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tth Division. —

455. Titian : Male Portrait. Collection of Mazarin, afterwards of

Louis XIV.
451. Titian : An Allegory. Collection of Louis XIV.
*46l. Lionardo da Vinci (sometimes attributed to the Milanese Ber-
nardino de' Conti) : Female Portrait, called in France ' La
Belle Feronni^re,' mistress of Francois I., but really re-
presenting Lucrezia Crivelli, a lady beloved by Ludovico
Sforza.
*440. Titian: ' La Vierge au Lapin. ' Signed. Collection of Louis
XIV. The Virgin holds a white rabbit, towards which the
infant Christ, in the arms of S. Catherine, eagerly stretches
his hand.
92. Paul Veronese : The Swoon of Esther. Collection of Louis
XIV.
*372. Raffaelle : Portrait of a Young Man, said to be the artist.
Collection of Louis XIV.
*56. Fra Bartolomnteo : The Annunciation. 1515. Collection of
Franfois I.

' The Virgin seated under a niche, and attended by standing or



76 PARIS

ineeling saints, bends backwards as she sees the messenger who flies
down to her. It is clear that the latter was thrown off on the back-
ground of architecture at the moment When the rest was finished. Fra
Bartolommeo has reached a point where he defies every sort of difficulty. '
Crowe and Cavalcaselle.

' A most brilliant and original composition, in which the Virgin,
instead of being represented kneeling in some retired spot, is seated on
a throne receiving the homage of various saints, when the angel Gabriel
appears before her. ' — Rio, ' Christian Art. '

*37I. Raffaelle: Portrait of Balthasar Castiglione, the famous author

of ' II Cortigiano. ' Collection of Charles I. , afterwards of

Mazarin and Louis XIV.
445. Titian : Christ crowned with Thorns. From S. Maria delle

Grazie at Milan.
441. Titian : The Holy Family.
*99. Paul Veronese : The Supper at Emmaus.
*46o. Lionardo da Vinci : ' La Vierge aux Rochers. ' Collection of

Francois I. A replica, with some differences, of the famous

picture, in the National Gallery, from the collection at

Charlton.
Z91. Giulio Romano : The Nativity. From S. Andrea at Mantua ;

afterwards in the gallery of the Duke of Mantua ; then of

Charles I. ; finally of Louis XIV.
443. Titian : The Disciples at Emmaus. A subject often painted

by the master. Gallery of the Duke of Mantua, Charles I.

and Louis XIV.

' Titien, selon la tradition, fait asseoir k la droite du Sauveur, sous
I'habit de pMerin, I'empereur Charles V., et ^ sa gauche, sous le meme
travestissement, le cardinal Xim^nes. Le page qui apporte un plat
sur la table serait Philippe II,, plus tard roi des Espagnes.' — Thiophile
Gautier.

57- Pfa Bartolommeo : Virgin and Child throned, with Saints.
225. Lorenzo Lotto : S. Laurence, with S. Agnes and S. Margaret.

Collection of Napoleon III.
453. Titian: Male Portrait. Collection of Louis XIV.
*449. Titian : Jupiter and Antiope, known as ' La Venus del Pardo,'
with a glorious landscape. Given by Philip IV. of Spain to
Charles I. , afterwards in the collection of Mazarin, then of
Louis XIV.



WORKS OF LESUEUR 77 ,

382. Andrea del Sarto : The Annunciation. A replica of the pic-
ture in the Pitti at Florence.
*38. Giorgione : The Holy Family, with SS. Sebastian and Catherine,

in a poetic landscape. Collection's of Duke of Mantua,

Charles I., Mazarin, and Louis XIV.
454. Titian : A Man holding a Glove. Collection of Louis XIV.
177. Gaudenzio Ferrari (of Valduggia), 1484-1550 : S. Paul,

Signed,, 1543. From S. Maria delleGrazie at Milan.
*374. Raffaelle : Two Male Portraits : supposed to represent Raf-

faelle and his fencing-master : by some ascribed to Pontormo

or Sebastian del Piombo.
74. Bonifazio : Holy Family and Saints. Collection of Mazarin,

afterwards of Louis XIV.

The third door we have passed on the right of La Grande
Galerie is the entrance to five rooms devoted to French and
English artists. Here we may notice —

\st Room. — Containing interesting examples of XIV. c.
art in France. Two pictures by Frafipis Clouet dit Janet
(1500-1572), and a number by his pupils.

