brun's imitators. His graceful talent shows itself in certain exquisite designs from La Fontaine's _Fables_ executed in tapestry at this factory. His favourite abode was the forest around Chantilly; and there he spent much time in painting animals direct from nature. By insisting that his ideas should be accurately transcribed he trained the weavers at Beauvais with much care, thus preparing the way for Boucher, the decorative genius of the next generation. A splendid Gobelins tapestry, executed after a cartoon by Boucher, adorns one side of the Grand Staircase at Chantilly. It represents a young woman seated in a garden to whom a boy and girl are offering fruit and flowers. On the opposite wall there is another tapestry from the workshop of Audran, executed after de Troy.
A copy in this collection (intended for the purposes of an engraving) by Boucher of a portrait of _Watteau_ by himself is not devoid of interest; but it is in the Louvre, at Versailles, and above all in the Wallace Collection, rather than at Chantilly, that we derive a clear idea of Boucher's light and graceful style. His _Sunrise_ and _Sunset_ on the staircase of Hertford House are considered to be among the finest of his creations. Madame de Pompadour, who was his enthusiastic patroness, frequently sat to him in a variety of attitudes; although his great talent was not portraiture, but decorative work, whereby he marks a decidedly new phase in French Art.
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After an exceptionally long reign Louis XIV had at last passed away. He had asserted himself as strongly in Art as he had done in politics and it is worthy of note that, immediately after his death, artists were once more able to take their own independent courses. At this point, therefore, in the history of French Art we come upon a somewhat sudden change, visible also in the art of the cabinet-maker and the decorator. The later Bourbon Kings and Queens left their gorgeous salons and took refuge (with evident personal relief) in smaller and homelier chambers. These less imposing apartments, however, also required suitable decoration and serviceable furnishings: and it was here that Boucher found his opportunity. The boudoir with its delicate colouring and elegant upholstery played a significant rôle under the reigns of Maria Leczinska and Marie Antoinette, and the _petits appartements_ at Versailles became examples of a new style. Paintings on a smaller scale suitable for these graceful _bonbonnières_ were soon in demand; and from these it was but a step to the taste of Watteau, who is perhaps the most typical artist of this period. _Plaisir Pastoral_, _l'Amante Inquiète_, and _l'Amour Désarmé_ at Chantilly are fine examples of this artist's work. _Le Donneur des Sérénades_ in the Musée Condé, of which there is a similar composition at Buckingham Palace belongs to his later period, that is to say, to the last five years of his life. This work is said to represent Mezetin (one of the leading actors at the Comédie Italienne established at the Hôtel du Bourgogne) seated on a bench in a classic garden tuning his guitar. The _Amante Inquiète_, which forms a pendant to this picture, is of equal merit. Everything in these small paintings is refined and elegant, even to Nature herself--a style far more typical of Watteau, than the scenes of camp-life which mark his stay at Valenciennes in 1709. A study in red chalk of a _Warrior_, preserved in the Rotunda at Chantilly, recalls this period. In his sketches, of which a great number are in the Louvre, Watteau exhibits his talent as a draughtsman of the highest order and as a worthy pupil of Claude Gillot, the earliest creator of the style for which Watteau became so famous. His relations with Crozat, the famous financier and collector, who was the first to recognise his genius, began in 1612, and it was in his palace that he had an opportunity of studying paintings by the great Venetian masters and landscapes by Rubens, both of which so decidedly influenced his subsequent style. There are exquisite pictures by him in the Louvre and in the Wallace Collection. His _Ball under the Colonnade_ at Dulwich is very famous.
Lancret was a younger contemporary of Watteau, and observing his success adopted his style; without, however, attaining to his eminence. His _Déjeuner de Jambon_ in the Galerie des Peintures at Chantilly presents a company of merry-makers on the point of becoming riotous; and opposite to it hangs a companion picture by de Troy entitled _Le Déjeuner d'Huîtres_. The host in this latter composition--a figure dressed in scarlet--is probably a Prince of the House of Orleans presiding at a feast in the Palais Royal. Many of the guests represented are said to be personages well known in their day: for King Louis Philippe was still able to distinguish them by name. They are certainly enjoying their oysters and iced champagne; and the satisfaction of the well-fed is clearly exhibited in their features and gestures.
Together with this group of artists mention must be made of Christophe Huet, designer and decorator of the _Grande Chinoiserie_ at Chantilly. These decorations in a style so much in vogue in the seventeenth and eighteenth centuries were once attributed to Watteau, Gillot, Oudry, and others until an Account, dated 1741, was found in the Archives of Chantilly disclosing the name of Christophe Huet. They cover the panels of the so-called "Salon des Singes." Scenes and episodes from the chase and the tea-party, architectural effects and other subjects, all are carried out in a pseudo-Chinese style. Apes clad in Condé uniforms and carrying flags act as outriders or grooms under the direction of grim-looking mandarins robed in gorgeous Oriental apparel. Besides the decorations here there is on the ground floor of the Château a "Petite Singerie" decorated in very much the same style: humorous scenes, wherein female monkeys are riding or occupied with their toilet. Jean Baptiste Huet, son of this Christophe, was also repeatedly commissioned by Prince Louis Joseph de Condé to paint pictures of his favourite animals.
The celebrated painter of pastels, Latour, is represented at Chantilly by a portrait of _Madame Adelaide de France_, daughter of Louis XV. His portraits, now recognised as even superior to those of Boucher and Lancret, are fine studies of character, but they are very rare. The pastel of the handsome _Marie Fel_, an opera-singer from Bordeaux by whom this artist was befriended, is very celebrated; and a group of portraits at St. Quentin place him in the foremost rank of French portrait-painters. His pre-eminent talents have been fully recognised by modern students of the French School.
His contemporary, Peronneau--till recently known chiefly as an engraver of the works of Boucher, Van Loo, and others--is now known to be the artist who painted a charming _Portrait of a Girl_ in the Louvre and other pastels. Rosalba Carriera's great success in that medium is also well known. The young King Louis XV, the Regent, and many other important personages were painted by her, and in her time she put into the shade both Latour and Peronneau.
Duplessis brings us to the time of the Revolution, when ruin fell upon so many of the artists of that day. His portrait of the _Duchesse de Chartres_, mother of Louis Philippe and grandmother of the Duc d'Aumale, is at Chantilly. She is seated in a garden, lost in profound sorrow at the departure of her husband to a naval engagement, symbolised by a ship disappearing in the distance: a refined and graceful presentation of a charming woman capable of winning the hearts of all around her. The portraits of _Louis XVI_ and of the _Comte de Provence_ by this painter in the Musée Condé are considered to be among the best likenesses of the last Bourbon Kings. Duplessis held the post of Administrator of the Galleries at Versailles.
Greuze, like Watteau, marked out a special line of his own; and with him French bourgeois Art reappears once more. His domestic scenes were described by Diderot as follows: "_Cet artist est le premier entre nous qui se soit avisé de donner des murs dans l'art_." This remark applies to his _Malédiction Paternelle_, _l'Accordée du Village_, etc.
His charming _Portrait of a Young Girl in a little cap_ at Chantilly represents Georgette, daughter of his concierge in Paris; and she can be recognised again in the same artist's _l'Accordée du Village_ in the Louvre, and perhaps also in the painting of a _Young Girl winding Wool_, lately added to Mr. Pierpont Morgan's Collection. The pendant to _Georgette_ in the Musée Condé is a portrait of a _Young Boy_, her brother. These two paintings, together with _Le Tendre Desir_, belong to the artist's best period, whilst _La Surprise_ is a work of his old age. This last work exhibits to us the curious fact that a problem which had steadily pursued him throughout his long life--namely, how to paint the first awakenings of love in a maiden's mind--still puzzled him at the age of nearly eighty. It is certainly an irony of fate that after a romantic attachment to a young Italian Countess--whose portrait he painted, but whom he was prevented from marrying--he should have returned to Paris, to become the husband of a woman much older than himself, who presently made his life almost unendurable. It was perhaps the memory of this youthful idyll which induced him to paint so often those young maidens whose faces smile at us from the walls of so many Galleries throughout Europe. The _Young Woman in a Hat_ in the Wallace Collection is perhaps the most fascinating of them all, since nothing can surpass the grace and piquancy of expression in her lovely countenance.
Greuze was in high favour with the Royal Family, and it is believed that he painted a portrait of the Dauphin at the Tuileries after the unfortunate flight to Varennes, and another of his elder sister, Madame Royale, when in the Temple. The great upheaval of the Revolution struck Greuze also, and as a painter he became no longer the fashion. His wife squandered his fortune and he died in poverty, slaving to the very last.
The portraits at Chantilly of _Marie Antoinette_ (in 1795) and of _Madame de Pompadour_, two of the loveliest women of their day, are by Drouais, a pupil of Van Loo and Boucher. The happy days of Trianon were not yet over when these were painted, and the Dauphine of France, presented here as _Hebe_, seems to be at the height of her glory and charms. How different to the careworn and haggard woman whose portrait hangs in the Musée Carnevalet over the very bed occupied by her in the Temple before her execution!
Madame Vigée Le Brun carried the style of Greuze, at one time her master, into the middle of the nineteenth century. She is represented in the Musée Condé (Cabinet Clouet) by several small portraits: _Marie Caroline, Queen of Naples_, painted in 1768, and her two daughters, _Marie Thérèse Caroline_, wife of Francis II Emperor of Austria, and _Marie Louise Josephine_, wife of the Grand Duke of Tuscany. Whilst the first two of these appear to be copies of already existing pictures the portrait of _Marie Louise Josephine, Queen of Etruria_, shows special merits and seems to be taken directly from life, probably during one of Madame Le Brun's tours in Italy. A strong vitality is expressed in her beautiful face, forming a marked contrast to the portrait of her mother, the Queen of Naples. Madame Le Brun, who, in spite of her sex became a member of the French Academy, was one of Marie Antoinette's favourite painters. After the Revolution she established herself in St. Petersburg and did not return to Paris until 1801, when she was enthusiastically welcomed. She painted many of the most celebrated beauties of her day, but all these portraits seem to bear the mark of a period then fast disappearing.
Louis Joseph de Bourbon, about 1787, commissioned Fragonard to paint small portraits of the Princes and Princesses of the Royal House[138] of Bourbon and the House of Bourbon Condé. Among these are portraits of the _Dauphin Louis_, son of Louis XVI, and of the _Duc d'Enghien_ by whose tragic death the Condé family became extinct. Fragonard was a pupil of both Boucher and Chardin. He went to Italy with the Prix de Rome and in 1765 was elected a member of the Academy. He excelled in every style of painting--_genre_, landscape, portraits, interiors, and historical subjects. When in 1765 he exhibited his _Callirhoé and Corésus_ (a subject taken from the poet Roy) Diderot and Grimm thought for a moment that he might resuscitate the art of historical painting in France. This picture was bought by King Louis XV but was never paid for, and Fragonard returned to his portrait-painting, which he accomplished with very great brilliance and rapidity. There is a series of these portraits in the La Caze section of the Louvre, chiefly representing the actors and actresses of his day. His remarkable talent for decorative painting reveals itself in certain designs destined for Madame Du Barry's pavilion, but stupidly condemned by her advisers. When the Revolution broke out, the artist fled to Grasse to escape imprisonment and the scaffold taking these paintings with him, and there completed the series by a fifth composition. The whole set are now in the collection of the late Mr. J. F. Pierpont Morgan.
Fragonard in some of his work rose to the level of Watteau and he certainly surpassed Boucher: but, like Greuze, he suffered the humiliation of seeing himself pass out of fashion, supplanted by the rising sun of Louis David.
It certainly is to be regretted that Fragonard was not also commissioned to paint the above-mentioned life-size portrait of _Louis Joseph de Bourbon_ at the Musée Condé. This privilege was given to a Madame de Tott, an artist quite unknown in the history of Art. She was a contemporary of Bartolozzi, who engraved her picture, and thus handed down her name to posterity; for we read upon it, "_Madame de Tott pinxit--Bartolozzi sculpsit_."
Louis Petit, another indifferent painter of the same period, executed a portrait of the last _Prince de Conti_ in hunting costume. This Prince left France with his Orleans cousins during the Revolution and died in Spain. To the same artist is attributed the portrait of _Louis Henri de Bourbon, Duc d'Enghien_. He has an interesting face, recalling that of his ancestor the Great Condé, but there is a touch of melancholy in his expression, telling of adversity endured and apparently foreshadowing his tragic death. His father, the last Prince de Condé, who during the French Revolution lived chiefly in England, was painted by Danloux, a Frenchman who had also sought shelter on the hospitable shores of Great Britain. This Prince is here represented as leader of the Condé forces, that is, of the French _émigrés_; and we can detect the influence of Reynolds and Gainsborough in the light, harmonious colouring of the composition, which was bought by the Duc d'Aumale from a descendant of Robert Claridge, in whose house the last Condé lived during his exile.
By Charles Vernet, son of the celebrated marine painter Joseph Vernet, there is at Chantilly a large landscape with a hunting scene. It was painted during the Directoire, and _Philippe Egalité_ and his son the _Duc de Chartres_ (afterwards _Louis Philippe_) may be distinguished in the foreground. Charles Vernet delighted in depicting horses and scenes of sport, a style rendered even more famous by his son Horace Vernet. There are no less than four pictures by the latter in the Musée Condé: _The Duc d'Orleans (Louis Philippe) asking for hospitality from the Monks of St. Bernard_; a portrait of _Louis Philippe_, while still Duc d'Orléans; _Le Parlementaire et le Medjeles_, in which the various Algerian types are represented in glowing colours; and _Louis Philippe entering the gates of Versailles attended by his sons_. This latter is a reduced copy by Perrault of the large original at Versailles, painted to commemorate the occasion when Louis Philippe handed over the Palace of Versailles, with all its treasures of art and historical reminiscences, to the French Nation as a Public Museum.
We now come to an artist whose place is upon the threshold of the nineteenth century--namely, Pierre Prudhon. A sketch of a _Venus_ at Chantilly is a study for the picture _Venus and Adonis_, which made his name at the Salon of 1812. Most fascinating are _Le Sommeil de Psyché, Homage à Beauté_, and a sketch[139] of _Joseph and Potiphar's Wife_: elegant and graceful creations recalling the style of Greuze; who in point of fact admired his work greatly, and said of him, "This man will go farther than I have done." David and his set contemptuously designated him as the "_Boucher of to-day_"; but Napoleon commissioned him to paint portraits of both his Empresses, _Josephine_ and _Marie Louise_, and conferred upon him the Cross of the Legion of Honour.
For his own portrait the Emperor chose his official painter, Gérard, who was at that time considered so great an exponent of this branch of art that he was styled "_the painter of kings_" and "_the king of painters_." Napoleon is represented by him as _First Consul_; and the expressive eyes, the mouth displaying power to command and the broad forehead partially concealed by a mass of hair, recall the great Roman whom he emulated and with whom he loved to be compared. The painter, no doubt, purposely accentuated in this portrait such facial resemblances as he was able. This commission was executed at the Tuileries in 1803.
