Old and New Paris: Its History, Its People, and Its Places, v. 2

The masterpieces in wax-work will next demand our attention; and here Italy, which in almost every other art has the right to pass first, may perhaps be asked to give precedence to Spain. The Spanish-Moorish specimens are above all admirable. As for the Italian works, they are very numerous, and for the most part well chosen. Apart from the medallions of Lucca della Robbia, which belong to sculpture as much as to waxwork, the plates suspended on the walls, the cups enclosed beneath the glass, are all interesting, and are nearly all of Italian make. A product from the workshops of Faenza, which, in France, gives its name to crockery in general (faience), adorned with the monogram of Christ in Gothic characters, bears the date of 1475. The work is quite archaic; but Faenza can also show plates and cups which tell of the progress and also of the decadence of this centre of a special art, so active in the sixteenth century. Urbino, the birthplace of Raphael, and Pesaro, the birthplace of Rossini, are also represented, together with Rimini, Caffagiolo, Castel-Durante, and, above all, Gubbio, with the masterpieces of its illustrious potter, Giorgio Andreoli. The word seems appropriate when one contemplates the fine plate representing Dædalus, dated 1533, and the two cups relieved with gold, on which smile, from a rainbow-tinted background, two charming women: “Angela Bella,” “Dianara Bella.” These cups, which now form the admiration of artists, served formerly to receive the presents made by the lover to his mistress. Superb types of the Gubbio work in the sixteenth century are as bright and pure as if they had come yesterday from the hands of the potter. French pottery is also conspicuous at the Hôtel Cluny, both in its ancient and in its modern glory. Specimens of enamelled terracotta, dating from the thirteenth century, are first to be seen. Then one remarks a cup decorated with arabesques encrusted in brown on a whitish ground. These famous styles of pottery used to be vaguely connected with the name and period of Henry II.; but they are at present known to have been made at Oiron, in Poitou, by François Cherpentier, the humble workman of Madame de Boisy.

The Hôtel Cluny contains many of the best works of Bernard Palissy, the famous artist whose life was a long martyrdom and, for his wife, it must be feared, a long torture; for if it was noble on the part of the husband to sacrifice the household furniture to the perfection of an art to which he was devoted, it must have been painful for the perhaps less enthusiastic wife to hear it crackling within his furnaces. In seeking to determine which of the numerous alleged specimens of this artist’s work really belong to him, connoisseurs have been aided by Time, which, destroying the imitations, seems to have preserved the genuine ones alone. Even the charming little figure of the Nurse, for a long time attributed to Palissy, is now said to be from another and later hand. Nevers, Rouen, Moustiers, and the various centres of French pottery, are worthily represented at the Hôtel Cluny, either by isolated pieces or by groups, and even entire collections.

The stained glass at the Hôtel Cluny is for the most part of Swiss or of German origin. The enamels are of every country and every age. Nine enamelled plates of exceptionally large dimensions were painted by Pierre Courtoys in 1559 for the Château de Madrid, in the Bois de Boulogne. The figures – the largest, perhaps, that were ever executed in enamel – represent Justice, Charity, Prudence, and six other mythological divinities, more astonishing than attractive. A remarkable triptych, or picture with shutters, whose painter is unknown, but which belonged to Catherine de Médicis, represents on the central panel the queen on her knees, in widow’s dress, before a crucifix. Her initials, with those of Henry II., adorn this curious relic. Close by are enamelled cups and plates by Pierre Rémond, Nardon Penicaud, and Jean Courtoys, with many works, justly esteemed, by the great enameller Leonard Limousin, remarkable among these being a fine portrait of Eleonora of Austria, sister of Charles V. and Francis I.

The piece of Florentine mosaic in the first hall of the museum ought not to pass unnoticed. It has been described by Vasari; and the Virgin and Child which it represents are the genuine work of Ghirlandaio. Executed at Florence in 1496, it was brought to France by Jean de Ganay, President of the Parliament of Paris. The works of this famous mosaist are now very rare. The one preserved at the Hôtel Cluny is relatively in sound condition, and gives a good idea of the great mosaics which adorned the churches of Tuscany.