653. Jean Fouequet, c. 1450 : Charles VII.
*652. Id. : Guillaume Jouvenel, Chancellor of Charles VII. A very
noble work.
137, Jean Cousin : The Last Judgment.

znd Room. — A noble collection of pictures oi Eustache
Lesueur (161 7-1655) representing the life of S. Bruno, and
executed for one of the cloisters of a Carthusian monastery
which stood on the site now occupied by the Luxembourg.

' Lesueur avait vingt-huit ans, lorsqu'il fut charge de peindre la
galerie des Chartreux ; en moins de trois ans (1645-1648), aide par ses
freres et son beau-frfere dans les parties les moins importantes de I'oeuvre,
il eut execute les vingt-deux tableaux de la vie de S. Bruno. L'admira-
tion publique ne s'exprima point par une explosion bruyante, mais par
une espice de saisissement. Cette serenite, cette purete celeste, cette
couleur limpide et transparente comme un beau ciel d'ete, ce sentiment
religieux d'une suavite si penetrante, qui reunit I'elan de I'extase et le



78 PARIS

calme de I'ame en repos dans la lumiere, furent comme une r^vflation
nouvelle. Lesueur apres Poussin, c'etait I'Evangile apr^s I'Antiquite et
I'ancien Testament.' — Martin, ' Hist, de France.^

The pictures are —

1. Raymond, a learned doctor at Paris, and canon of Notre Dame

is lecturing on theology to his pupils, one of whom, sitting
in front, with a book under his arm, is S. Bruno, a native of
Cologne.

2. Raymond dies. A priest attended by two students, one of

whom is S. Bruno, extends the crucifix. A demon awaits
the departing soul.

3. As, three several times, the people were attempting to carry

Raymond to the grave, when they were chaunting the words
' Responde mihi quantas habes iniquitates,' the dead
man lifted himself up and with terrible voice exclaimed :
' By the justice of God I am condemned.' On the third
occasion the body was flung aside, as unworthy of Christian
burial. S. Bruno witnesses the awful scene.

4. S. Bruno kneels before the crucifix. In the background

Raymond is being buried in unconsecrated ground.

5. Bruno teaches theology at Rheims.

6. Bruno, dreading the temptations of the world, persuades six

friends to adopt the life of anchorites.

7. S. Bruno and his companions prepare to set out to Grenoble

and distribute their goods to the poor.

8. Hugo, Bishop of Grenoble, has a vision of seven moving stars,

which become stationary at a fixed point in his diocese ;
when Bruno and his companions appear, he sees the inter-
pretation of his vision and gives them a retreat on a moun-
tain near Grenoble.

9. Bruno and his friends, preceded by S. Hugo on a mule,

journey to the village of Chartreux.

10. S. Bruno founds the monastery of the Grande Chartreuse,

11. S. Hugo invests Bruno with the habit of his order.

12. The rule of Bruno is confirmed by Pope Victor III.

13. S. Bruno, as abbot, receives young novices.

14. Pope Urban II., who had been a pupil of Bruno at Rheims,

sends for S. Bruno to aid him in his affairs : the suiiimons
causes consternation.

15. Bruno received by Urban II.



GALERIE MOLLIEN 79

16. Bruno refuses the Archbishopric of Reggie.

1 7. Bruno, unable longer to endure Court life, retires to a desert

in Calabria.

18. Bruno has obtained leave to found a Convent in Calabria ; he

prays and the monks clear the ground.
ig. Count Roger of Sicily, lost in the forest, finds the hermitage
of S. Bruno.

20. Whilst besieging Capua, Count Roger has a vision of S. Bruno,

vifho warns him of treachery in his camp, so that he is able
to guard against it.

21. The death of S. Bruno (lioo), surrounded by his monks.

22. The apotheosis of S. Bruno — the worst, as the last was the best,

of the series.

j,rd Room. — Pictures by Eustache Lesueur, chiefly from
the Hotel Lambert, in the Isle S. Louis.

' La decoration de I'hotel Lambert, partagee entre les deux rivaux
Lesueur et Lebrun, fut encore pour Lesueur I'occasion d'un triomphe.
II y donna un caract^re tout nouveau k I'alHgorie mythologique, d^ja
traitee par Poussin avec une grande profondeur, mais dans un autre
style. C'est, ainsi que le dit tres-blen M. Vitet, c'est I'antiquite comme
la comprendra Fenelon, devenue chretienne sans cesser d'etre heU^nique.
Ce n'est pas I'antiquitd d'Homere, mais celle de Platon et de Virgile,
Ces ravissantes nymphes de Lesueur sont des id^es descendues de
I'empyree platonicien, si voisin du ciel de saint Jean.' — Henri Martin,

^tk Room. — Pictures by Horace Vemet (1714-1789).