At the Fall of the Empire Gérard was presented by Talleyrand to Louis XVIII; and later still in 1820 Louis Philippe commissioned him to paint a portrait of the _Duchesse d'Orléans_ (afterwards Queen Marie Amélie) in a white robe adorned with pearls. This painting was highly treasured by the Duc d'Aumale, who out of filial affection hung it above his bed, where it still remains.
Another portrait by Ary Scheffer of the same royal lady as a widow is also here. This was painted at Claremont during the exile of the Orleans family; and by the same artist is a portrait of the _Duc d'Orléans_, Louis Philippe's eldest son, who met with an untimely end in a carriage accident. But Ary Scheffer's _chef d'oeuvre_ at Chantilly is a portrait of _Talleyrand_, the most renowned and brilliant man of the Revolution,--a painting bequeathed to the Duc d'Aumale by his friend Lord Holland.
Ary Scheffer's greatest pupil was Puvis de Chavannes, who far surpassed his master in the art of exquisite line--a characteristic especially noticeable in his painting of _Ste. Geneviève_ in the Pantheon, where he shows us the Patron Saint of Paris watching over her beloved city; and again in another painting of _St. Mary Magdalen_ at Frankfort. This artist is unfortunately not represented at Chantilly; nor is Jacques Louis David, whose vast canvases, the _Sacre et l'Intronisation de l'Empereur_ and _La Distribution des Aigles_, are so conspicuous in the Louvre. In spite of the comments of Diderot--who very wisely pointed out that the chief aim of the ancients was to reproduce Nature and that those who merely copied archaic painters were doing just the reverse of those whom they were trying to imitate,--public taste followed David and discarded their former favourites, Greuze and Watteau.
Ingres, David's pupil, is represented at Chantilly by some of his finest work. There is in the first place _His Own Portrait_ painted at the age of twenty-four--a fine work, grand in its very simplicity--which Prince Napoleon always desired to possess and which the artist could hardly refuse to present to him. It passed thence into the possession of Reiset in 1868 and eventually in 1879 became the property of the Duc d'Aumale.
A most impressive picture is _Stratonice_ (Tribune), painted for the Duc d'Orléans, who desired it as a pendant for Delaroche's _Assassination of the Duc de Guise_. It was painted at the Villa Medici in Rome, where it aroused great enthusiasm. His princely patron generously gave him 63,000 francs for it, which was double the price agreed upon.
Another greatly admired composition by him at Chantilly is a _Venus Anadyomène_, which bears close affinity to the famous _La Source_ in the Louvre.
The genius of Paul Delaroche brings us into the nineteenth century. His style has been characterised as the _juste milieu_; for he neither affected the manner of the Neo-Classics nor did he lean too much toward the Romantics. Never was a cowardly and dastardly murder better depicted than in his treatment of the _Assassination of Henri, Duc de Guise_. The King, Henri III, pale and trembling, emerges from behind a curtain to gaze upon his slaughtered victim, whilst the hired assassins gloat over their ghastly deed. This picture, which hangs in the Tribune, was painted by Delaroche specially for the Duc d'Orléans.
We now come to Eugène Delacroix, who, in company with Gericault, is considered as the pioneer of Romanticism. His _Capture of Constantinople by the Crusaders_ at Chantilly is a vividly composed representation of this important event. _The Two Foscari_ (Tribune) depicts one of the greatest tragedies in Venetian history. The Doge Francesco Foscari is shown to us sitting in judgment upon his own son, whom he is condemning to torture and banishment as a traitor to his country. The anguish of the son and the stern despair of the old father are suggested with wonderful skill. Delacroix's greatest efforts were, however, directed against the paralysing influences of Academism; and his paintings in the Palais Bourbon and in the Galerie d'Apollon in the Louvre prove him to have been the finest colourist of the later French School.
Another artist of the Romantic School is Descamps, who is represented at Chantilly by no less than ten paintings and several water-colours. Amongst these a _Turkish Landscape_, painted during the artist's early period, is perhaps the most attractive. On one side of the picture all is mystery and darkness, whilst upon the other fall the rays of a golden sunset. The problems of light and shade, to which he devoted himself so earnestly up to the very end of his career, are here treated with great effect. The same idea pervades his painting of _Turkish Guards on their way from Smyrna to Magnesia_. A town with minarets is to be seen in the background; a dark blue sky flecked with luminous white clouds; camels and their riders; all breathing that dreamy oriental sensation which appealed to him so strongly, and which he was never weary of reproducing.
Eugène Fromentin, who was as celebrated as a writer as he was as a painter, is represented in the Musée Condé by one of his finest landscapes. Transported to the Marshes of Medeah, a country so well described by him in his book _Un Éte dans le Sahara_, we see in the foreground three Bedouin chiefs, mounted on splendid Arab steeds, engaged in hawking. The atmosphere is transparent and clear, refreshed as it were by a recent shower, and the sky is flecked by white clouds. This artist, who died in 1876, was one of the most accomplished men of his time.
By his contemporary Meissonier there are several paintings at Chantilly; the most important being _Les Cuirassiers de 1805 avant le Combat_. The moment is just before a projected attack; and the look of strained expectation upon the faces of the combatants is admirably expressed. Napoleon, surrounded by his staff, is easily recognised; and in the varying expressions of the long line of horsemen we perceive looks of determination to win or die. The reproach made by Mauclair to Meissonier that his style suffered from lack of originality and was copied from Dutch artists, if sometimes well founded, may at any rate be questioned by this picture. His _La Vedette des Dragons sous Louis XV_, though small in dimensions, is another important historical picture, whilst _Les Amateurs des Tableaux_ recalls a similar composition in the Wallace Collection.
Meissonier's best pupil was Jean Baptiste Detaille, the famous painter of battle-pieces. There is a picture of his at Chantilly entitled _Les Grenadiers à cheval à Eylau_,[140] where a gallant French officer with the cry "_Haut les Têtes_" leads his regiment on to victory. This is one of the _chef d'oeuvres_ of this artist, whose recent death is so much to be deplored.
Of quite a different nature are the allegorical paintings of P. J. Aimé Baudry. The excellence of this master lies principally in decoration, as may be seen by his _Vision of St. Hubert_ in the Galerie des Cerfs; and he may be considered one of the most talented of the French artists who flourished during the second half of the nineteenth century.
Winterhalter, who, although a native of Baden, acquired his artistic education in Paris and Rome, was one of the Court Painters to both Louis Philippe and Napoleon III. His portrait of the _Duc d'Aumale_ at the age of eighteen, as Commander of his regiment before his victorious campaign in Algiers, is at Chantilly; and there is here also a companion portrait of the _Duchesse_ as a young bride. She is clad in white, with a single rose in her fair hair, and her face is full of refinement and delicacy.
Landscape-painting in France at the beginning of the nineteenth century had undeniably become conventional and tame; but quite suddenly this stagnant condition came to an end, and a revolution set in, caused by the exhibition of Constable's paintings _The Hay Wain_ and _A View near London_ in the Paris Salon of 1827. These pictures, purchased and exhibited in Paris by a French connoisseur, created intense interest in the French World of Art; and it is alleged that they were the immediate cause whereat French artists suddenly emerged from the studios wherein they had lingered so long and proceeding to the woods of Fontainebleau, began working from Nature herself. They awoke to recognise their own defects, already denounced by Chateaubriand, who had declared that French landscape-painters ignored Nature.
Throughout the studios French artists warmly discussed the work of Constable, upon whom Charles X, at their special desire, conferred the Médaille d'Or; and it was suggested that the _Charette_ (_The Hay Wain_, now in the National Gallery) should be acquired by the French Nation.
S. W. Reynolds, Constable's friend and pupil, whose exquisite little picture of the _Pont de Sèvres_ hangs in the Tribune at Chantilly, at this time also removed to Paris in order to satisfy the general demand for engravings of his master's works.
But if the Barbizon School owed much to Constable, it is also certain that Constable and Wilson owed an equal debt to Claude Lorraine; and Turner perhaps even more so.
By Corot there is but one painting at Chantilly, but it is one of his finest works. Everything in this picture breathes a spirit of peace and joy; the sky, the earth and the graceful young women--one of whom is playing a viola and another singing, whilst their companions listen or are plucking fruit--give a cheerful note to this vision of content.
It is styled _Le Concert Champêtre_[141] and recalls his series of paintings entitled _Souvenir d'Italie_. Corot appears to have commenced his studies in the woods at Fontainebleau even before Millet, Rousseau and Diaz, so that he may fairly be styled the _doyen_ of the now famous Barbizon School.
By his pupil A. P. C. Anastasi there are several landscapes at the Musée Condé, one of which represents _Amsterdam at Eventide_.
That Millet is absent from this collection is much to be regretted; but by Theodore Rousseau there are several landscapes, small in point of size, but nevertheless exhibiting this artist at his best; as for example, _Le Crépuscule en Sologne_ and _Fermes en Normandie_. Ary Scheffer was the first artist to understand and befriend Rousseau when he started away on lines of his own, and it was through the kind offices of this painter that one of his first pictures was bought by the Duc d'Orléans. His landscapes in Auvergne are early works; and those painted at Barbizon--such as the pictures above named--are later and more finished achievements.
Dupré, by whom there are three early works, _Port St. Nicholas_, _Paris_ and _Le Soleil Couchant_, accompanied Rousseau in 1841 to the neighbourhood of Monsoult, where they were frequently visited by Barye, Corot, and Daubigny. There is at Chantilly by this last artist a sketch of the _Château de St. Cloud_, a charming record of a spot full of memories, now no more. By Diaz de la Pena, the last of this group of painters, there is a wreath of flowers and birds painted in vivid colours upon the ceiling in the boudoir of the Petit Château once used by the Duchesse d'Aumale; and by Ziem (known as the "Painter of Venice") there is a landscape, _Les Eaux Douces d'Asie_, a subject magnificently treated by Diaz in a composition now in the Wallace Collection. Monticelli, Diaz's greatest pupil, the leading painter of the Second Empire and a great admirer of the Empress Eugenie, is unfortunately not represented here; nor are there any examples of the early French Impressionists. For here the Hand of Death intervened.
With Léon Bonnat's fine portrait of the _Duc d'Aumale_ our description of the paintings at Chantilly comes to an end; but attention should yet be drawn to various pieces of sculpture exhibited in the apartments of the Château, on the terraces, in the gardens and in the Park. A fine figure of _Jeanne d'Arc_ by Chapu is in the Rotunda, whilst a group of _Pluto and Proserpine plucking daffodils_ by the same sculptor is on the Great Terrace. Here also is the equestrian statue of the _Grand Montmorency_ by Dubois; and not far from it a life-size figure of the _Grand Condé_ by Coysevox, surrounded by busts of _Bossuet_, _La Bruyère_, _Molière_ and _Le Nôtre_. Copies in marble from the antique and the renaissance adorn the niches and plinths of the mansion and the avenues of the Park. A figure of _St. Louis_ by Marqueste surmounts the roof of the Chapel and Jean Goujon's reliefs ornament the Altar within. The famous portrait in wax of _Henri IV_ is in the Galerie de Psyché; and busts in marble of the _Grand Condé_ and of _Turenne_ by Derbais, of _Richelieu_ and of the last Princes of the House of Bourbon-Condé, are placed in the Cabinet des Livres and in various other rooms. Fine bronzes by Barye, Mène, Fremiet and Cain, adorn the mantel-pieces and consoles; whilst some exquisite enamel portraits by Limousin are exhibited in the Salle des Gardes.
Most interesting, and worthy of more than a passing notice, is the collection of Chantilly Porcelain, an industry founded in 1730 by the Duc de Bourbon. A set of porcelain made at that time was placed in the King's Bedroom.[142]
In the centre of the Galerie des Peintures stands a fine bust of the _Duc d'Aumale_ by Dubois, and in the Marble Hall lies his recumbent figure in full uniform by the same artist, a cast[143] of the marble figure upon his tomb in the Cathedral at Dreux.
And so with the death of the man his work came to a close. But his genius as a collector has furnished France with one of the finest Homes of Art in the World; and she does well to remember with gratitude this scion of the Bourbon race, who stretched out his hand to expiate much. Every lover of Art throughout the world, and every wayfarer who in his wanderings finds his way to Chantilly, may well stand amazed at this collection and praise its creator. Nor in passing out should he fail to give a last glance at the silent effigy: a glance in which gratitude should be mingled with that emotion which ever holds the thoughtful spectator of departed greatness.
INDEX
Abdul Kader, Duc d'Aumale's victory over, 117
_Accordée du Village, Le_, by Greuze, 262
_Adoration of the Magi_, by Jean Fouquet, 190, 191
Ahasuerus. See King
_Ailly, Heures de._ See Books of Hours
Aix-la-Chapelle, Peace of, 79
Albano, a work by, 132
Albret, Duc de. See Condé, fifth Prince de
Albret, Henri de, King of Navarre, portraits of, 136, 141, 223
Albret, Jeanne de, Queen of Navarre, marriage, 16; a Protestant, 17; helps the Huguenots, 21; sudden death, 22, 243; portraits of, 22, 141, 224, 225, 226, 230, 235
Aldine editions in the Standish Library, 129
Alençon, Duc de, portraits of, 141, 182, 245
Alençon, Mme. Vendôme de, portraits of, 222, 223, 239
Alençon, Mlle. de, and Duc d'Enghien, 69
Alexandra, Queen, visits Chantilly, 122
_Alley in the Wood, An_, by Dughet, 250
Allori, Alexander. See Bronzino
_All Saints' Day_, by Fouquet, 194
_Amante Inquiète_, by Watteau, 258
_Amateurs des Tableaux, Les_, by Meissonier, in the Wallace Collection, 272
_Amazon_ of the Vatican, a statuette, 137
Amboise, Cardinal George de, owner of _Valere Maxime_, 158
Ambrogio di Spinola, Marchese. See Spinola
Amélie, Queen, and the Duc d'Aumale's marriage, 117
"Amico di Sandro," 149
_Amour Désarmé, Le_, by Watteau, 258
_Amphitryon_, poem by Molière, 75
_Amsterdam at Eventide_, by Anastasi, 275
Anastasi, A. P. C., 275
_Angelic Choir_, miniature by Simon Marmion, 197
Angers, disaster of, 25
Angleterre, Mme. Henriette de, portrait of, 253
Angoulême, Duc de. See Francis I
Angoulême, Duchesse de (formerly Diane de France), marriage, 9; portrait of, 151
Angoulême, Marguerite (sister of Francis I), portraits of, 141, 216, 228; manuscript of, 158
Anjou, Duc de. See Henri III
Anjou, Louis II of, King of Sicily, portrait of, 201
Anne of Austria, character, 40; and the Grand Condé, 44, 45, 47, 55, 56, 64; and Princesse de Condé, 52, 54
Anne of Bavaria, marriage of, 69
Anne de Bretagne (wife of Louis XII), miniature of, 138; Prayer Book of, 198; portrait of, 208; _Tournois_ tapestry, 208, 209; medal of, 210; her daughter's marriage, 216
_Annunciation_, by Francia, 145; by the Limbourgs, 173; by Jean Fouquet, 184, 189, 193
Antioch, Jean de, translates Cicero's _Rhetorics_, 157
_Antiochus and Stratonice, The Story of_, by Ingres, 135
_Antiquitates Judæorum_ of Josephus, miniatures by Jean Fouquet, 155, 181, 182, 185, 189, 200
_Arab Chiefs Hawking in the Desert_, by Fromentin, 272
_Architecture, Treatise on_, by Filarete, 180
_Ariane._ See Duclos Mille.