The Cluny Museum has no claim to be considered a picture-gallery. It contains, however, a certain number of canvases, illustrating the manners, the costumes, or the furniture of particular periods. The best critics deny that the Jesus in the Garden of Olives is the work of Gentile di Fabriano, to whom the catalogue attributes it. Nor, according to competent judges, is the hand of Primaticcio to be recognised in that Venus who, standing by the side of Love, faces the spectator smiling, and with an arrow in her hand. The painting is marked by delicacy and refinement; but the style is not that of Primaticcio, nor does the face of Venus reproduce the features of Diana of Poitiers, who, according to some keen-sighted observers, is everywhere to be seen. A more genuine interest is inspired by a few pictures of the fifteenth century, some of Flemish, others of French origin. Very curious is the Mary Magdalen attributed to King René. The repentant sinner is grieving in the midst of a landscape whose background represents the city of Marseilles. Another picture well worthy of notice is one which represents two pictures in the same frame; on the one is represented the coronation of David, on the other the coronation of Louis XII. The author of this work is unknown, but the period is marked by the date of Louis XII.’s coronation (1498); and it is presumable that the painter was some artist of distinction attached to the Court. He was in any case a man of ability, with a certain feeling for colour.

French painting of the sixteenth century is represented by the school of Janet and his successors, but the true house decoration in those luxurious days, when art was mixed up with every detail of life, was tapestry. It was scarcely possible to feel dull in those vast halls, whose walls were covered, and, so to say, animated by a number of life-sized figures, now chasing the stag in picturesque woods, now sitting down to sumptuous feasts, now breaking lances in tournaments and jousts.

Many of these ancient tapestries have become worn out, less through the action of Time – for they were admirably woven – than through the carelessness of their possessors. The Hôtel Cluny preserves some of the best that were ever produced. Take, for example, the Deliverance of St. Peter, executed at Beauvais in the fifteenth century, or the ten embroidered pictures which tell the history of David and Bathsheba, done in Flanders under Louis XII. The biblical personages who figure in this illustrated story are dressed, of course, in the latest fashion of the year 1500; and the costumes are more interesting inasmuch as the artist who furnished the cartoons for these pictures was undeniably, with all his naïveté, an excellent draughtsman. Of another epoch, when art was already on the decline, are the tapestries taken from the arsenal, in which Henry IV. is represented as Apollo, Jeanne d’Albert as Venus, and Marie de Médicis as Juno. The painter, in his passion for allegory, has transformed into Saturn the king’s father, Antoine de Bourbon. Many other tapestries, in various states of preservation, and of which the colours have, in many cases, faded beneath the effect of sunlight, possess both artistic and historic interest. The vestments once worn by the Bishop of Bayonne were found in a tomb, and belong to the twelfth century. All kinds of strange contrivances worn by women in past ages (often, it must be supposed, against their will) are to be seen in the Hôtel Cluny: collars, collarettes, baskets, farthingales, girdles, and even high-heeled pattens, all made of iron.

The furniture preserved in the Hôtel Cluny is particularly fine, and is as historical as it is artistically beautiful. Remarkable among the examples of church furniture is the great sideboard of the Cathedral of St. Paul, carved by a Cellini of the fifteenth century. He must have spent his whole life at the work. Nor is the house furniture less magnificent. Witness the delicate sculpture of the benches, the high chairs with emblazoned backs, the chests for marriage gifts, the bed which is said to have belonged to Francis I., the cabinets of all times and of every shape, the harpsichords, the spinets, the gala carriages, covered with gildings, the sledges, the sedan chairs, and a hundred other objects of luxury: reminiscences of a time when between the workman and the artist there was scarcely any distinction, and when objects destined for the most common use were fashioned and adorned with an elegance and grace which told of true artistic feeling.

In the ancient mansion of Jacques d’Amboise, innumerable other objects might be pointed out either marvellous as works of art or deeply interesting, as illustrating the daily life of past ages, which they reproduce more vividly, perhaps, than any books could do.

Strange as it will appear to Englishmen, the Hôtel Cluny is not only open to the public on Sundays, but is open to the public on Sundays only. On other days permission to visit the museum must be obtained from the Minister of Fine Arts. Exceptions are made in favour of foreigners exhibiting their passports.

CHAPTER XVI.
THE MUSÉE D’ARTILLERIE

The Museum of Artillery – Its Origin and History – The Growth of its Collection of Armour and Weapons of all Kinds

THE Museum of Artillery, with its varied and admirably classified collection of arms, takes us back to prehistoric times, and after exhibiting rude martial implements of dim antiquity, brings us forward through successive ages of arms until it at length produces the very piece which is to-day in the hands of the French soldier.

The origin of the Musée d’Artillerie may be traced to the reign of Louis XIV. The Duc d’Humières, Grand Master of Artillery, obtained of the great monarch permission to place, in one of the halls of the royal magazine at the Bastille, a collection of small models of artillery then in use. This collection, intended to serve for the instruction of young artillery officers, was exhibited in glass cases.