5M Room. — Pictures by English artists — none remark-
able.

From this room one may turn (right) at the head of
a staircase to the Galerie Mollien, containing a vast col-
lection of the works of N. Poussin and Claude.

Right Wall—

804. Lenain: Portrait of Henri II., Due de Montmorenci.

828. N. Poussin : Apollo and Daphne. The last work of the

artist ; left unfinished.
515. Leszieur: Tobias instructed by his Father. Very beautiful in

colour.



8o PARIS

65. Lehrun : Martyrdom of S. Stephen.

' Cast en quelque sorte le specimen de ce qu'on peut appeler I'ecole
academique ; un grand talent de composition, un style noble, une execu-
tion habile, mais une mani^re th^Strale, d^clamatolre, tout i la surface,
oil manque la serenite de I'art vrai, ou on sent I'Sme absente.' — Henri
Martin.

This picture was a votive offering executed by Lebrun at the age
of thirty-two, for the Confrerie des Orf^vres, who presented it, on
May I, 1651, to the chapter of Notre Dame.

421, N. Poussin : The Philistines smitten with the Plague.
521. Lesueur : S. Paul preaching at Ephesus.

' Depuis La Dispute du Saini-Sacrement et VEcole d'Athines il
n'avait rien paru qui put comparer au Saint Paul, creation qui est
peut-^tre le chef-d'oeuvre de I'&ole fran9aise. Un id^al souverain re-
spire dans toute cette composition ; un souffle divin fait frisonner la
chevelure de I'ap&tre ; I'esprit de Dieu brille dans son regard. ' — Henri
Martin.

\ Claude Lorraine : Landscapes.

453. N. Poussin : Diogenes. The landscape is magnificent.

195. Claude Lefhire : A Master and his Pupil.

29Q. Laurent de Lahyre (1606-1656) : Pope Nicholas V. witness-
ing the opening of the grave of S. Francis of Assisi.
The pope (1449) descends into the tomb at Assisi, which has
never been opened since the death of the saint. He finds
the body entire and standing upright ; kneeling, he lifts the
robe to examine the traces of the stigmata ; attendants and
monks with torches stand around.

224. Claude Lorraine :- David crowned by Samuel.
*3o6. Jouvenet : Fagon, physician of Louis XIV. A most powerful
and speaking portrait.

226. Claude Lorraine : A Seaport.

479. Rigaud: Portrait of Martin van den Bogaert, known as
Desjardins, the sculptor.

415. N. Poussin : Eleazar and Rebecca.

232. Claude Lorraine : Entering a Port (Genoa?) at Sunrise.

Left Wall.—

473. Rigaud : Presentation in the Temple. The last work of the
master (1743), bequeathed by him to Louis XV,"



MODERN FRENCH SCHOOL 8i

233. Claude Lorraine ; The Landing of Cleopatra,
48. Sebastian Bourdon : Portrait of the Artist.

386. Oudry : Blanche, a favourite dog of Louis XV.

446. N. Poussin : Time saving Truth from the attacks of Envy and
Discord. Executed in 1641 for Cardinal Richelieu, after-
wards in the ' grand cabinet du roi ' at the Louvre.

225. Claude Lorraine : Ulysses restoring Chryseis to her Father.

392. Mignard: Madonna and Child, with a cluster of grapes.

47'S. Rigaud: Louis XIV. An interesting portrait (1701) of the
great king, ' silencieux et mesur^,' as S. Simon describes
him, whose minutest actions endured the scrutiny of his
courtiers, from whose presence he was never relieved, a
prince of the blood handing him his shirt, a duke holding a
mirror whilst he shaved, &c.

480. Rigaud : Portrait of Charles Lebrun and Pierre Mignard.

351. Mignard; Ecce Homo.

At the end of this gallery we enter Le Pavilion Denon,
containing pictures of the Battles of Alexander by Charles
Lebrun.