Aristotle's _Ethics_, 157
Armagnac, Comte de, war with Duc de Bourbon, 162
_Arsenal_ MS., 159 _n._
_Artemisia, History of_, 244
Artois, Duc de (afterwards Charles X), marriage, 101, 102; leaves France, 104; at Coblenz, 109, 110
_Ascension, The_, by Jean Fouquet, 192
Ashmolean Collection at Oxford, 241
_Assassination of the Duc de Guise, The_, by Delaroche, 134, 269, 270
_Athena of Lemnos_, famous bronze, 136
Aumale, Duc de (Henri d'Orléans), Lord of Chantilly: _Histoire des Princes de Condé_, 38, 40, 74, 132; military success in Algiers, and marriage, 117; birth of a son, 118; an exile in England and return to Chantilly, 119-123; his scheme to bestow Chantilly on the French nation, 122-124; his second banishment, 124; return and welcome back to Chantilly, 124, 125; equestrian statue of, 125; portraits of, 126, 137, 177 _n._, 220, 273, 276, 277; collects the art treasures of the Musée Condé, 129-153; Victor Hugo's letter, 147; on Raphael's _Three Graces_, 149; French illuminated manuscripts at Chantilly, 154-164; the Cabinet des Livres, 156; _Les Très Riches Heures du Duc de Berry_, 165-178; works of Jean Fouquet, 179-195; Jean Perréal, Bourdichon, and others, 196-210; Jean Clouet, 211-226; François Clouet, 225-247; from Nicholas Poussin to Corot, 248 _et seq._; tomb of, 278
Aumont, Duc de, portrait by Quesnel, 142
Auneau, Victory of, 26
Austria, Elizabeth of, portrait of, 234, 235; miniature of, 243
Austria, Margaret of, and the _Très Riches Heures_, 162, 163; and Jean Fouquet, 181; and Jean Perréal, 209
_Autumn_, by Botticelli, 145
_Avant et après le Combat_, by Protais, 135
Averoldi family, _Ecce Homo_ purchased from, 135
Ayr Collection, portrait of Prince Orlant, 198
_Bacchus and Ariadne_, antique sarcophagus, 137
Baccio del Bene, Italian author, 220
_Ball under the Colonnade_, by Watteau, 259
_Balthazar_, a Spanish hound, by Desportes, 255
Bandol, Johannes, painter, 200
Barbançon, Princesse de, by Van Dyck, 132
Barberini, Cardinal, and Quesnoy the sculptor, 249
Barbizon school, 274, 275
Bardon, M., painter, 8
Baroccio, Federigo, painter, 132
Bartolozzi, _Louis Joseph de Bourbon_, 265
Barye, bronzes by, 277
Bassompère, Maréchal de, his marriage, 11
Battave, Godfrey le, his work, 204
Baudrey, P. J. Aimé, allegorical painter, 273
Bavaria, Marie Anne of, portrait of, 138
Béarn, Henri de, and the Protestants, 21
Beaubrun, his portraits of _Comte de Cossé Brissac_, _Mme. and Mlle. de Longueville_, 12, 133; _the Grand Condé_, 251
Beaujeu, Anne de, and Jean Perréal, 207 _n._
Beaujeu, Pierre de, 183
Beauneveu, André, a _Book of Hours_, 177 _n._; _Antiquitates Judæorum_, 182
Bellay, Du, poet, and Marguerite de France, 220, 221
_Belles Heures de Jean de Berry_. See Book of Hours
_Bellièvre_, _Pomponne de_, portrait of, 252
Benedict XIV, Pope, portrait by Subleyras, 142
Berenson, Bernard, _A Sienese Painter of the Franciscan Legend_, 145 _n._
Berghe, Comte de, portrait by Van Dyck, 132
Bernal Sale, 133, 134
Berry, Duc de, _Les Très Riches Heures_, 130, 160, 161, 165 _et seq._; his illuminated manuscripts, 157; portrait of, 201
Berry, Duchesse de, at Chantilly, 91
Bersuire, Pierre, translator of Livy's _Second Decade_, 157
Bethune album, 241
Bethune, Philippe de, portrait by François Quesnel, 246
_Betrayal_, by Jean Fouquet, 191
_Bible Historiée_, 200
_Bible Moralisée_, 179
_Birth of St. John the Baptist_, by Jean Fouquet, 188, 190
Bissolo, _Madonna holding the Infant Christ_, 145
_Boccaccio_ at Munich, 181, 182, 185
Bodleian Library (Oxford), 151
Boileau, N., celebrated French poet, a guest at Chantilly, 75
Boissy, Gouffier de, Battle of Marignan, 6
Boisy, Le Grand Ecuyer de, portrait of, 244
Bonheur, Rosa, _A Shepherd in the Pyrenees_, 135
Bonnat, Léon, portrait of _Duc d'Aumale_, 126, 276
Bonnivet, Gouffier de, Battle of Marignan, 6
Book of Hours: (1) of fourteenth century, owned by François de Guise, 150 (2) of Anne de Beaujeu, 198 _n._ (3) of Anne de Montmorency, 158 (4) of Catherine de Medicis, 215 (5) of Étienne Chevalier, miniatures by Jean Fouquet, 152, 181 (6) belonging to Maurice de Rothschild, 160 (7) _Belles Heures de Jean de Berry_, also called _Heures d'Ailly_, by Limbourg brothers, 179, 184, 185 (8) _Heures d'Anjou_, 200 (9) _Heures d'Aragon_, by Bourdichon, 198 (10) Livres d'Heures, 202 (11) _Très Belles Heures_, or _Hours of Turin_, by Hesdin, 165, 177 _n_.
Book of Hours--_Cont._ (12) _Très Riches Heures du Duc de Berry_, by the Limbourg brothers, 130, 152, 154, 156, 158, 160, 162, 164 _et seq._
Bora, Catherine de, portrait by Pourbus, 142
Bordeaux, Claire-Clemence at, 52, 53; as a Republic, 59, 60; surrenders to the King, 62
Bossuet, Jacq., the famous Prelate, at Chantilly, 83; and the Grand Condé, 86-88; statue of, 89; on Fouquet's _Enthronement of the Virgin_, 194; bust of, 276
Botticelli, Sandro, _Autumn_, 145; _Simonetta Vespucci_, 146; other drawings, 147
Boucault, Jeanne, wife of Jean Clouet, 211, 224; portrait of, 222
Boucher, François, French painter, _Watteau_, 143, 257; cartoon by, 256
Bouchot, Henri, 199, 204, 208, 235
Bouillon, Duchesse, joins the Fronde, 45; portrait of, 242
Bourbon, Anne Marie de, death of, 92
Bourbon, Antoine de (afterwards King of Navarre); portraits of, 16, 136; and the Guises, 18, 20
Bourbon, Caroline Auguste de, marriage to the Duc d'Aumale, 117
Bourbon, Charles de, the famous Constable, death, 16
Bourbon, Duc de. See Bourbon, Louis Henry Joseph; Condé, sixth, seventh, and eighth Princes de
Bourbon, Geneviève. See Longueville, Mme. de
Bourbon, Henri I de. See Condé, second Prince de
Bourbon, Henri II de. See Condé, third Prince de
Bourbon, Henri de, King of Navarre. See Henri IV
Bourbon, Henri Jules de. See Condé, fifth Prince de
Bourbon, Jacob de, 16
Bourbon, Louis I de. See Condé, first Prince de
Bourbon, Louis II de. See Condé, fourth Prince de
Bourbon, Louis Henry Joseph de (Duc d'Enghien, son of eighth Prince de Condé, known as Duc de Bourbon, last of the Condés), birth, 96; early marriage, 97; at Chantilly, 98, 99; separated from his wife, 100; leaves France, 104, 105; return to Chantilly, 111; death of his father, 113; reconciliation with and death of his wife, 113; and his godson, 114; death, 114, 115; portraits of, 114, 266
Bourbon, Louis Joseph de. See Condé, eighth Prince de
Bourdelot, Jean, and the Grand Condé, 84
Bourdichon, a follower of Jean Fouquet, 197, 207; his works, 198, 199
Bourdillon, Lescueur, portrait of, 203
Bourgogne, Antoine de, the _Grand Bâtard_, portraits of, 62, 142
Bouts, Dierick, _Procession_, 146
Braganza, Duc de (afterwards King of Portugal), betrothal, 124; assassination, 124 _n._
Brandenburg, William, Margrave of, guards the Rhine, 82
Brantôme, P. de: Diane de France, 9; Louis de Bourbon, 19; Duc d'Anjou, 24 _n._; the Dauphin, 217; Diane de Poitiers, 231; Henri de Mesmes, 242
"Brasseu," daughter of Diane de Poitiers, a member of _la petite band_, 228; portrait of, 239
Brentano, Herr, purchase and sale of forty miniatures by Jean Fouquet, 152, 186
Bretagne, Anne de. See Anne de Bretagne
Bretagne, François, the Duke of, tomb of, 42, 209
_Breviary_, fourteenth century, 150, 151; of Belleville, 160; _Grimani_, sixteenth century, 162, 163, 168
Brézé, Maréchal de, 35
_Briados_, a Spanish hound, by Desportes, 255
Bridgewater _Madonna_, 140
Brignole, Marie Catherine de, the widowed Princess of Monaco, marries eighth Prince de Condé, 109
Brissac, Maréchal, portrait of, 238, 239
British Museum, the _Gallic War_, 157; _Book of Hours_, 186; Salting Collection, 230, 231, 242
Bronzes, 136, 277
Bronzino, Le (Alexander Allori), painter, 132
Broussel, Councillor, and Cardinal Mazarin, 44, 45
Bruges, Jean de, 200 _n._
Bruisbal, Scipion, 240
Brun, Charles Le, Court-painter to Louis XIV, 84; and the Gobelin Factory, 251, 252
Brun, Mme. Vigée Le, her works, 137, 263, 264
Bruyère, La, educates the Condés, 85; and Mme. de Langeron, 87; bust of, 276
Budos, Louis de, death of, 9
Buffant, Jean, once possessor of _Breviary Grimani_, 163
Bugato, Zanetta, 148
Bugenhagen, Jean de, portrait of, 142
Bullant, Jean, architect, 6, 240; altar of Senlis marble, 123
Bussel, a follower of François Clouet, 245
Buti, Catherine, in _La Toussaint_, 194
_Cabinet des Livres_ at Chantilly, 156
_Cabotière, La_, 32
Cæsar's Commentaries, 157
Cain, bronzes, 277
_Calendar_ of months in _Book of Hours_, 152, 154, 156, 158, 160, 162, 164, 166 _et seq._, 178
_Callirhoé and Corésus_, by Fragonard, 264
Canaletto, Antonio, 147
_Canaples, Mme. de_, portrait of, 244
_Canaples, Sieur de_, portraits of, 223
Cantillius, a Gallo-Roman, origin of name Chantilly, 3
_Capture of Constantinople by the Crusaders_, by Delacroix, 270
_Capture of Jerusalem_, by Poussin, 249
Carlisle, Lord, his collection of French drawings, 151
Carmontelle, M., collection of, 143, 144; portrait of, 144
Carracci, Annibale, paintings in Musée Condé, 84, 132, 135
Carriera, Rosalba, 261
Carron, M., his designs from the _History of Artemisia_, 244
_Castello di S. Angelo_, by Claude, 250
Cellini, Benvenuto, _Apollo guiding the Chariot of the Sun_, 141; _Life of_, by R. H. Cust, 222 _n._
Champaigne, Philippe de, portraits of _Mazarin_ and _Richelieu_, 134; his work, 250
Champion, Jean, 212
Chandus, portrait of, 223
Chantilly, Château of (see also Musée Condé), owners of, 1 _et seq._; origin of name, 3; the Montmorencys, 3-15; improvements and restorations, 5, 66 _et seq._, 89, 90, 92, 118, 119, 121; windows, 5, 8; pictures of, 6, 50; the Petit-Château, 7; its beauty, 9, 10; and the Condés, 16 _et seq._; confiscation and restoration of, 32, 106, 109, 111, 112, 119, 121, 124, 125; the Grand Condé, 33-46; portraits, 42, 50; return of Prince and Princesse de Condé, 56; festivities at, 69-77, 90-92, 97, 99; illustrious visitors, 83, 90, 92, 97-99, 118, 121-123; famous waterworks at, 84; pictures, 84; used as a prison, 106, 108; during the French Revolution, 106 _et seq._; races at, 116; Duc d'Aumale, Lord of Chantilly, 116 _et seq._; Musée Condé erected, 122, 123; bequeathed to the nation, 124, 125; Grand Chinoiserie, 259
_Chapeau-Rouge_ party, 61
Chapu, _Jeanne d'Arc_, 276
_Chariot of the Sun_, 167
_Charlemagne, Coronation of_, 182
Charles IV of Germany, portrait of, 201 _n._
Charles V of France, portraits of, 142, 200; his _Inventory_, 159; imprisons the two Dauphins, 217
Charles VII, portraits by Fouquet, 181, 182, 185, 186, 191
Charles VIII, by Perréal, 203, 208
Charles IX and Prince de Condé, 23; death, 24; portraits by François Clouet, 141, 229, 230, 231, 244
Charles X confers the Médaille d'Or on Constable, 274
Charlotte, Elizabeth. See Princess Palatine
Charolais, Count de, at Chantilly, 95, 96
Charonton, Enguerrand, works by, 42, 146, 176, 193
_Charost_, by Quesnel, 142
Chartres, Duc de (afterwards Louis Philippe), portrait by Charles Vernet, 266
Chartres, Duchesse de, portrait by Duplessis, 261
_Chasse au Faucon en Algérie, La_, by Fromentin, 139
_Chasse du Loup_ and _du Renard_, by Oudry, 256
_Château de St. Cloud_, by Daubigny, 275
_Chateaubriand, Monsieur de_, 239
Châteauroux, Castle of, Claire-Clemence exiled to, 73
Châtillon, Mme. de, 50
_Chaudin, capitaine de la porte du Roy_, 239
Chavannes, Puvis de, his works, 269
Chavignard, Lechevallier, cartoon by, 123
_Chess._ See _Game of_
Chevalier, Étienne, _Book of Hours_, executed for, 152, 184; portraits of, 180, 181, 182, 185, 187, 189, 194