The Duc de Maine and the Comte d’Eu, who succeeded d’Humières, did nothing towards the development of this happy idea, which was only resumed on the abolition of the post of Grand Master in 1755 by Lieutenant-General de Vallières, who succeeded the count as First Inspector-General. A certain number of ancient arms and of new models were transported to the Academy, and an inventory of the collections, which is still extant, was prepared. In 1788 the celebrated General de Gribeauval, regarded by French writers as the creator of modern artillery, succeeded de Vallières as Inspector-General. It was by means of little models constructed beneath his eyes that Gribeauval had prosecuted his studies, and it was his familiarity with models which enabled him to determine the precise form of the arms to be employed in his new system.

The idea of these little models extended itself to all the machines used in the artillery, as likewise to those ancient arms of which specimens had been preserved. Generalising his idea, Gribeauval determined to apply it to the creation of a complete establishment, and his project was in due time realised. The Minister of War, Comte de Brienne, at the reiterated recommendation of the general, granted to Rolland, Commissary of War and chief in the office of General Inspection of Artillery, a commission which named him director of the new museum. The programme proposed by Gribeauval embraced every description of war implements, whether past or present; nor did it exclude a collection of all the projects which had hitherto been proposed to the State by inventors.

This comprehensive scheme, executed with intelligence and activity, almost immediately gave the happy results which had been anticipated. Objects of all kinds, manufactured with great care in provincial establishments of artillery, arrived in shoals at Paris, and were united with the assemblage of ancient arms and armour which already existed in the royal magazine. This was a moment of growth and prosperity for the new institution. Very soon, however, its progress was to be checked, and its existence threatened by the grave events of 1789. On the 14th of July the arsenal of the artillery was devastated, and its collections almost entirely destroyed. Gribeauval was spared the pain of witnessing the destruction of the work to which he had wished to attach his name. He died on the 7th of May, 1789, two months before the taking of the Bastille.

Curiously enough, however, that same revolution which seemed to have finally wrecked the new museum gave it suddenly a second life, and afforded it an opportunity of wide and rapid development.

From 1791 to 1794 the national factories were inadequate to supply the wants of the army. The system of requisitions which was vigorously enforced brought into the arsenals considerable quantities of arms of all kinds, as well as armour. A commission named by the Ministry had to select therefrom what was serviceable, and to reject what was useless. Regnier, attached to the commission as “Controller of Arms,” conceived the happy notion of putting aside every object which seemed to him to possess particular interest, and which at the same time was of no practical use. The assortment he thus made was placed temporarily in the Convent of the Feuillants. Here it was inspected by Pétier, Minister of War, who, perceiving the future utility of such a collection, caused it to be transferred to the Convent of the Dominicans of Saint Thomas Aquinas. Here it was enhanced by the addition of those models which the before-mentioned Rolland had managed to save from the destruction of the Bastille. The whole was placed under the charge of the newly-formed “Committee of Artillery”; and thus in 1796 the museum obtained its re-organisation.

The Committee at once applied its energies to the development of the enterprise. They obtained from the Ministry permission to inspect those collections of arms which were contained in ancient royal residences, or in the mansions of great families who had become dispersed or had taken to flight. From these collections they were empowered to select whatever objects seemed eligible for exhibition in their museum. Such, however, was the resistance offered in many instances to this system of scientific plunder, that the booty carried off was not so extensive as had been anticipated.

In a more direct manner, however, the Ministry enlarged the treasures of the museum. For this purpose the First Consul, passing through Sedan in 1804, ordered that the arms he saw at the Town Hall should be transported to Paris; and this time it was necessary to obey, though the carriage of the trophies was entrusted, unfortunately, to rascals, who filched and sold part of them.

The peace of 1814 brought back to Paris the generals of artillery. The Central Committee resumed its sittings, and one of the first of these was devoted to the reorganisation of the museum, the importance of whose contents had just been revealed by a hastily-prepared inventory. The Committee appointed a commission, composed of three colonels, three chiefs of squadrons, and three captains, presided over by a general. This body had to draw up an inventory descriptive of each object, classifying the whole collection and reducing it to chronological order. The peace of 1814, however, was broken by Napoleon’s return from Elba, and the members of the commission were called away to active duty.

In 1815 the Museum of Artillery suffered nothing from the invasion: in consequence, it may be, of special measures taken beforehand for its protection. Between 1815 and 1830 the building was enlarged and a new classification was introduced. All was going well when the Artillery Museum was threatened with complete ruin. On the 28th of July, 1830, the insurgents came to the museum in search of arms; after a short but violent struggle, the doors were broken in and the place sacked. For one entire day, July 29th, the museum was almost empty, but on the morrow many of the arms seized the day before were given back, and little by little the contents of the museum, to the honour of the Parisian population, were restored. A certain number of the arms, about a hundred in all, had disappeared for ever; the loss was soon afterwards made good through the purchase of the Duke of Reggio’s collection. During the Revolution of February 7, 1848, the museum suffered no injury; a few insurgents approached the place, but were easily induced to retire.