On the right opens a gallery in which a collection of the
Modern French School has been recently arranged We may
notice —

Right Wall—

Culrin : Death of Caesar.
Constant Troyon : Oxen going to Work.
Ary Scheffer : S. Augustin and S. Monica.
Jtzgres : The Apotheosis of Homer.
Pi-udhon : The Empress Josephine.
Delaroche : The English Princes in the Tower.

End Wall—

Delaroche ; The Death of Elizabeth of England.
Left Wall.^

Scheffer : The Temptation.
100. David: The Vow of the Horatii.

Gros : Bonaparte at Areola.

Benonville: The Death of S. Francis : of Asslsi,

Troyon : Le Retour de la Ferme.



82 PARIS

Returning to the Pavilion Denon, we enter the Galerie
Daru.

Right Wall—

284-288. Oudry : Favourite Dogs of Louis XV., with their

names.
311. Lancret : Summer.
587. Jean Francois de Troy : First Chapter of the Order of S.

Esprit, held by Henri IV. in the .Convent of the Grands

Augustins at Paris, January 8, 1595.
*265. Greuze : The Broken Pitcher.
330. Vanloo : Portrait of Queen Marie Leczinska, T 747.

52. Mme Lebrun : Portrait of the Artist and her Daughter.
332, Vanloo : Portrait of the artist Jean Germain Drouais.
261, 262. Greuze : The Father's Curse, and the Return of the

Prodigal Son. Collection of Louis XVIIL

Left Wall—

■2.(i\. Greuze : Portrait of an Artist.

67S. Angelica Kaufman : A Lady and Child.

28, 29. Boucher : Pastoral Subjects. Good specimens of the artist.

187. F. N. Drouais, 1763 : Portrait of the Comte d'Artois, after-
wards Charles X. , at six, and his sister, Clotilde, at four.

577. Louis Tocqtii : Portrait of Queen Marie Leczinska.

*99. Chardin : The Benedicite. Collection of Louis XV.

724. Chardin : ' La Pourvoyeuse. '
98. Chardin ; The Industrious Mother.

403. Pater, 'i.'j2?> : A Pastoral Feast.
*26o. Greuze: The Village Bride, 'L'Accordee du Village.' The
father has just paid the dowry of his daughter and is com-
mending her to the care of her bridegroom ; the mother
exhibits satisfaction at the match ; the younger sister grief
at the parting.

168. Desportes : Folle and Mitte, dogs of Louis XIV.

162. Desportes. Portrait of the Artist.

367. Oudry : Wolf Hunt.

On leaving the last hall of the French School we find
ourselves at the top of the Escalier Daru. Crossing the



MUSi.E CAMP ANA, MUS^E CHARLES X. 83

landing half-way up the staircase, entering the Vestibule,' and
leaving the Galerie d'ApoUon to the right, we reach again
the Salle des Sept Chemindes. If we cross this, by the
furthest door on the opposite wall we may enter the Mushe
Campana, containing the —

Salle Asiatique. — (The ceiling has ' Poussin presented to Louis XII.
by Richielieuj' by Alaux.) Phoenician terra-cottas, Babylonian
alabasters, &c.

Salle des Terres-cuites. — (Ceiling, 'Henri IV. after the Battle of
Ivry,' by Steuien.) Terra-cottas, chiefly from Magna Graecia.

Salledes Vases Noirs. — (Ceiling, 'Puget presenting to Louis XIV. his
Group of Milo of Crotona,' by Deveria.) Very ancient Etruscan vases.

Salle du Tombeau Lydien, — (Ceiling, ' Francis I. receiving the
Statues brought from Italy by Primaticcio,' by Fragonard.) In the
centre of the room is the great terra- cotta tomb of a husband and wife,
from Cervetri, vi^hich was the masterpiece of the Campana collection.

Salle des Vases Corinthiens. — (Ceiling, * The Renaissance of the Arts
in France,' and eight scenes of French historj' from Charles VIII. to the
death of Henri 11.) All the vases in this hall are anterior to Pericles.

Salle des Vases i Figurines Noires. — (Ceiling, ' Francis I. armed by
Bayard, ' by Fragonard. ) Vases before the time of Alexander the Great.

Salledes Vases d- Figurines Rouges. — (Ceiling, 'Charlemagne and
Alcuin,' by i'(r:4«efo.)

Salle des Rhytons. — (Ceiling, ' Louis XII. at the States-General
of Tours in 1506,' by Drolling.) Many of the rhytons are unique.