Chevreuse, Duchesse de, 55
_Chiaroscuro_, introduction of, 177, 192
Chigi, Prince, collection of, 150
_Children of Israel led into Captivity by King Shalmaneser_, 184
Chinon, Château de, 191
_Christ, Life of_, scenes from, 173
_Christ on the Cross_, miniature, 139
Christina of Denmark, Queen, at Chantilly, 123
Christina of Sweden, Queen, and Claire-Clemence, 54
_Chronique de France_, 181, 182
Cicero's _Rhetorics_, 157
Cigongue, Armand, collection of, 130
_Cité de Dieu_, 157
Claire-Clemence (wife of the Grand Condé), early marriage and excellent qualities of, 34; retires to a convent, 35; with her son at Chantilly, 41; sudden departure, 45; her husband's imprisonment, 49; her escape, 51; at Bordeaux, 52, 53, 59, 60; obtains her husband's freedom, 54, 55; entry into Paris, 56; retirement to Saint-Maur, 57; birth of second son, 61; retires to Flanders, 62; return to France, 64, 75; and her son's marriage, 69; ill-health, 70; and the page Duval, 71; her husband's ill-treatment, 71, 72; exile and death, 73, 74
Claridge, Robert, and the Condés, 266
Claude, Queen (wife of Francis I), portraits of, 216, 217, 218, 239
_Clementia_, 184
Clermont, Louise de, portrait of, 228, 255
Clève, Marie de, marriage, 22; and Charles IX, 23; death, 24
Clève, Philippe de, portrait by Holbein, 142
Clouet, François, his works, 8, 20, 22, 26, 141, 151, 205, 208, 214, 215, 219, 223, 226-243, 246; succeeds his father as Court-painter to François I, 225, 226; his style of work, 227, 234, 238, 247; death, 243
Clouet, Jean, painter to the Duke of Burgundy, 211
Clouet of Tours, Jean (son of above), court-painter to Francis I, 151, 204-208; medal of, 210; marriage, 211; his methods and works, 212-226, 228, 242; death, 227
Clouet of Navarre (son of above), 211
Clovio, Giulio, _Christ on the Cross_, 139
_Coche de Marguerite, de la_, manuscript, 158
Codex with Fouquet's miniatures, 182-184
Colbert, pastel of, 142; and Le Brun, 251
Coligny, Admiral de, portrait of, 141
Coligny, Dandelot de, 42
Coligny, Gaspard, on the death of Francis II, 19; and the Condés, 21; death, 23
Coligny, Odet de, a Cardinal, portrait of, 133, 236; history of, 237
Colnaghi, Messrs., sell portraits and pictures to Duc d'Aumale, 133, 138
Colombe, Jean de, works of, 162, 171, 178, 197
Colombe, Michel, 209
_Colonel Lepic à Eylau_, by Détaille, 152
_Comptes de Lyon_, by Perréal, 207
_Concert Champêtre_, by Corot, 152, 275, 276
Conches Collection, 186
Condé family, the, 4, 16 _et seq._
Condé, first Prince de (Louis de Bourbon), 16; religion and marriage, 17; imprisonment, 17, 18; release, 19; infidelities, 19; death, 20; portraits of, 18, 136
Condé, second Prince de (Henri I de Bourbon), portrait of, 18; and Mlle. de Saint-André, 19; and his mother, 20; succeeds his father, 21; marriage, 22; and the Protestant faith, 23, 24; death of his wife, 24; second marriage, 24, 25; the War of the Four Henris, 25, 26; becomes heir-presumptive, 27; death, 28
Condé, third Prince de (Henri II de Bourbon), portrait of, 12; marriage and its result, 12-15, 30; imprisonment, 31; and Louis XIII, 32; death, 43; bronze monument of, 123
Condé, fourth Prince de (Louis II de Bourbon, Duc d'Enghien, the "Grand Condé"), baptism and education, 33; early marriage, 34; life in Burgundy, 35, 36; elected general, 37; victor of Rocroy, Thionville, and Nordlingen, 38-41; illness, 41; influence of women on, 42; death of his father, 43; victor of Lens, 43, 44; reception by the King, 44; puts down the Fronde, 45; Mazarin an implacable enemy, 47 _et seq._; imprisoned at Vincennes, 48, 49; removed to Havre, 54; his wife obtains his freedom, 55, 56; betrayed by his enemies, 57; his faults, 57; retires to Montroux, 58; alliance with Spain, 59 _et seq._; entry into and retreat from Paris, 60; financial difficulties, 61, 62; a lost battle, 63; returns to France, 64; his regrets, 65; retires to Chantilly, 66; improvements at Chantilly, 66, 67; refuses Crown of Poland, 69; cruel treatment to his wife, 70-73; her death, 73; illustrious visitors and festivities at Chantilly, 75-77, 83; war with Holland, 78 _et seq._; wounded, 81; return to Chantilly and death, 83; interest in scientific discoveries and passion for the chase, 84; protects the Huguenots, 85; and his grandson, 85; a free-thinker, 87; his death, 88; statues of, 89, 276; portraits of, 251; bust of, 277
Condé, fifth Prince de (Henri Jules de Bourbon, Duc d'Albret, Duc d'Enghien), son of the Grand Condé, 41; escapes with his mother, 50, 51; educated by Jesuits, 62; Louis XIV's entry into Paris, 65; at Chantilly, 67; marriage, 69; sad interview with his mother, 73; his mother's death, 73; his father wounded, 81; character, 81, 85, 90; death of his father, 87; succeeds and carries out his father's improvements at Chantilly, 89; violent temper and death, 90
Condé, sixth Prince de (Louis III, Duc de Bourbon), early marriage and education, 85, 86; death, 91
Condé, seventh Prince de (Louis Henri, Duc de Bourbon), early succession, 91; improvements and illustrious visitors at Chantilly, 91, 95; Prime Minister of France, 92; death of his wife, 92; and the Marquise de Prie, 92-94; resignation, 94; second marriage, 94, 95; death, 95
Condé, eighth Prince de (Louis Joseph), condemns the Grand Condé's treatment of his wife, 74; early succession, 95; marriage and birth of a son, 96; gained victories of Grinningen and Johannesberg, 97; death of his wife, 97; illustrious visitors at Chantilly, 98-104; leaves France owing to Revolution, 104; at Worms, 109; retires to Wanstead House, Wimbledon, 109; second marriage, 109; returns to Chantilly, 111; restores Chantilly, 111, 112; death, 113; and Jean Baptiste Huet, 260; and Fragonard, 264; portrait of, 265
Condé, ninth Prince de. See Bourbon, Louis Henri Joseph, Duc de
Condé, Henriette de Bourbon (Mme. de Vermandois), Abbess, 100
_Condé, Histoire des Princes de_, by Duc d'Aumale, 38, 74
Condé, Louise de (daughter of eighth Prince de Condé), birth, 96; life at Chantilly, 100, 101; and the Marquis de Gervaisais, 102, 103; the French Revolution, 104; retires to a convent, 109; tragic death of Duc d'Enghien, 109, 110; reception in England, 110; death, 115
Condé, Mme. la Princesse Douarière de, 35
Condé, Musée, erection of, 122, 123; bequeathed to the French nation, 124, 125; art treasures of, and how they were brought together, 129 _et seq._; French illuminated manuscripts at, 154-164; _Les Très Riches Heures du Duc de Berry_, 165-178; works of Jean Fouquet of Tours, 179-195; of Jean Perréal and Bourdichon, 196-210; of Jean Clouet, 211-226; of François Clouet, 227-248; _Catalogue Raisonnée_ of, 247; works of painters from Nicolas Poussin to Corot, 248-278
_Condé, Sur la femme du Grand_, 34
_Confession of St. Peter_, 189
Constable, John, effect of his work on French painters, 273, 274
_Constantine, Emperor_, medal of, 175
Conti, Prince de, brother of the Grand Condé, 48; illness, 49; at Bordeaux, 60, 61; and Mazarin, 64
Conti, François, Prince, nephew of the Grand Condé, 85
Conti, Louise Henriette de Bourbon, portrait by Nattier, 254
Corneille de Lyon, his works, 26, 141, 147, 218, 231, 242, 244
Corneille, Pierre, the Poet at Chantilly, 75, 83
_Coronation of Charlemagne_, by Fouquet, 82
_Coronation of the Virgin, the._ See _Virgin_
Corot, Jean B. C., _Le Concert Champêtre_, 152, 274, 275, 276
Cosimo, Piero di, _Simonetta Vespucci_, 146
Coste, Jean de, the Château de Vaudreuil, 200
Court, Jean de, Court-painter to Henri III, 244
Courtils de Merlemont, M. des, Knight of St. Louis, imprisoned at Chantilly, 106
Coutras, Battle of, 26
Cowley, Lord, occupies Chantilly, 119
Coysevox, statue of the _Grand Condé_, 276
_Crépuscule en Sologne, Le_, by Rousseau, 275
Croix, Mlle. de la, 35
Crozat, M., the financier and collector, owned the Orleans _Madonna_, 140; and Watteau, 259
_Crucifixion, The_, in _Les Très Riches Heures_, 177, 192
_Cuirassiers, Les_, by Meissonier, 152, 272
_Cupid and Psyche_, in windows at Chantilly, 5
Cust, H. Hobart, _The Life of Benvenuto Cellini_, 222 _n._
Cust, Lionel, _History of Art in England_, 201
Czartoysky, Prince Ladislas, marriage, 121
Damartin, Guy de, architect, 166
_Dance of Angels_, 135
Danloux, M.; portraits by, 114, 266
Danté's _Inferno_ with _Commentary_ by Guido of Pisa, 157
_Daphne flying to her father's protection_, by Poussin, 250
Daumet, M., rebuilds the _Grand Château_, 122
Dauphin, the Grand (only son of Louis XIV.), at Chantilly, 90; portraits of, 138, 217
Dauphin François, portraits of, 212, 217, 218, 220, 239, 244
Dauphin Louis (son of Louis XVI), portrait of, 264
David, Jacques Louis, and Prud'hon, 267; his works, 269
Dawes, Sophie, known as Baronne de Feuchères, 115
_Death of Germanicus, The_, by Poussin, 249
_Déjeuner d'Huîtres_, by de Troy, 134, 259
_Déjeuner de Jambon_, by Lancret, 134, 259
Delacroix, Eugène, his works, 141, 270, 271
Delaroche, Paul, his works, 134, 269, 270
Delessert Sale, 139
Deligand Collection, 228 _n._, 239
Delisle, Count Leopold, 161
Delormes, Philibert, 240
Denmark and Louis XIV, 81
Derbais, M., his works, 277
Descamps, Jean Baptiste, painter, works of, 134, 139, 271
Descartes, René, and the Grand Condé, 87
_Descent from the Cross_, by Fouquet, 192, 193
_Descent of the Holy Ghost_, by Fouquet, 193
Desportes, P., poet, his works, 132, 255, 256; and Jean de Court, 244
Detaille, Jean Baptiste, his works, 272, 273, 274
Détaille, M., his finest work, 152; album, 241
_Devançay, Mme. de_, by Ingres, 147
Diane de France. See Angoulême, Duchesse de
Diane de Poitiers. See Poitiers
Diaz de la Pena, works of, 275, 276
Diderot, M., on Greuze, 261; on David, 269
Dimier, L., 204; _Bulletin de la Société Nationale des Antiquaires de France_, 240 _n._
Dinier, Louis, _Les Portraits peints de François I_, 151 _n._
_Diodorus Siculus_, translation of, 158
Disraeli, Benjamin, in praise of Duc d'Aumale, 131
_Distribution des Aigles, La_, by David, 269
_Divina Commedia_, by Dante, 194
Domenichino, Domenico, and Poussin, 249
Donato, San, Sale, 139
_Donneur des Sérénades, La_, by Watteau, 258
Dourdan, Castle of, in _Les Très Riches Heures_, 168
_Dragons sous Louis XV, Les_, 138
_Dream of a Knight, The_, by Raphael, 148
Drouais, M., portraits by, 142, 263
Duban, M., architect, 118, 122
Dubois, P., a follower of François Clouet, 245; statue of the _Grand Montmorency_, 276; bust and tomb of _Duc d'Aumale_, 277, 278
Duccio's famous altar-piece at Siena, 193 _n._
Dûchatel, Comte, at Chantilly, 119
_Duclos, Mlle._, portrait of, 254
Dudley, Earl of, owner at one time of _The Three Graces_, 148, 149
_Duel après le Bal, Le_, by Gérome, 135
Duff-Gordon-Duff Collection, 144
Dugardin, the goldsmith, frames the miniature of _Elizabeth of Austria_, 243
Dughet, Gaspar, works by, 133, 146, 250
Dumoustier, M., works by, 42, 143, 147, 151, 245, 246
_Dunes at Scheveningen_, by Ruysdael, 139
Duplessis, M., administrator of the galleries at Versailles, 261
Dupré, M., works by, 275
Duras, Duchesse de, a prisoner at Chantilly, 107
Dürer, Albert, celebrated artist, _Virgin_, 131
Durrieu, Comte Paul, 148; and the _Très Riches Heures_, 161, 163; made reproduction of _Hours of Turin_, 165; and the medal of _Emperor Constantine_, 175; and the Fouquet miniatures, 182; and the _MS. de Saint Michel_, 202
_Eaux Douces d'Asie, Les_, by Diaz, 276
_Ecce Homo_, by Titian, 135
Edward III, portrait of, 201 _n_.