The museum, as now constituted, fulfils the condition of its original programme, as laid down by General de Gribeauval. It contains specimens of every arm known, from the primitive flint hatchet to the weapons actually in use. It offers many gaps, entire centuries are unrepresented; but these gaps are unavoidable: they exist everywhere; and the historical character of the collection is as complete as the present condition of archaeological research permits.

The most distant period to which the history of arms can be traced is the one described by modern archæology as the Age of Stone. The use of metals was at that time unknown to man, who constructed his arms and implements out of the hardest stones he could find, the bones of animals in this primitive industry being also employed.

The researches made in different parts of France have yielded a good supply of hatchets, arrow and javelin points, made generally of flint. In the earliest period of the Stone Age the flints of the weapons were rough splints, in the second period they were polished. Among the earliest specimens of metal-work, the helmets of the ancient Etruscans may be cited, and afterwards those of the Greeks for infantry and for cavalry. In the satirical comedies of Aristophanes the price is mentioned (in the one entitled “Peace”) of the cuirasses and helmets of his time. Thus a cuirass cost ten minæ (about £35), a helmet one mina (£3 10s.). This series is continued by two Roman helmets in bronze, found at Lyons on the site of the ancient city. Among the Roman swords, some bear the mark of the place of manufacture – “Sabini.” In one of the principal cases may be seen the bronze portion of an ancient Roman standard found in Asia Minor, and given to the museum by the Emperor Napoleon III. The object is probably unique, and possesses in any case much archæological value; it is adorned with the medallions of the two emperors reigning at the time to which it belongs, and the effigies of the greater gods.

After Cæsar’s conquest, the Gauls adopted rapidly enough the manners and the arms of the Romans. At length, however, towards the end of the fifth century, the Franks appeared, and the Frankish invader brought with him his own sword and his own shield. The soldier among the Franks was buried sometimes in a sitting posture, more often stretched on his back. On the right of the sleeping warrior was his lance, with the point turned towards his head, and measuring about his own height; turned towards his feet was his battle-axe; on the left his sword – but this by exception, and only in the case of a chief. The Franks also carried small daggers with a single edge, knives, and scissors in their waist-bands. The smaller objects of equipment have been found in the graves of Frankish warriors. The Frank was armed chiefly for attack; his weapons of offence were numerous and formidable, while for the defensive he had nothing but his little shield, so small in comparison with the huge target-like arm of the fourteenth and fifteenth centuries. The chiefs alone among the Franks wore helmets.

The period of Charlemagne has been much studied, but it is difficult even now to form any idea as to the arms the emperor and his soldiers carried. The sword of Charlemagne in the Museum of Sovereigns and his spear are all, in the way of armoury, that has been preserved. If, however, we compare the sword with that of Childeric, we see many points of difference; the sword of Childeric, almost without a guard, and with a pommel of small dimensions, is very like a Roman sword. The large hemispheric pommel and the broad blade of the Emperor take us back to the mediæval types of the eleventh and twelfth centuries. As regards the successors of Charlemagne, the guards of Charles the Bald wore a uniform which closely resembled that of the Romans, with helmets of barbaric form, of which the base was very nearly square.

Now for a century and a half there is a break in the history of French weapons until we come to the Bayeux Tapestry, some time after the conquest of England by William the Norman. This celebrated piece of embroidery enlightens us as to the arms, the costume, and the equipment of armies towards the end of the eleventh century: so different from everything of the kind under Charles the Bald. In the space of about two hundred years the arms and the equipment of the soldier had undergone a complete change. A single sword is the only weapon of this epoch that the museum can offer; it is exactly like those of the Bayeux Tapestry, the point being formed not by the gradual tapering of the blade, but suddenly, by a sharpened end.

The twelfth century is represented by two helmets placed beneath glass at the end of one of the galleries; they were both found in the Somme. In the thirteenth century the man of war was usually armed with a coat of mail, but he wore a sort of hood in mail which he could throw back on his shoulders, of which an interesting specimen is to be seen at the museum.

