utmost extreme. His horses and his men stand from the canvas to the astonishment of all beholders. All is vivacity, bustle, dazzle, and show. I think him as perfect, of his kind, as possible; though it is a kind of art with which I do not sympathize. The picture of the Décadence de Rome indicates to my mind a painter who has studied and understood the classical forms; vitalizing them, by the reproductive force of his own mind, so as to give them the living power of new creations. In this picture is a most grand and melancholy moral lesson. The classical forms are evidently not introduced because they are classic, but in subservience to the expression of the moral. In the orgies of the sensualists here represented he gives all the grace and beauty of sensuality without its sensualizing effect. Nothing could be more exquisite than the introduction of the busts of the departed heroes of the old republic, looking down from their pedestals on the scene of debauchery below. It is a noble picture, which I wish was hung up in the Capitol of our nation to teach our haughty people that as pride, and fulness of bread, and laxness of principle brought down the old republics, so also ours may fall. Although the outward in this painting, and the classical, is wrought to as fine a point as in any French picture, it is so subordinate to the severity of the thought, that while it pleases it does not distract. But to return to the Louvre. The halls devoted to paintings, of which I have spoken, give you very little idea of the treasures of the institution. Gallery after gallery is filled with Greek, Roman, Assyrian, and Egyptian sculptures, toins, vases, and antique remains of every description. There is, also, an apartment in which I took a deep interest, containing the original sketches of ancient masters. IIere one may see the pen and ink drawings of Claude, divided into squares to prepare them for the copyist. One compares here with interest the manners of the different artists in jotting down their ideas as they rose; some by chalk, some by crayon, some by pencil, some by water colors, and some by a heterogeneous mixture of all. Mozart's scrap bag of musical jot tings could not have been more amusing. On the whole, cravings of mere ideality have come nearer to meeting satisfaction by some of these old mutilated remains of Greek sculpture than any thing which I have met yet. In the paintings, even of the most celebrated masters, there are often things which are excessively annoying to me. I scarcely remember a master in whose works I have not found a hand, or foot, or face, or feature so distorted, or coloring at times so unnatural, or something so out of place and proportion in the picture as very seriously to mar the pleasure that I derived from it. In this statuary less is attempted, and all is more harmonious, and one's ideas of proportion are never violated. My favorite among all these remains is a mutilated statue which they call the Venus de Milon. This is a statue which is so called from having been dug up some years ago, piecemeal, in the Island of Milos. There was quite a struggle for her between a French naval officer, the English, and the Turks. The French officer carried her off like another Helen, and she was given to Paris, old Louis Philippe being bridegroom by proxy. Savans refer the statue to the time of Phidias ; and as this is a pleasant idea to me, I go a little further, and ascribe her to Phidias himself. The statue is much mutilated, both arms being gone, and part of the foot. But there is a majesty and grace in the head and face, a union of loveliness with intellectual and moral strength, beyond any thing which I have ever seen. To me she might represent Milton's glorious picture of unfallen, perfect womanhood, in his Eve: "Yet when I approach Her loveliness, so absolute she seems, Compared with this matchless Venus, that of Medici seems as inane and trifling as mere physical beauty always must by the side of beauty baptized, and made sacramental, as the symbol of that which alone is truly fair. With regard to the arrangements of the Louvre, they seem to me to be admirable. No nation has so perfectly the qualifications to care for, keep, and to show to best advantage a gallery of art as the French. During the heat of the outburst that expelled Louis Philippe from the throne, the Louvre was in some danger of destruction. Destructiveness is a native element of human nature, however repressed by society; and hence every great revolutionary movement always brings to the surface some who are for indiscriminate demolition. Moreover there is a strong tendency in the popular mind, where art and beauty have for many years been monopolized as the prerogative of a haughty aristocracy, to identify art and beauty with oppression; this showed itself in England and Scotland in the general storm which wrecked the priceless beauty of the ecclesiastical buildings. It was displaying itself in the same manner in Germany during the time of the reformation, and had not Luther been gifted with a nature as strongly æsthetic as progressive, would have wrought equal ruin there. So in the first burst of popular enthusiasm that expelled the monarchy, the cry was raised by some among the people, "We shall never get rid of kings till we pull down the palaces;" just the echo of the old cry in Scotland, "Pull down the nests, and the rooks will fly away." The populace rushed in to the splendid halls and saloons of the Louvre, and a general encampment was made among the pictures. In this crisis a republican artist named Jeanron saved the Louvre; saved the people the regret that must have come over them had they perpetrated barbarisms, and Liberty the shame of having such outrages wrought in her name. Appointed by the provisional government to the oversight of the Louvre, and well known among the people as a republican, he boldly came to the "Am I not one of you?" he said. "Am I not one of the people? These splendid works of art, are they not ours? Are they not the pride and glory of our country? Shall we destroy our most glorious possession in the first hour of its passing into our hands?" rescue. Moved by his eloquence the people decamped from the building, and left it in his hands. Empowered to make all such arrangements for its renovation and embellishment as his artistic taste should desire, he conducted important repairs in the building, rearranged the halls, had the pictures carefully examined, cleaned when necessary, and distributed in schools with scientific accuracy. He had an apartment prepared where are displayed those first sketches by distinguished masters, which form one of the most instructive departments of the Louvre to a student of art. The government seconded all his measures by liberal supplies of money; and the Louvre is placed in its present perfect condition by the thoughtful and cherishing hand of the republic. These facts have been communicated to me from a perfectly reliable source. As an American, and a republican, I cannot but take pleasure in them. I mention them because it is often supposed, from the destructive effects which attend the first advent of democratic principles where they have to explode their way into existence through masses of ancient rubbish, that popular liberty is unfavorable to art. It never could be so in France, because the whole body of the people are more thoroughly artistic in their tastes and feelings than in most countries. They are almost slaves to the outwardly beautiful, taken captive by the eye and the ear, and only the long association of beauty with tyranny, with suffering, want, and degradation to themselves, could ever have inspired any of them with even a momentary bitterness against it. |