Edward VII, visits Chantilly when Prince of Wales, 122; presentation of Fouquet's miniatures to President Fallières, 184
_Elboeuf, Mme. de_, by Corneille, 244
_Eleonore, Queen_, portrait of, 133
_Elizabeth of Austria_, portraits of, 133, 234
Enghien, Duc de (see also Bourbon, Louis Henri Joseph), son of Louis Henri, Duc de Bourbon, 103; the French Revolution, 104, 105; execution by Napoleon, 110; portrait of, 264
_Enthronement of the Virgin_, by Fouquet, 193, 194
Epéron, Duc de, the hated Governor of Bordeaux, 52
Erasmus, portrait of, 204
Estampes, Château de, in the _Calendar_ of Months, 170
Estampes, Duchesse de (mistress of Francis I), intrigues of, 6
Este, Cardinal Ippolito de, 222
_Esther as Queen, walking in her garden_, in the Lichtenstein Gallery at Vienna, 150, 151
_Estrange, Madame le_, portrait by Clouet of, 223, 224
Estrées, Gabrielle de (mistress of Henri IV), portraits of, 136, 142, 246, 247
Eugenius IV, Pope, portrait of, 180
_Eve and the Apple_, in _Les Très Riches Heures_, 173
Everdingen, the master of Ruysdael, 146
Evreux, Jeanne de (wife of Charles IV), _Breviary_ executed for, 151, 160
Eyck, Hubert Van, works by, 146, 165 _n._
_Fables de Marie de France, Les_, 130
Fabre Collection, 149
Fagon, Dr. (physician to Louis XIV), portraits of, 248
_Fall of the Rebel Angels_, 175, 176
Fallières, President, presentation of the Fouquet MSS. to, 184
Faure Sale, 141
Fel, Marie, opera singer, pastel of, 260
Fénélon, François, at Chantilly, 83
Ferdinand III, Emperor, Peace of Westphalia, 44
_Fermes en Normandie_, by Rousseau, 275
Ferrara, Ercole, Duc de, marriage, 221
Ferrara, Duchesse de. See Rénée de France
Filarete, _Treatise on Architecture_, 180
Flanders, invaded by Louis XIV, 78
Fleuranges, Maréchal de, portrait of, 205
Fleury, Cardinal, and the Marquise de Prie, 94
Fleury, Robert, works by, 138
Foix, Odet de, portraits of, 205, 208
Fontaine, La, at Chantilly, 75; designs executed in tapestry from his _Fables_, 256
_Foscari, The Two_, by Delacroix, 141, 270, 271
Foulon, Benjamin, and the Lecurieur album, 235
Fouquet of Tours, Jean (Court-painter to Louis XI), his works, 152, 153, 155, 156, 179-195, 202, 207 _n._; early history of, 180
_Four Evangelists_, 173
Fragonard, J. Honoré, painter, his works, 264, 265
_France, Chronique de._ See Chronique
France, Diane de. See Angoulême, Duchesse de
France, Henriette de, portrait of, 245
_France, Histoire litteraire de la_, 157
_France, History of the Kings of_, 251, 252
France, Jeanne de (Queen of Navarre, daughter of Charles VII), 148; _Book of Hours_ designed for, 160
_France, Les Fables de Marie de_, 130
France, Margot de (daughter of Catherine de Medicis), engagement, 22; portraits of, 233, 234, 238; marriage, 243
France, Marguerite de (sister of Henri II), portraits of, 141, 218, 244; history of, 218-221; marriage, 219
France, Mme. Adelaide de, portrait of, 260
France, Rénée de. See Rénée
France, war with Spain, 38 _et seq._; the Fronde rising, 44, 45; civil war, 55, 59; Peace of the Pyrenees, 64; invasion of Holland, 78-82; Revolution, 104, 105; gift of Musée Condé to the nation, 124
Francia, his _Annunciation_, 145
Francis I (formerly Duc d'Angoulême), Battle of Marignan, 6; jealous of Anne de Montmorency, 6; portraits of, 138, 141, 151, 158, 204, 206, 207, 213-215, 216, 228, 241; and Jean Perréal, 205; his daughter Marguerite de France, 220; Princesse Jeanne, 224
Francis II, imprisonment of Louis de Bourbon-Condé, 17, 18; illness, 18; death, 19; portraits of, 20, 229, 232
Fremiet, M., bronze by, 277
Fresnes, Comte de, 150
Frizzoni, Dr. G., 146
Froissart, Jean, French poet, manuscript, 143; description of the castle of Mehun-sur-Yevre, 177
Fromentin, Eugène (a celebrated writer and painter), his works, 139, 271, 272
Fronde, outbreak of the, 44, 45
Fry, Roger, and the _Maître de Moulins_, 199
Gaignière, Robert, collection of French drawings, 141, 151, 156; his _Receuils_, 185, 188, 201; discovers portrait of _Jean le Bon_, 200; miniatures, 207; portraits, 208, 218, 245
_Gallic War_, manuscript history of, 157, 204, 206
_Game of Chess, A_, by Carmontelle, 144
Gardiner, Mrs. John, owner of _The Virgin and the Holy Child_, 150
Gautier, Leonard, _Cupid and Psyche_, 6; _Kings of France_, 215
_Gazette des Beaux Arts_, 172, 198, 203 _n_.
_Genealogy of the Blessed Virgin_, a _Mariensippe_, 186
George I, portrait of, 142
_Georgette_, by Greuze, 262
Gerard, François (styled "the painter of Kings" and "King of Painters"), _Queen Marie Amélie_, 137; _Napoleon_, 146, 268
Gericault, M., 147; a pioneer of Romanticism, 270
Gérome, M., _Le Duel après le Bal_, 135
Gervaisais, Marquis de, and Princess Louise de Condé, 102, 103
Ghirlandajo frescoes, 190
Gillott, Claude, earliest creator of the Watteau style, 258, 259
Giorgione, M., _The Woman taken in Adultery_, 135
Giotto's _Death of the Virgin_, 145
Giovanni del Ponte di San Stefano, _The Coronation of the Virgin_, 145
Gobelins tapestry, the, 132, 251, 256
Goes, Ugo Van der, the _Grand Bâtard_, 142
Goldschmidt, Leopold, 149, 150
Gondi, Albert de, portrait of, 235
Gondi, Henri, Archdeacon of Paris, portrait of, 245
Gondi, Paul (subsequently known as Cardinal Retz), Archbishop of Paris and the Fronde rising, 44; and the Queen Regent, 56, 57
Gonzague, Princesse Anne de (known as Princesse Palatine), and the Grand Condé, 42, 43, 54, 70; at Chantilly, 75; a free-thinker, 87; death, 87
Gonzague, Princesse Louise Marie de (afterwards Queen of Poland), and the Grand Condé, 42, 43, 54; and the Crown of Poland, 69; a free-thinker, 87
Gouffier, Artur and Guillaume, portraits of, 205
Goujon, Jean, the altar of Senlis marble, 123; his altar reliefs, 277
Gourdel, Pierre, a follower of François Clouet, 245
_Graces, The Three_, by Raphael, 148, 149, 187
Grammont, Duchesse de, on the death of Henri de Bourbon-Condé, 28
Grammont, Maréchal de, at Chantilly, 75
_Grenadiers à Cheval à Eylau, Les_, by Detaille, 272, 274
Greuze, J. B. (French painter), his style and works, 139, 261-263, 267
_Grimani._ See Breviary
Grinningen, victory of, 97
Gros, Antoine Jean, Baron, painter, 139
Gruyer, M. F., a _Catalogue Raisonnée_ of the Musée Condé, 144, 247; on _Les Très Riches Heures_, 160; his works, 251
Guercino, works of, 84, 132
Guido of Pisa, _Commentary_, 157
Guido Reni, a celebrated Italian painter, 132
Guifard, M., 9
Guise, Duc de (son of Duc d'Aumale), at Chantilly, 120, 121; death, 122; portrait by Clouet, 214
Guise, Duc de (le Balafré), miniature of, 138
Guise, Duc Claude de, portrait of, 213
Guise, Henri, Duc de, the War of the Four Henris, 25, 26; death, 26, 27; _Assassination_ of, by Delaroche, 134, 269, 270; portrait by Dumoustier, 245, 246
Guises of Lorraine, the, 17
_Guitar Player, The_, by Watteau, 258
Hagford album, in Salting Bequest, 242
Hainau, Count, 165 _n._
"Hameau," a, at Chantilly, 98
Hamilton Palace Sale, 147, 150
Haros, Louis de (minister of Philip IV), Peace of the Pyrenees, 64; portrait of, 143
Hauteville, Elizabeth de (afterwards Comtesse de Beauvais), marries Cardinal Coligny, 237
Hawking, art revived by the Grand Condé, 84
_Hay Wain, The_, by Constable, 273
"Hegli," 6
Heidelberg, Capture of, 82
Henri I de Bourbon. See Condé, second Prince de
Henri II creates Anne de Montmorency a Duke, 8; portraits of, 26, 133, 151, 236
Henri II de Bourbon. See Condé, third Prince de
Henri III (formerly Duc d'Anjou), admiration for Marie de Clève, 22, 24; and the Huguenots, 23; battle at Coutras, 26; assassination of, 27; portraits of, 133, 141, 244
Henri IV (Henri de Bourbon, King of Navarre), admiration for Charlotte de Montmorency of Chantilly, 10, 11, 28; murder of, 15; marriage, 22, and the Protestant faith, 23, 24; War of the Four Henris, 25, 26; succeeds to the throne, 27; portraits of, 138, 142, 277
Henri, Duc de Guise. See Guise
Henri of Navarre. See Henri IV
Herbert of Cherbury, Lord, his _Memoirs_, 9
Hery, Claude de, 242
Hesdin, Jaquemart de, executes _Très Belles Heures_, 165, 177 _n._
Heseltine Collection, 207 _n._, 214 _n._
Heures d'Ailly. See Book of Hours
Heures d'Anjou. See Book of Hours
Heures d'Aragon. See Book of Hours
Heuzey, Léon, on date of _Minerva_, 136
_Histoire des Princes de Condé_, by Duc d'Aumale, 38, 74
_Histoire litteraire de la France_, 157
_History of Art in England_, 201 _n._
Hoe, Robert, sale of his collection, 198 _n._
Holbein, Jean, portrait by, 131; _Jean de Bugenhagen_, 142; the Hagford Collection, 242
Holland submerged to stay the French advance, 79
Holland, Lord, presents _Talleyrand's_ portrait to Duc d'Aumale, 138
_Holy Family_, by Jacopo Palma, 145
_Hommes Illustres_, Thevet's, 212, 215
Hôpital, Michael de le, resignation of, 20
Hortense, Queen, owner of Chantilly, 109
_Hours of Anne de Beaujeu._ See Book of Hours
_Hours of Turin._ See Book of Hours
Howard Collection, 151, 152, 242
Huet, Christophe, works by, 132; designer and decorator of the _Grande Chinoiserie_ at Chantilly, 259, 260
Huet, Jean Baptiste (son of above), painter, 260
Hugo, Victor, his letter to the Duc d'Aumale, 147, 148
Huguenots, Prince de Condé one of their leaders, 17; religious wars, 20, 21, 23-26; protected by the Grand Condé, 85
Hulin, M., 199
_Huntsman with his dog and bag of game_, by Desporte, 256
_Husband and Wife_, 146
_Infancy of Bacchus_, by Poussin, 135, 249
_Inferno_, Dante's, 157
_Ingeburge, Psalter of Queen_, 158, 159
Ingres, Jean D. A., works by, 133, 135, 147; his pupil David, 269 _Inventory_ of Charles V, 159; of the Palais de Tournelle, 241
Isabella, Archduchess, and the Princesse de Condé, 14, 15
Italian enamel, 141
Italian manuscripts, 138
James V of Scotland, marriage, 218
Jarnac, Battle of, 20
Jean II, Baron de Montmorency, 4
Jean le Bon (father of Charles V of France), portrait of, 200
_Jeanne d'Arc_, by Chapu, 276
_Joconde, La_, Reiset Collection, 131
Johannesberg, Grand Condé's victory at, 97
Jones Collection in Victoria and Albert Museum, 232
_Joseph and Potiphar's Wife_, by Prud'hon, 258, 267
_Josephine_, portrait by Prud'hon, 267
Josephus, _Antiquitates Judæorum_ of, 155, 181, 182, 185, 189, 200
Jott, Madame de, portrait by, 104
Joyeuse, Duc de, battle of Coutras, 26
_Jupiter_, a bronze, 136
Just de Tournon. See Tournon
_Juvenal des Ursins_, portrait of, 181
Kahn, Rudolph, presented _Madame d'Elboeuf_ to the Louvre, 244
Kaiser Friedrich Collection at Berlin, 185
_King Ahasuerus and Esther_, 149
_Kings of France._ See Gautier
Laborde, Comte de, his discoveries, 197
Laborde, Jean de, _Songs_ of, 130; _La Renaissance_ and _Comptes des Bâtiments_, 212 _n._
Labruyère, Jean de, statue of, 89
Lagneau Brothers, their work, 245
Lami, Eugène (painter), his work, 118
_Lansac, Madame de_, portrait by Corneille, 141
Lancret, Nicolas, his _Déjeuner de Jambon_, 134, 259
Langeais, Châteaux of, bequeathed to the French nation, 7
Langeron, Mme. de, hostess at Chantilly, 87
Largillière, Nicolas, his works, 133, 254
_Last Judgment_, by Signorelli, 131
Latour, Maurice Quentin de (painter), his works, 260
Lawrence, Sir Thomas, 149
Leclerc, Nicolas, sculptor, 210
Lecomte, Sauveur, painter of the Grand Condé's famous deeds, 39, 68, 90
Lecurieur Album, the famous, 235
Leczinska of Poland, Maria, marriage with Louis XV, 93; at Chantilly, 95
_Legenda Aurea_ of Jacopo da Voragine, the property of Charles V of France, 158, 188, 193