Salle des Fresques. — (Ceiling, ' Egyptian Campaign under Bona-
parte,' by C(?^;V;.) Frescoes and relics from Pompeii. Three frescoes
of first-rate excellence were given by Francis I. of Naples.

Returning to the Salle des Vases Corinthians, the visitor
may enter, on the left, the Musee Charles X., or des Anti-
quit'es Grecques, and, beginning with the furthest room, visit — ■

Salle d'Somire : Greek Pottery and Glass. Objects in wood and
plaster from the tombs of Kertch.

Salle des Vases Feints, i figures rouges.

Salle Grecqtfe,

Salle des Vases Feints, & figures noires.



84 PARIS

The five succeeding halls and staircase of the Mush
Egvptien contain a very precious and important collection.
Their names express their contents^—

Salle des dieux et inonuments divers.

Salle des dieux.

Salle des monuments fundraires.

Salle des monuments relatifs i la vie civile.

Salle des monuments historiques.

(Staircase) Larger sculptures. Statue of Rameses II.

Turning left, vye find Les Andennes Salles du Musk des
Souverains, vfhich are full of interest. Their collections
are chiefly due to the energy and historic judgment of the
Empress Eugdnie.

Salh I- is panelled from the apartments which Louis XIII. pre-
pared for Anne of Austria in the chateau of Vincennes. The stained
glass is of XVI. and XVII. c.

Salle II., ' La Ckambre h Alc$ve,' is panelled from the apartment of
Henri II. in the Louvre, which occupied the site of the Salon carr^ de
I'Ecole Franyaise. The four enfants in the alcove, sustaining a canopy,
are by Gilles Guerin. This alcove is especially interesting, as the body
of Henry IV. was laid there, after his murder by Ravaillac.

' On retrouve, non-seulement les emblfemes " croissants et fleurs-de-
lys," les devises et chiffres qui rappellent les amours de Henri II. avec
Diane de Poitiers, mais encore une partie des details qu'avait admires
Sauval en la decrivant : le plafond en noyer, sculpt^, rehausse d'or
moulu, du centre duquel' " sortent," dit-il, " les armoiries de France,
foulant un grand monceau de casques, d'ep^es, de lances, &c," et aux
portes, en meme temps que " le dessin et la tendresse des demi-reliefs "
. . . deux merveilleuses vipferes " aux ecailles delicates et serrees." ' —
Paris h travers les dges.

Salle III. , ' La Ckambre de Parade. ' — The faded tapestries belonged
to Mazarin. The wood panelling is from the chamber of Henri II.

' Les curieux et les musiciens la trouvaient si accomplie que non-
seulement ils la nommaient la plus belle chambre du monde, mais pre-
tendent qu'en ce genre c'est le comble de toutes les perfections dont
I'imagination se puisse former une idie.' — Sauval.

The silver statue of Peace in the centre of the room is by Claudet,
1806. 'Over the chimney is a portrait of Henri II.



musAe des dessins, des bronzes 8s

Salle IV. — In the middle is a silver statue of Henry IV. as a boy,
by F. Bosio (taken from a picture). In a case on the right Is the curious
copper basin, called Baptistire ds S. Louis, in which all the children
of Kings of France were baptised. A collection of small objects in the
same case belonged to Marie Antoinette.

In the Pavilion Central (covered with bees) which Napoleon I.
intended to use as a throne-room, and which bears his name on the
ceiling, are a number of works of art — the best, Italian. Opening from
this room is a hall containing various works of art, gifts to the Louvre.

By the landing of the Assyrian staircase we reach the
Collections of the Middle Ages and Renaissance.

Salle des terres-cuites et Delia Robbia.

Salle des faiences italiennes et des faiences de Nevers.

Salle des faiences hispano-moresques et italiennes.

Salle des faiences frangaises. A case of exquisite XVI. c.

Salle des petits bronzes. Many most beautiful.

Salle des verreries.

Salle Sauvageot. Mediaeval art. (Called after a former conservator.)

Salle des ivoires.

The Musk des Dessins occupies fourteen rooms. The
drawings of the French School are especially interesting.
The foreign collection includes exquisite sketches by Fra
Bartolommeo, Raffaelle, Michelangelo, Perugino, Titian,
Leonardo da Vinci, Albert Durer, &c.