Lenet accomplishes with Claire-Clemence the release of the Grande Condé, 49, 50, 52, 54; at Bordeaux, 61; financial difficulties of the Grand Condé, 62, 63
Lenoir, Alexander, a faithful guardian of French treasures during French Revolution, 112, 141
Lens, Battle of, 43
_Lepic à Eylau, Le Colonel_, by Détaille, 152
Leprieur, M., _Gazette des Beaux Arts_, 198 _n._
Lestrange, Madame, portrait by Clouet, 223, 224
Leyden, Lucas van, _The Return of the Prodigal Son_, 131
Lichtenstein Gallery at Vienna, 150, 181
Ligny, Comte, portraits by Perréal, 202, 203
Lille made a French town, 78
Limbourg, Pol, and his brothers, miniatures by, 153, 155, 172; illuminated manuscripts by, 162; _Très Riches Heures_, 152, 154, 156, 158, 160, 162, 164-179, 192, 193; _Belles Heures_, 184
Limeuil, Isabelle de, and the Grand Condé, 19
Limoges enamel, portraits in, 136
Limousin, M., painter, 215; enamel portraits by, 277
Lippi, Filippo, his works at Chantilly, 145; Filippino, 149
_Liselotte as a Maid_, by Largillière, 254
_Livres d'Heures._ See Book of Hours
Livy's _Second Decade_ translated by Pierre Bersuire, 157
Lochis Collection at Bergamo, 223
Longhi, Luca (painter), 132
Longueville, Duc de, and Grand Condé's arrest, 48; death, 64
Longueville, Duc de (son of above), death 80
Longueville, Duchesse de (formerly Geneviève de Bourbon), portraits of, 12, 133, 251; birth, 31; beautiful but vain, 34; and Claire-Clemence, 34, 35, 73; joins the Fronde, 45; escape from Mazarin, 49; at Saint-Maur, 57; wins over her brother the Grand Condé to ally himself with Spain, 58; at Bordeaux, 61, 62; retires to a convent on death of her husband, 64; her son's death, 81; becomes a pious Jansenite, 87
Loo, Van, portraits by, 133, 147
Lorraine, Cardinal de, and Queen Mary Stuart, 21 _n._
Lorraine, Catherine de, portrait of, 136
Lorraine, Claude, his wonderful atmospheric effects, 250
Louis II of Anjou, King of Sicily, portrait of, 201
Louis XI, portrait as founder of the Order of St. Michael, 181; as one of the Magi, 191
Louis XII, portraits of, 203, 207-210; appoints Jean Perréal Court-painter, 205; _Tournois_ tapestry, 208; medal of, 210
_Louis XII, Lettres de_, by Just de Tournon, 205
Louis XIII regrets his cruelty to the Condé family, 32; and Richelieu, 37; last words and death, 39; portraits of, 143, 245
Louis XIV and Isabelle de Montmorency, 42; reception of the Grand Condé, 44, 64, 66; the Fronde rising, 45; proclaimed King, 57; recovers Paris, 60; entry into Paris, 65; refuses a _lettre de cachet_ against Claire-Clemence, 71; at Fontainebleau, 75; and Mme. de Montespan, 75; at Chantilly, 76, 77; war with Holland and Spain, 78-82; portrait of, 134; and the Gaignières bequest, 156; appoints Charles Le Brun Court-painter, 252; death, 257
Louis XV at Chantilly, 92, 95; intrigues of Mme. de Prie, 93, 94; and the Duchesse de Bourbon, 95; and the _pacte de famine_, 101; portrait of, 261
Louis XVI and the French Revolution, 104, 105, 107; portrait of, 261
Louis Bordeaux (son of the Grand Condé), rejoicings at his birth, 61; early death, 62
Louis Philippe. See Orléans, Duc de
_Lucifer_, 175
Luignes, Duc de, his _Mémoires_, 95
Luini, Bernardino, his paintings at Chantilly, 145
Lusignan, Fortress in the _Calendar_ of Months, 168
Lustrac, Marguerite de, and Louis de Bourbon, 19
McCall, Colonel, administers the estate of Chantilly, 119
_Madonna_, by Sassoferrata, 133; the Maison d'Orléans, by Raphael, 140, 187; the Bridgewater, 140; by Bissolo, 145; by Fouquet, 181, 185; by Bourdichon, 198; by Mignard, 252
_Magdalen_, portrait by Mignard, 198
_Magi._ See Adoration and Procession of
_Maison de Sylvie_, 32
Maison, Marquis, collection of, 139
_Maître de Moulins_, 199
Malatesta. See Paolo
Malebranche, Nicolas, philosopher and theologian, 83
_Malediction Paternelle_, by Greuze, 262
Malonel, M., Court-painter to the Duke of Burgundy, 173
_Man and Woman, A_, 131
_Man with a Glass of Wine_, by Fouquet, 181
Mangin, Jean, _Cupid and Psyche_, 6
Mannheim, Capture of, 82
_Mannier, Les le_, by G. Moreau Nélaton, 229
Manuscripts, French illuminated, 154 _et seq._, 204
Marchand, insults the Duchesse de Duras, 107
Marck, Robert de la, portrait of, 235
Margot de France. See France, Margot de
Marguerite, Princesse (daughter of Duc de Nemours), marriage, 121; portrait of, 226
Marie Amélie, Princesse (daughter of Comte de Paris), betrothal to Duke of Braganza, 124
Marie Amélie, Queen (wife of Louis Philippe), portrait by Gerard, 137; her collection, 138; visit from her son the Duc d'Aumale, 160
Marie Anne of Bavaria, portrait of, 138
Marie Antoinette (wife of Louis XVI), visits Chantilly, 97; portraits of, as _Hebe_, 142, 263
Marie Caroline, Queen of Naples, portrait by Mme. Vigée Le Brun, 263
Marie de Medicis, portrait of, 138
Marie Louise (wife of Napoleon), portrait by Prud'hon, 267
Marie Louise Josephine (wife of Grand Duke of Tuscany), portrait by Mme. Vigée le Brun, 263, 264
Marie Thérèse of Spain, Infanta, marriage to Louis XIV, 64; portrait of, 138
Marie Thérèse Caroline (wife of Francis II, Emperor of Germany), portrait by Mme. Vigée Le Brun, 263
_Mariensippe_, a, 186, 188
Mariette, M., his bequests to the Louvre, 156; on Largillière's personal vigour, 254
Marignan. See Preux de
Marilhat, M., his works at Musée Condé, 139
Marmion, Simon, his fine altar-piece at Saint-Bertin, 178, 197
Marqueste, M., his figure of St. Louis, 276
_Marriage of St. Francis of Assisi to Poverty_, by Sassetta, 145
_Marriage of the Virgin, The_, 188
_Mars and Venus_, by Paolo Veronese, 135
Martel, M. le Comte, 145
_Martigné Briant, Madame de_, portrait of, 244
Martini, Simone, 173
_Martyrdom of St. Stephen, The_, by Carracci, 135
Mary Stuart, portraits of, Frontispiece, 229, 232, 241; King's insulting words to, 242
_Mary's Obsequies_, by Fouquet, 193
_Mary Tudor_, portrait of, 242
Masaccio, Tomaso, 171 _n._; his work in the Brancacci Chapel in Florence, 192
_Massacre of the Innocents_, by Poussin, 135
Maulde, M. de, and the _Maître de Moulins_, 199
_May Day_, miniature of, 168
Mazarin, Cardinal, created Cardinal, 36; an implacable enemy to the Grand Condé, 40, 47-49, 53, 55, 57, 59-66; his attempt to force taxation on merchandise, 44; his exile, 55, 56, 57; helps the King to recover Paris, 60; Peace of the Pyrenees, 63, 64; reconciliation with Grand Condé, 65; portraits of, 134, 142, 251
Mazzola, Giuseppe, his works in the Musée Condé, 132
Mecklenburg-Schwerin, Duke of, marriage, 42
Medici, Giuliano del, and Simonetta Vespucci, 146
Medicis, Queen Catherine de (wife of Henri II), her dislike for Anne de Montmorency, 8; appointed Regent, 18-20; her character, 22; her son's treachery, 26; portraits of, 26, 141, 151, 230; her _Book of Hours_, 215; and M. Humières, 229; and Cardinal Odet de Coligny, 237; as a collector and severe critic, 238-245
Medicis, Queen Marie de (wife of Henri IV of France), 12; murder of Henri IV, 15; and the Grand Condé, 38; miniature of, 138
Mehun-sur-Yèvre, Castle of, 177
Meissonier, Jean L. E., his works, 138, 152
Méjanés Collection at Aix, 214
Mely, M. de, _Gazette des Beaux Arts_, 172 _n._
Memling, painting by, 62
Mène, M., bronzes by, 277
_Mercure de France_, description of entertainments at Chantilly, 90
Mesangère, Pierre de la, his collection, 144
Mesmes, Henri de, _Psalter of Queen Ingeburge_ presented to, 159; and Catherine de Medicis, 242, 243
Meulen, Van, _History of the Kings of France_, 251
Michelangelo's _Slaves_, 276
Michel de l'Hôpital, resignation of, 20
Mierevelt's, _Elizabeth Stuart_, 133
Mignard, Pierre, and the Grand Condé, 84; portraits by, 84, 133, 142; life of, 252, 253
Millet, François, painter of the Barbizon School, 169, 275
_Minerva_, a famous bronze, 136, 137
_Miracle of the Loaves_, 177
_Missal of St. Denis_ in the Victoria and Albert Museum, 160
Molière, J., at Chantilly, 75, 83; his poem _Amphitryon_, 75; portraits of, 84, 142, 253; statues of, 89, 276
_Monatshefte für Kunstwissenschaft_, by Louise M. Richter, 204 _n._
Montaigne, Michel de, portrait of, 147; his _Journal du voyage_, 196
Montbas, the Dutch General, and William of Orange, 80
Montecucoli, Comte de, Austrian General, battle of Salzbach, 82
Montespan, Mme., mistress of Louis XIV, 75; her daughter's marriage, 85, 86; portrait of, 143
Montfaucon, Bernard de, and the _Book of Hours_, 186
Months. See Calendar
Monticelli, painter of the Second Empire, 276
_Montjoies_, 175
Montmorency, Anne de (known as the _Grand Connétable_), history of, 5 _et seq._; his artistic taste, 5, 6; as a warrior, 6, 8; jealousy of Francis I, 6; Diane de Poitiers, 7; created Duke, and death, 8; portraits of, 8, 205, 230; and Emperor Charles V, 10; _Book of Hours_, 158; statue by Dubois, 276; bust, 277
Montmorency, Charlotte de (wife of third Prince de Condé), her beauty, 9; Henri IV's admiration for, 10-15; marriage and retirement to the country, 12; flight to the Netherlands and life there, 12-14; shares her husband's imprisonment, 30, 31; flight from Paris, 45; at Chantilly, 50
Montmorency, François de, succeeds Anne de Montmorency as Lord of Chantilly, and marriage, 9
Montmorency, Guillaume de, history of, 4, 5; portraits of, 4, 206
Montmorency, Henri II de, Lord of Chantilly, imprisonment and execution of, 4, 31; portrait of, 248
Montmorency, Isabelle de, her pernicious influence over the Grand Condé, 42
Montmorency, Jean de, 4
Montmorency, Jean II de, marriage, 4
Montroux, escape of Claire-Clemence to, 51, 52, 54
_Mordecai on Horseback_ in the Lichtenstein Gallery in Vienna, 150
Morgan, J. F. Pierpont, his collection, 262, 265
Moro, Antonio, his works in the Musée Condé, 84
Moroni, Giovanni, a portrait by, 132
_Moulins, Maître de_, 199, 200
Mulhouse, victory at, 82
Munich Public Library, works by Fouquet at, 181, 182
Musée Carnevalet, 263
Musée Condé. See Condé
Museo Nationale at Florence, 203
_Mystic Marriage of St. Francis, The_, Gassetta, 146
Nain, Brothers le, their paintings, 248
Nantes, Edict of, 85
Nantes, Mlle. (daughter of Louis XIV), child marriage, 85, 86; portrait of, 255
Naples, Queen of. See Marie Caroline
Napoleon I, his _Memoirs_, 105; Chantilly the property of the State, 109; portraits by Gérard, 146, 268; by Meissonier, 272; and Prud'hon, 267
National Gallery, Claude Lorraine's finest landscapes in, 250
_Nativity of Christ_, by Fouquet, 191
Nattier, Jean Marc, his paintings, 96, 254, 255
Navarre, Henri de. See Henri IV
Navarre, King of. See Bourbon, Antoine de
Navarre, Queen of. See Albret, Jeanne de
Navarre, Nicholas Baron, his manuscripts, 185
Nélaton, Moreau, 203, 239; his drawing in red chalk of Cardinal Odet de Coligny, 237; _Erasmus_, 238; _Le Portrait à la cour des Valois_, 239 _n._
Nemours, Duc de, 56; portraits by Fouquet, 141; _Antiquitates Judæorum_, 183
Nemours, Duchesse de, her description of the Grand Condé, 57
Neubourg, Duc of, portrait by Van Dyck, 133
Nevers, Louis de, portraits of, 214, 223, 238
Nieuwenhuys, M., sells _Mars and Venus_, 135
Nolivos Sale, 137
Nord, Comte du (afterwards Emperor Paul of Russia), his visit to Chantilly, 98-100
Nördlingen, Battle of, 40
Northbrook Collection, 208
Northwick Sale, 135
Nôtre, André Le, lays out the Gardens at Chantilly, 66, 67; statues of, 89, 276
_Numa Pompilius and the Nymph Egeria_, by Poussin, 249
Oberkirch, Baroness, describes the visit of the Comte du Nord to Chantilly, 99, 100
Odet de Foix. See Foix.
_Old Man_, by Brothers Lagneau, 245
Orgemont, Pierre de (Chancellor to Charles V of France), owned Chantilly, 3
Orlant, Prince, portrait of, 198
_Orléans, Charles Maximilian_, 239
Orléans, Duc de (afterwards King Louis Philippe), death of Louis Joseph de Condé, 113; breeds English racehorses in France, 116; visit to Chantilly, 118; abdication, 118, 119; portraits of, 137, 266, 267
Orléans, Duchesse de (wife of above), portrait by Gérard, 268
Orléans, Duc de (son of above), portrait of and death, 268
Orléans, Gaston, Duc de (brother of Louis XIII), and the Grand Condé, 55, 56, 57, 60; portraits of, 137, 143; owned _Vierge de la Maison d'Orléans_, 139
Orléans, Girard de, assists Jean de Coste to decorate the Château de Vaudreuil, 200
Orléans, Henri de. See Aumale, Duc de
Orléans, Louise Marie Thérèse Bathilde de, marriage, 97
Orme, Nicolas, translates Aristotle's _Ethics_, 157
_Oronce Finé_, portrait by Clouet of, 212, 213
Orsini, Marie Felice, pleads in vain for her husband Henri de Montmorency's life, 31, 32
Otto I, Emperor, portrait of, 138
Oudry, M., his works, 132, 256; _Mary Stuart_, 233; character of his work, 255, 256
_Oursine_, meaning of name, 174; portrait of, 176
Palatine, Princess. See Princess
Palisse, Seigneur de la, portraits of, 202, 205
Pallavicini, villa at Pegli, illness of Queen Marie Amélie, 161
Palma, Jacopo, _Holy Family_, 145
Panizzi, Sir Antonio, Principal Librarian of the British Museum, 161
_Paolo Malatesta and Francesca da Rimini_, by Ingres, 133
Paon, Le, a hunting-scene by, 100
_Papal Legate_, by Fouquet, 207 _n._
_Parement de Narbonne_, now in the Louvre, 154
Paris, breaking out of the Fronde, and blockade of, 44, 45; welcome of the Grand Condé, 55; capture of Paris by the Grand Condé and retreat from, 60; entry of Louis XIV, 65; painting by Dupré, 275
Paris, Comte de. See Louis Philippe
Paris, Comte de, abdication of his grandfather Louis Philippe in his favour, 119
Paris, Gaston, _Histoire litteraire de la France_, 157
Pazet, Jean, a follower of Fouquet, 197
Pembroke, Earl of, owner of the _Parement de Narbonne_, 154
Penni, Luca, his works in Musée Condé, 132
Peronneau, M., his works, 261
Perrault, M., 267
Perréal, Jean (Court-painter to Louis XII), his works, 4, 151, 189 _et seq._, 199-210, 218; a follower of Fouquet, 197; history of, 199, 202-210
Perugino, 135
Petit-Château, 6, 123
Philip II, King of Spain, and the Princesse de Condé, 14
Philip le Beau, portrait of, 208
Philippe Augustus, illustrations of events in his life in _Chronique de France_, 182
Philippe Egalité, portraits by Sir Joshua Reynolds, 134; by Fleury, 137; by Vernet, 266
_Philobiblon Miscellanies_, The, 164
Pichius, Albertus, _The Gallic War_, 157
Pichon, Baron, his collection, 246
Pierre des Iles, known as "Macon" of Chantilly, 8
Pisanello, 131
Pisseleu, Jossine (niece of Duchesse d'Estampes), portraits of, 227, 234
Pitt, William, reception in England of Louise de Condé, 110
Pius V, Pope, and Cardinal Odet de Coligny, 237
_Plaisir Pastoral_, by Watteau, 258
_Pluto and Proserpine plucking Daffodils_, by Chapu, 276
Poitiers, Castle of, in _Calendar_ of Months, 170
Poitiers, Diane de (mistress of Henri II), intimate friend of Anne de Montmorency, 7, 230; portraits of, 141, 240, 241; her beautiful daughter "Brasseu," 228; reception at Lyons, 231
Poliziano, writer of sonnets on Simonetta Vespucci, 146
Pollaiuolo, Antonio, 146
Pompadour, Mme. de, and Boucher, 257; portraits of, 257, 263
_Pompey enters the Temple in Triumph_ in _Antiquitates Judæorum_, 189
_Pont de Sèvres_, by S. W. Reynolds, 274
Porcelain, collection of Chantilly, 277
_Port St. Nicholas_, by Dupré, 275
Pot, Anne de (mother of Anne de Montmorency), marriage, 5
Pourbus, portrait of _Henri IV_, 142
Pourtales vase, the famous, 136
Poussin, Nicolas, his works, 135, 146, 249, 250; history of, 249, 250; and Simon Vouet, 251
_Prayer Book of Anne de Bretagne_, 198
_Precieuses Ridicules, The_, acted at Chantilly, 75
Presler, Raoul de, translates St. Augustine's _Cité de Dieu_, 157
_Preux de Marignan_, 151, 157, 202, 204; painted by Perréal, 204, 206
Prie, Mme. de (mistress of the Duc de Bourbon), charms and machinations of, 93, 94; exile and death, 94
Primaticcio, Francesco, his portrait of Henri II, 133, 236; the frescoes at Fontainebleau, 228
Princess Palatine, Charlotte Elizabeth (devoted friend of the Grand Condé), portrait of, 245; Charlotte Elizabeth (second wife of Philippe d'Orléans), 254
_Procession, A_, by Bouts, 146; _of the Magi_, by the Limbourgs, 174, 201 _n._
_Prophets_, by Michael Angelo, 131
Protais, _Avant et après le Combat_, 135
Protestant cause in France, 17-19, 21, 23, 85; disaster at Vimory and Auneau, 26
Provence, Comte de, portrait by Duplessis, 261
Prud'hon, Pierre, works by, 139, 147, 258, 267; Napoleon confers the Legion of Honour on, 267
_Psalter of Queen Ingeburge of Denmark_, 150, 158
Pucelle, Jean, 160
Pyrenees, Peace of the, 64
Quesnel, Brothers, works by, 142, 143, 246
Quesnoy, M. (French sculptor), and Poussin, 249
Quitaut, Captain, arrests the Grand Condé, 48
Quthe, Pierre, portraits by François Clouet, 235, 236
Racine, Jean, at Chantilly, 75, 76, 83
Raimondi, Marc Antonio, works of, 134
Raphael, works by, 130, 139, 140, 148, 149
Ravaillac assassinates Henri IV, 15
_Reading Monk, A_, by Raphael, 130
Reboul's Collection, 149
_Recueils, Gaignière_, 185, 186; _Lenoir_, 214; _Marriette_, 214; _d'Orange_, 214; _du Tillet_, 215; _d'Arras_, 215
_Reine de Mai, La_, 168
Reiset Collection, 130, 144-146, 156, 269
Rembrandt, Paul, _Mountainous Landscape_, 131; other works, 134
Renaissance, distinction between French and Italian, 7; architecture, 187
_Renaissance, La_, by Laborde, 212
René, King, owned _Livre d'Heures_, 202
Rénée de France (Duchesse de Ferrara), her marriage, 221; portraits of, 218, 221
Reni, Guido, his work at Musée Condé, 132
_Repos des paysans, Le_, by Brothers le Nain, 248
_Resurrection_, 138
_Return from the Captivity_, 184
_Return of the Prodigal Son_, by Lucas van Leyden, 131
Retz, Cardinal de. See Gondi, Paul
Retz, Duc de, portraits of, 142, 235
Retz, Mme. de, portrait of, 235
Reynolds, Sir Joshua, portraits of _Philippe Egalité_, 134; _Maria Lady Waldegrave with her daughter_, 138
Reynolds, S. W. (Constable's friend and pupil), works by, 138, 274
Rheno-Byzantine painting of _King Otto I_, 138
_Rhetorics._ See Cicero
Richelieu, Cardinal, imprisonment of third Prince de Condé, 31; marries his niece to the Grand Condé, 34-36; selects the Grand Condé as Commander-in-Chief, 37; portraits of, 134, 250, 277
Richter, Louise M., _Monatshefte für Kunstwissenschaft_, 204
Riesener, M., a splendid cabinet at Chantilly by, 134
Rigaud, Hyacinthe, portrait painter, 134, 253
Riom, Castle of, 169
Robertet, François (secretary to Duc de Bourbon), on Josephus' _Antiquities_, 155, 183
Robinson, Sir Charles, sells Italian manuscripts to Duc d'Aumale, 138
Rochefoucauld, Duc de, 56
Rochelle, La, Huguenots' flight to, 21, 23
Rocroy, Battle of, 39
Rohan, Princesse Charlotte de, 110
_Roman Campagna, A View of_, by Dughet, 250
_Roman Campagna, Aqueducts of_, by Claude Lorraine, 250
Romano, Giulio, his works at Musée Condé, 132
_Rome, Plan of_, 152, 177
Rosa, Salvator, works by, 133
Rosso executes frescoes at Fontainebleau, 228
Rothschild, Baron Adolph de, his collection, 165
Rothschild, Baron Edmond de, owner of _Belles Heures de Jean de Berry_, 179
Rothschild, Maurice de, owner of _Book of Hours_, 160
Roye, Eleanore de (wife of first Prince de Condé), marriage and imprisonment of her husband, 17; his release, 19; her death, 20
Russell, Fuller, sells the Jean de France diptych to Duc d'Aumale, 148
Ruysdael, Jacob, _Dunes at Scheveningen_, 139; other works, 147
St. Augustine's _Cité de Dieu_, 157
St. Bartholomew, Massacre of, 20, 22, 243
St. Bertin, fine altarpiece at, 197
_St. Bruno, Scenes from the Life of_, by Le Sueur, 252
_St. Catherine_ on the Louvre, 130
St. Chapelle, 169, 189
St. Denis, Convent of, Claire-Clemence at, 35, 36
_St. Denis, Missal of_, in Victoria and Albert Museum, 160
St. Etienne, Guillaume de, a monk, 157
St. Evremond, his praise of the Grand Condé, 87, 88
_St. Francis._ See _Mystic Marriage of Ste. Geneviève_, by Chavannes, 269
_St. John, Birth of_, by Fouquet, 188, 190
_St. Louis_, by Marqueste, 276
_St. Margaret_, by Fouquet, 186
_St. Martin dividing his Mantle_, in the Conches Collection, 186
_St. Mary Magdalen_, at Frankfort, 269
St. Michel, Mont, 177
_St. Michel, MS. de_, 202
St. Priest, Jehan de, sculptor, 210
St. Simon's _Mémoires_, 91, 246
St. Stephen's Chapel at Westminster, paintings in, 201
_Sacre et l'Intronisation de l'Empereur_, by David, 269
Salerno, Prince de, his collection, 132, 133
_Salière du Pavillon_, by Pol Limbourg, 167
Salting Collection, in the British Museum, 152, 230, 231, 242
San Donato Sale, 139
_Santuario_ at Chantilly, 186
Sarcophagus, antique, _Bacchus and Ariadne_, 137
Sarrazin, Jacques, bronze monument of Henri II de Bourbon, 123
Sarto, Andrea del, his works at Chantilly, 132
Sassetta, _The Marriage of St. Francis of Assisi to Poverty_, 145, 146
Sassoferrato, Giambattista, _Madonna_, 133
Saumur, Castle of, in _Calendar_ of Months, 170
Sauvageot Collection, 214
Savoy, Charles of, owned _The Breviary_, 162
Savoy, Charles Emmanuel, education of, 221
Savoy, Philibert, and Perréal, 209
Scheffer, Ary, works by, 138, 268; his pupil Puvis de Chavannes, 269; and Rousseau, 275
Schlestadt, Battle of, 82
_Second Appearance of Esther before Ahasuerus_, 149
_Second Decade_, Livy's, translated by Pierre Bersuire, 157
Secretan Sale, 152
Seillier, Baron, 150
Senlis, Seigneurs of, also named _Bouteillers_, 3
Sévigné, Mme. de, _Letters of_, describes Chantilly, 76, 83
_Shepherd in the Pyrenees, A_, by Rosa Bonheur, 135
Sienese School, 139
_Sieur de Canaples_, portraits of, 223
Signorelli frescoes, 176
_Simonetta Vespucci_, portrait of, 146
Sixtine Chapel, 131
_Soleil Couchant_, by Dupré, 275
Soltykoff Sale, 136
_Sommeil de Psyche_, by Prud'hon, 267
Sotheby, auctioneer, sale of _Antiquitates Judæorum_, 183
Soubise, Princesse Charlotte de, marriage to sixth Prince de Condé, 96; portraits of, 96, 255; character and death, 97
_Souvenir d'Italie_, by Corot, 275
Spada, Lionello, his work at Musée Condé, 132
Spain, war with France, 38 _et seq._, 78; Grand Condé's alliance with, 61; a lost battle, 63; Peace of Pyrenees, 64
Spain, Elizabeth, Queen of, portrait, 142
Spain, Infanta of, 93
Spinola, General, the captor of Breda, 163
Spinola, Marchese Ambroglio di, history of, 13, 14
Spinoza, Benedict, his Pantheistic doctrines, 87
Standish Library, the famous, 129, 130
_Statutes of the Order of St. Michael, The_, 181
Stella, Jacques, his portrait of the _Grand Condé_, 251
_Stratonice_ (Tribune), by Ingres, 269
Strozzi, Maréchal, portraits of, 231, 235
Stuart, Elizabeth, Queen of Bohemia, portrait of, 133
Stuart, Mary, Queen of Scots, 21
Sueur, Eustache le, his work, 252
Subleyras, M., his portrait of _Pope Benedict XIV_, 142
Sully, Maximilien, Duc de, Minister of Finance, portraits of, 138, 142, 246
_Sunrise and Sunset_, by Boucher, 257
_Surprise, La_, by Greuze, 262
Sutherland Collection, the, 141-143
_Table Ronde_, 157
Talleyrand-Périgord, Charles Maurice de, portraits of, 138, 268
Tanagra figures, four, 141
_Temptation of our Lord, The_, 176
_Tendre Desir, Le_, by Greuze, 262
Teniers, David, the younger, 36, 139
_Terrestrial Paradise_, 173
Thérèse, Marie, Queen of Louis XIV, portrait of, 138
_Thésée découvrant l'épée de son père_, by Poussin, 135, 249
Thevet's series of _Hommes Illustres_, 212, 215
Thionville, Battle of, 40
Thomson, Mr. Yates, his collection, 160, 181; _The Romance of a Book_, 183 _n._
Thouars, Duc de, 24
_Three Graces, The_, by Raphael, 148, 149, 187
_Tiburtine Sybil prophesying to Augustus_, 173
Tiepolo, his works at Musée Condé, 147
Titiens, Tiziano Vecelli, the celebrated painter, _Ecce Homo_, 135
Tixier, Père, and Claire-Clemence, 73
Tott, Mme. de, her portrait of _Louis Joseph de Bourbon_, 265
Touchet, Marie (mistress of Charles IX), portrait of, 244
Tour d'Auvergne, Henri de la. See Turenne
Tournon, Just de, portraits by Perréal of, 204, 205
_Toussaint, La_, by Fouquet, 194
Trémoille, Charlotte Catherine de la, portrait of, 16; history and marriage of, 24, 25; her husband's death, 27; compromising conduct of, 28; imprisonment, and birth of a son, 29; abjures the Protestant faith, 30
Trémoille, Duc de la, occupies Chantilly, 119
_Très Belles Heures._ See Book of Hours
_Très Riches Heures de Duc de Berry, Les._ See Book of Hours
Triqueti, Baron, buys the famous Pourtales vase, 136
Trivulzio, Prince, his collection, 165
Troy, De, _Déjeuner d'Huîtres_, 134
Tudor, Mary, portrait by Perréal, 205
Turenne (Henri de la Tour d'Auvergne), Vicomte de, Commander-in-Chief, 37; war between France and Spain, 38; Battle of Rocroy, 39; Battle of Nördlingen, 40; imprisonment of the Grand Condé, 49; reception of Claire-Clemence at Bordeaux, 52; compels the Grand Condé to retreat from Paris, 60; defeats the Grand Condé in battle near Dunkirk, 63; Peace of the Pyrenees, 64; reception of the Grand Condé, 65; at Chantilly, 75; marches into Flanders, 78; advance on Holland, 79 _et seq._; his death, 82, 83; bust by Derbais of, 277
_Turkish Guards on their way from Smyrna to Magnesia_, by Descamps, 271
_Turkish Landscape_, by Descamps, 271
_Unknown Lady_, by Clouet, 223
_Unknown Young Men_, by Clouet, 223
Utterson Sale, 134
Vaga, Perin del, his works at Musée Condé, 132
_Valere Maxime_, French translation of, 157
Valier, De S., portrait of, 238
Valois, Claude de, portrait of, 244
Valois, Elizabeth de, 233
Valois, Madeleine de, history and portrait of, 218
Valois, Princes of, hostages in hands of the Emperor Charles V, 6
Van der Velde, sea-piece by, 139
Van Dyck, Sir Anthony, his works, 84, 132, 133, 137
Van Loo's portrait of a _Young Woman_, 133
Vâtel, the _maître d'hôtel_ at Chantilly, commits suicide, 76
Vaudreuil, Château de, 200
Vauldy, M. de, the escape of Claire-Clemence, 51, 52
_Vedette des Dragons sous Louis XV_, La, by Meissonier, 272
_Venus Anadyomène_, by Ingres, 147, 270
_Venus and Adonis_, by Prud'hon, 267
Vermandois, Comtesse Eleanore de, 158.