Passing the head of a staircase, a wrought-iron gate from
Maisons leads to the Salle des Bronzes, containing a precious
collection, including —

Beautiful Head of a Young Man, from Beneventum.
Apollo in gilt bronze, found at Lillebonne, 1823.
Apollo from Piombino, with an inscription, in silver let into the left
heel.

We now find ourselves at the head of the stairs by which
we entered, or, if we care to ascend the staircase we have
just passed, we may visit the Musee de Marine, the Salle



86 PARIS



Ethnographique, and the Musce Chinois, which are not of
general interest to an English traveller.



The, Sculpture Galleries on the ground floor of the
Louvre are entered by the Pavilion Denon, on the right of
the Place du Carrousel, Following the gallery on the left,
adorned with fragments or copies of antique sculpture,
ascending several steps, and leaving the new staircase to
the right, we descend to the —

Vestibule Dai~u, where we should notice —
Eight bas-reliefs from the palace at Thessalonica.
Sarcophagus from Salonica, with Battle of the Amazons.
Salk de la Rotonde. — The ceiling is coloured with figures in stucco
by Michel Auguier. We must notice —
In Centre. The Mars Borghese.
r, 75, Lycian Apollo.

(Turning right.) Salle de Mklne. — .

Almost all the statues here and in most of the other rooms are so
much ' restored ' that they have little interest ; the heads, though antique,
seldom belong to the statues.

The Salles des Saisons were decorated by Romanelli with the alle-
gories of the Seasons, alternating with the story pf Apollo and Diana.
Under Louis XV. this was the hall of audience of the Minister of War
and of the President of the' Great Council.

The great Mithraic relief (569) here is very important, as the first
known to antiquaries, and as bearing inscriptions which have given rise
to great discussion. It comes from the cave of Mithras on the Capito-
lineHill.

Salle de la Paix (or Salle de Rome) — named from paintings by
Romanelli, framed in bas-reliefs by Auguier — which formed the first of
the apartments of Anne of Austria, and which looks upon the little
garden, called yart/zw de V Infante (from the Spanish Infanta, who came
in 1 72 1 as an intended bride for Louis XV.) : a garden laid out by
Nicolas Guerin, and admired by Evelyn.

In the Centre (465). Rome — a porphyry statue — ^seated on a rock,
from the collection of Cardinal Mazarin.



GALERIES DE SCULPTURE 87

Salle de Septime-Sivire. —

r. 315. Antinous. A most beautiful bust.

/. Six busts of Septimius Severus.

/. Statue of Julian the Apostate.
Salle des Antonins, —

/. 12. Colossal head of Lucilla. Found at Carthage, 1847.

/. Fine busts of Lucius Verus and Marcus Aurelius. From the
villa of Lucius Verus, at Acqua Traversa, near Rome,

Salle d'Auguste. —

Centre. Colossal bust of Antinous, represented as an Egyptian

god with the lotus in his hair. From the Villa Mondragone,

at Frascati.
*l84. Roman Orator, as Mercury. Signed by the Athenian

sculptor Cleomenes ; from the Villa Borghese.
468. Colossal bust of Rome, with two wolves suckling Romulus

and Remus on the helmet. From Villa Borghese.
End Wall. A beautiful statue of Augustus, once in the Vatican.

Amongst the busts, those of Octavia, sister of Augustus, and

Vitellius, are the best.

Returning to the Salle de la Rotonde, we find, on the
r figure de jaspe reprhentant la mart, which
had been given to the care of the churchwardens, was reclaimed, and
a judgment of July 31, 1673, ordered its restitution to its old position.
But in 1686 the skeleton seems to have been still in the care of a
churchwarden named Noiret in the Rue des Fers, who tried to sell it,
but was forced to restore it in 1688, when it was placed between the
pillars in the Charnier de la Vierge in a closed box. Here it remained
forty-eight years. But (October 29, 1736) the canons of S. Germain
rAuxerrois moved it, and placed it at the back of the cemetery lower.
Upon this the Cure des S. Innocents and the churchwardens, for-
getting that the canons were the owners of the charniers, climbed the
tower and carried off the skeleton. A lawsuit ensued and (July 10,
1737) a judgment was obtained forcing the restitution of the skeleton.

On suppression of the church, cemetery, and charniers of the Inno-
cents, in 1786, the skeleton was carried to S. Jacques la Boucherie, then
to the museum of Alexandre Lenoir, whence it passed to the Louvre.

Statues from the central pavilion of the Tuileries.



96 PARIS

Salle Chritienne {right of Corridor). —



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