Vermandois, Mme. de, 100
Vernet, Joseph, celebrated marine painter, 266
Vernet, Charles (son of above), his works at Musée Condé, 266
Vernet, Horace (son of above), his works at Musée Condé, 266, 267
Veronese, Paolo, his paintings, 84, 135
Verrochio, his drawings, 131
_Vespucci, Simonetta_, portrait of, 146
Victoria and Albert Museum, _Missal of St. Denis_, 160; _Mary Stuart, Queen of Scots_, 232 _n._; Chantilly porcelain, 277 _n._
Vielville, Maréchal de, portraits of, 231, 246
_Vierge de la Maison d'Orléans_, by Raphael, 139
_View near London, A_, by Constable, 273
Vilatte, M., painting by, 42, 146
Vimory, Battle of, 26
Vincennes, Château of, 159
_Virgin_, by Dürer, 131
_Virgin and the Holy Child_, 150
_Virgin as Protector of the Human Race, The_, 42, 146
_Virgin, Coronation of the_, by San Stefano, 145; by Limbourg Brothers, 178
_Virgin, Death of the_, by Giotto, 145
_Virgin, Marriage of the_, by Fouquet, 182, 188
_Virgin with the Infant Christ_, by Fouquet, 181
_Vision of St. Hubert_, by Baudry, 273
_Visitation, The_, by Fouquet, 186, 189
Voldemont, Monsieur de, portrait by François Clouet of, 239
Volterra, Daniele di, his works in Musée Condé, 132
Voragine, Jacopo da, _Legenda Aurea_, 188
Vouet, Simon, and the decoration of the Louvre, 249; Charles Le Brun his pupil, 251
Waagen, Dr. G. F., 161
_Waldegrave with her daughter, Maria Lady_, by Sir Joshua Reynolds, 138
Wallace Collection, compared with Musée Condé, 152; _Louis XII and Anne de Bretagne_, medal by Jean Perréal, 209; Watteau's works, 257, 259; Greuze's works, 262; Meissonier's works, 272
Walpole, Horace, his collection, 151
Warner, Mr., Librarian of Royal Library of Windsor, and the _Antiquitates Judæorum_, 183
_Warrior, A_, by Watteau, 258
_Warrior on horseback_, 131
Watteau, Ant., his paintings, 139, 143, 257, 258
Westphalia, Peace of, 44
William of Orange submerges Holland to withstand attacks of France, 79, 81, 82
Winterhalter, F. (Court-painter to Louis Philippe and Napoleon III), _Louis Philippe_, 137; _Duc d'Aumale_, 273
Wirty, De, the Dutch General, 80
_Woman taken in Adultery, The_, by Giorgione, 135
Woodburn Collection, 149
Würmser, the Austrian General, and Condé's regiment, 105
Yates-Thomson. See Thomson
_Young Boy_, by Greuze, 262
_Young Girl winding Wool_, by Greuze, 262
_Young Girl in a Cap_, by Greuze, 262
Zanzé, Vicomtesse de, collection of, 246
Ziem, the painter of Venice, _Les Eaux Douces d'Asie_, 276
_Zodiac, The_, in Très Riches Heures, 172
PRINTED BY
HAZELL, WATSON AND VINEY, LD.,
LONDON AND AYLESBURY.
* * * * *
ERRATA (corrected in etext)
Page 6, line 6. Boisy _instead of_ Boissy.
" 7, " 5. Viollet le Duc _instead of_ Violet le Duc.
" 25, " 8. Angers _instead of_ Angera.
" 28, " 21. la bague _instead of_ la bagoc.
" 105, " 9. Würmser _instead of_ Würmer.
" 141, last line. Madame de Lansac _instead of_ Lançai.
" 142, line 13. Subleyras _instead of_ Suleyras.
" 152, " 11. Détaille _instead of_ Détailleur.
" 155, " 8. 1416 _instead of_ 1516.
" 157, " 4. Raoul de Presles _instead of_ Raoul de Presler.
" " , " 5. Nicolas Oresmes _instead of_ Nicolas Orme.
" 162, " 13. 1454 _instead of_ 1545.
" 165, " 2 of _Note_. Hours _instead of_ Horus.
" 275, " 23. Dupré _instead of_ Duprés.
FOOTNOTES:
[1] This last-named castle has also been bequeathed to the French nation by its owner.
[2] The grandfather of Henri II de Bourbon, husband of the fair Charlotte de Montmorency.
[3] When the Cardinal de Lorraine, her uncle, suggested to the young Queen this marriage as political salvation for himself, she exclaimed ironically, "Truly I am beholden to my uncle. So that it be well with him, he careth not what becometh of me."
[4] See Plate VII.
[5] According to Brantôme, the Duc d'Anjou was inconsolable after her death and for a long time wore deepest mourning for her.
[6] See Plate VI.
[7] See p. 10 _et seq._
[8] _Journal historique et anecdote de la Cour et de Paris._
[9] Octave Homberg et Fernand Jousselin.
[10] See Plate V.
[11] Called in Germany "Allerheim" to distinguish it from the battle of Nördlingen, where the Archduke Ferdinand was victorious over Bernard of Weimar in 1434.
[12] This stone table is still used as a _rendezvous de chasse_ by the Duc and Duchesse de Chartres.
[13] He, however, was generally known not as Prince de Condé but as Duc de Bourbon or Monsieur le Duc.
[14] This brought enormous benefits to the Crown, but was the cause of the famine in 1768.
[15] "_Histoire de Chantilly pendant la Revolution_," par M. Alexandre Sorel.
[16] The Château d'Enghien, built in 1770, was chiefly used for the attendants and suites of the illustrious guests who came to Chantilly.
[17] See p. 8.
[18] A sketch for the well-known picture of that Saint in the National Gallery.
[19] There is a certain affinity between this picture and the portrait in the National Gallery which is said to represent _Ariosto_.
[20] The other is the _Madonna del Connestabile_ now in the Hermitage.
[21] See Plate XIV.
[22] _Der Breslauer Froissart_ von Arthur Lindner. (Berlin, 1912.)
[23] A drawing of which is in the British Museum.
[24] Bernhard Berenson, _A Sienese Painter of the Franciscan Legend_. (_Burlington Magazine_, 1903).
[25] See Plate XXIII.
[26] See Plate XII.
[27] DEAR AND ROYAL BROTHER,
I have just read your appreciative words about me. I write to you with emotion. You are a prince by birth and have become a man. For me your Royalty has ceased to be political and is now historical; my Republican conviction is not disturbed by it. You have contributed to the greatness of France. And I love you.
[28] See Plate XXV.
[29] Louis Dimier, _Les Portraits peints de François I_.
[30] This interesting picture was painted at Calais in 1396 on the occasion of the marriage between Richard II of England and Isabelle, daughter of the King of France.
[31] The first volume of this MS. is in the British Museum, and the second with the miniatures of the _Preux de Marignan_ in the Bibliothèque Nationale, Paris.
[32] _Purgatorio_, canto II, v. 80.
[33] Closely allied to the _Ingeburge Psalter_, and likewise showing English influence, is the _Arsenal_ MS., formerly at the Sainte-Chapelle, and executed for Blanche Castille, mother of St. Louis.
[34] Cf. p. 168.
[35] It was fortunate indeed that Comte Paul Durrieu had made a reproduction in phototype from the original _Hours of Turin_ before they were burnt; for they were by far the most interesting part of the MS. Some of the miniatures have been attributed to Hubert van Eyck--namely that portion which in 1417 belonged to Count Hainau, who is himself represented in one of them arriving with his train on the shores of the North Sea, where his daughter Jaqueline and her attendant ladies are awaiting him.
[36] See Plate XXVII.
[37] "_Une Salière d'agathe garnie d'or et de perles, laquelle salière l'artiste donna à monseigneur aux estraignes._"--Léon de Laborde, _Glossaire_, p. 367.
[38] See Plate XXVIII.
[39] Cf. p. 163.
[40] See Plate XXIX.
[41] See Plate XXX.
[42] See Plate XXXI.
[43] See Plate XXXII.
[44] See Plate XXXIII.
[45] See Plate XXXIV.
[46] See Plate XXXV.
[47] Masaccio (born in 1401), it is believed, could not have painted the frescoes at San Clemente before 1417; perhaps even, considering his age, rather later.
[48] M. de Mely, _Gazette des Beaux Arts_, 1912.
[49] Durrieu mentions that one of the _Kings_ seems to have been _inspired_ by this medal, but as a matter of fact he is _faithfully copied_ from it.
[50] See Plate XXXVIII.
[51] See Plate XXXIX.
[52] It was in this castle that the Duc de Berry commissioned André Beauneveu, Pol Limbourg's predecessor, to prepare for him a _Book of Hours_, subsequently completed with the assistance of Jacquemart de Hesdin. This MS., which contains a very characteristic portrait of the _Duke_ himself, is now to be seen in the Library at Brussels. Beauneveu died in 1413, two years before the Brothers Limbourg appeared upon the horizon of French Art.
[53] See Plate XXVI.
[54] Also called _Heures d'Ailly_, after its former owners.
[55] Probably the figure to the right drawn full face, for it bears an unmistakable resemblance to Fouquet's _Portrait of Himself_ in the Louvre, executed in enamel.
[56] Cf. _The Romance of a Book_, by Yates Thomson (_Burlington Magazine_, 1906).
[57] See Plate XL.
[58] See Plate LXI.
[59] See Plate XLII.
[60] See Plate XLIII.
[61] See Plate XLIV.
[62] See Plate XLV.
[63] We find this composition also in Duccio's famous altarpiece at Siena.
[64] All Saints' Day. See Plate XLVIII.
[65] _Journal du voyage de Michel Montaigne_, i. p. 17.
[66] In the collection of Mr. Ayr in London.
[67] M. Leprieur, _Gazette des Beaux Arts_, January 1911.
[68] A contemporary monument in the Cathedral at Tours erected by Anne de Bretagne to the memory of these two little boys has assisted greatly in the identification of these portraits.
[69] At the sale of the collection of Mr. Robert Hoe in New York there came to light another example of Bourdichon's skill in the _Hours of Anne de Beaujeu_.
[70] _MS. 18014_, Bibl. Nat. Paris.
[71] There is a portrait of the same monarch in a MS. at The Hague (copied for Gaignières) to which is attached a note giving its date and the name of the artist as a certain Jean de Bruges, who according to M. B. Prost seems to be identical with Johannes Bandol _pictor regis_.
[72] The three others, representing _Edward III_, _Charles IV of Germany_, and _Charles, Duke of Normandy_ (afterwards Charles V of France), have unfortunately disappeared.
[73] _The Magi with the Portraits of Edward III and Queen Philippa as Donors._
[74] _History of Art in England_ (Burlington Fine Arts Club Exhibition, 1909).
[75] Bibliothèque Nationale, Paris.
[76] A _chef d'oeuvre_ of French miniature-painting during the reign of Charles VIII (Bibliothèque Nationale, Paris).
[77] See Plate LII.
[78] _Gazette des Beaux Arts_, June 1907.
[79] Louise M. Richter, _Monatshefte für Kunstwissenschaft_, July 1909.
[80] See Plate L.
[81] See Plate LII.
[82] See Plate XLIX.
[83] _Lettres de Louis XII, Nouvelle citè de l'Heptameron._
[84] See Plate II.
[85] See Plate LII.
[86] _MS. Fr._ 20,490, fo. 6. These autographs display elegance in handwriting; and one of them refers to a mission with which Perréal was entrusted by Anne de Beaujeu, wife of Pierre de Bourbon, to fetch back the diamonds which she had deposited with Madame du Plessis Bourré during the Civil War. The Court of Moulins at that time was known as a centre of art and literature under the auspices of the cultured daughter of Louis XI.
[87] Among the drawings attributed to Fouquet the _Papal Legate_, formerly in the Heseltine Collection, is the best known.
[88] Called "of Navarre" because he worked for Marguerite de Valois, Queen of Navarre, sister of Francis I. The portrait of _Louis de Saint-Gelais_ in the Louvre (1513-39), of which a drawing is in the British Museum, is attributed to him.
[89] See Plate LIII.
[90] _Plusiers portraits et effigies au vif qu'il a faictes_, Laborde, _La Renaissance_, p. 15.
[91] Laborde, _Comptes des Bâtiments_, III, p. 237.
[92] See Plate LV.
[93] See Plate LVI.
[94] See Plate LXII.
[95] Formerly in the Heseltine Collection.
[96] I am indebted for this information to Sir Sidney Colvin.
[97] See Plate LVII.
[98] See Plate LVIII.
[99] See Plate LIV.
[100] See Plate LXI.
[101] See Plate LXII.
[102] See Plate LXI.
[103] See Plate LVII.
[104] Cf. _The Life of Benvenuto Cellini_. A new version by Robert H. Hobart Cust (London: George Bell & Sons, 1910).
[105] A town which formed part of her own dowry.
[106] See Plate LIX.
[107] See Plate LX.
[108] See Plate LV.
[109] Admirable portraits of this same _Sieur de Canaples_, whose wife was one of the _Petite Bande_ of Francis I, are in the British Museum (Salting Collection) and at the Albertina, Vienna.
[110] See Plate LIX.
[111] See Plate LXI.
[112] See Plate LXV.
[113] Collection Deligand, Paris.
[114] G. Moreau Nélaton, _Les Le Mannier_.
[115] See Frontispiece.
[116] See Plate X.
[117] See Plate IV.
[118] See Plate LXVIII.
[119] See Plate IX.
[120] See Plate LXXI, British Museum, Salting Collection.
[121] See Plate VIII.
[122] The painting in the Victoria and Albert Museum (Jones Collection) is also an echo of this same drawing.
[123] See Plate LXVII.
[124] The nephew of François Clouet, whose signature, _Fulonis fecit_, we find on some of the markedly weaker drawings of the Lecurieux album.
[125] See Plate LXV.
[126] See Frontispiece.
[127] Dimier, _Bulletin de la Société Nationale de Antiquaires de France_.
[128] See Plate LXIX.
[129] See Plate LXX.
[130] See Plate LXXI.
[131] See Plate LXXII.
[132] The late M. F. A. Gruyer recently presented to the Musée Condé a fine landscape by Claude Lorraine which hangs in the Salle de Minerve, and there are some excellent drawings by this master in the portfolios in the Salle Caroline.
[133] See Plate XV.
[134] See Plate LXXIII.
[135] See Plate LXXIII.
[136] See Plate XVI.
[137] These may be seen at Versailles.
[138] These are exhibited in one of the rooms of the Petit Château.
[139] See Plate LXXIV.
[140] See Plate LXXVII.
[141] See Plate LXXVIII.
[142] There are several examples of Chantilly porcelain in the Victoria and Albert Museum.
[143] See Plate LXXIX.
* * * * *
Typographical errors corrected by the etext transcriber:
Revue de l'Art Ancienne et Moderne=> Revue de l'Art Ancien et Moderne {pg xxvi}
Les Quarante Fouquets=> Les Quarante Fouquet {pg xxvi}
Les Le Manniers, Peintres=> Les Le Mannier, Peintres {pg xxvii}
Les Clouets, Peintres officiels des Rois de France=> Les Clouet, Peintres officiels des Rois de France {pg xxvii}
portraist of, 137, 266, 267=> portraits of, 137, 266, 267 {pg 298}
Paremont de Narbonne=> Parement de Narbonne {pg 299}
in Tres Riches Heures=> in Très Riches Heures {pg 305}
Horus of Turin=> Hours of Turin {pg 165 n.}
the the teacher of St. Paul.=> the teacher of St. Paul. {pg 192}
End of Project Gutenberg's Chantilly in History and Art, by Louise M. Richter