The fourteenth century saw a transformation of the coat of mail into a suit of armour of polished steel, which, with some variations, caused by the introduction of portable fire-arms, remained the ordinary armour of the man of war until the time of its final disappearance. Towards 1325 the transformation was complete, as is proved by a great number of monuments of the time, including sculptured figures on tombs, paintings, manuscripts, sepulchral figures engraved on plates of copper, &c. These monuments and documents show that the military costume and equipment of the fourteenth century varied more than is generally imagined. Every man of war armed himself as he thought fit; but there are enough records to give an idea of the type that prevailed and even to guide the archæologist as to the dates of particular changes. What caused the ancient coat of mail to be given up was its weight, and at the same time its incompleteness for defensive purposes. It could stop the thrust of a sword and even of a lance, but in collision the effect of the shock was felt; and in adopting leather jerkins, and afterwards steel plates, the object was to spread the effect of the shock over a greater surface.

The coat of mail was not abandoned, but it was worn shorter and of lighter make, without its former accessories, and thus greater lightness and greater facilities of movement were gained.

The warrior towards the end of the thirteenth century was oppressed by his equipment, and did not get off his horse. After the transformation he was able to fight on foot, as he did in all the celebrated battles of the fourteenth century, beginning from Crécy (1346).

After the adoption of steel armour the coat of mail was still for a time worn underneath; but as the steel armour became more solid the coat of mail was gradually abandoned. The museum contains the complete armour of a man and horse, which dates from the middle of the fifteenth century.

Towards the end of that century the armour of the man of war had reached perfection. Every kind of shield had now been given up as useless; plate armour furnished every necessary defence, for it was only when the armour was weak that any additional protection was necessary. Thus the Norman coat of mail, as worn by William’s invading army, presented in its species of trellis-work enormous gaps, and for his complete defence the horseman protected himself with a long shield in the form of a heart, which in action covered the whole of his left side – the side he presented to the foe. As the armour becomes more effective the necessity for a shield diminishes, and, after getting smaller and smaller, it at last disappears. The Artillery Museum contains a suit of armour by Turenne, which shows what plate armour had become at the end of the seventeenth century. It was abandoned altogether at the beginning of Louis XIV.’s reign; the last helmets worn in France and England belonging to the time when this head-gear formed part of the armour of Cromwell’s Ironsides.

Among the innumerable specimens of arms preserved in the Museum of Artillery, portable arms are classed apart from those which strike at a distance, the latter including spears, javelins, bows and arrows, cannon, and every kind of fire-arm. The bow was the arm of the English, the crossbow that of the French. With the former the archer could fire more quickly, and it was easier to preserve the string from getting wet; of which the advantage was experienced on the English side during the battle of Crécy.

The English retained the use of the bow long after the French had abandoned that of the crossbow; and, according to the director of the Musée d’Artillerie, English bowmen were seen in action as late as 1627, at the siege of Rochelle. Companies of archers disappeared from the French army under Louis XII., about the year 1514. The last time, however, that bows and arrows were seen in European warfare was at the battles of Eylau and Friedland, in 1806, when, according to M. Thiers (“History of the Consulate and Empire”), some of the Tartar troops in the Russian army appeared armed with these antique, and for the most part obsolete, engines of war.

Musketry of every kind is represented in the Museum of Artillery, from the earliest to the latest patterns, including, in particular, the flint locks used in the wars of the Empire, percussion locks, by which they were replaced, the rifles adopted just before the Crimean war, and the quick-firing muskets of the most recent models, including the chassepot, associated with the war of 1870 and 1871, and the “fusil Gras,” which replaced it. The word artillery was formerly applied to every implement of war, though since the introduction of musketry it has been used only to designate guns of large calibre drawn by horses, as distinguished from portable fire-arms. Nevertheless, the first specimens of artillery, in something like the modern sense of the word, were of small bore, and the projectiles were the balls used in connection with the crossbow. The French employed artillery of this kind as far back as the battle of Crécy (1346). Gradually the bolts of the crossbow were replaced, for artillery fire, by leaden balls, called plummets (“plommées”), of about three pounds’ weight; these were used in cannons of modern shape, and by degrees the size of the balls was increased until soon the artillery of an army was divided into light and heavy.

The discoveries of the monk Berthold Schwartz belong to the middle of the fourteenth century; and though this learned, but not perhaps beneficent, inventor revolutionised the art of war, he cannot be accused, in pursuing his studies, of having had any deadly purpose in view.

The earliest fire-arms were loaded at the breech by means of a box which was received in a strong stirrup and fastened with a key; and with the use of breech-loading pieces the history of artillery begins, and up to the present time ends. Soon after the introduction of artillery a rapid augmentation took place in the size of the guns employed, and cannon-balls of stone were used. These were replaced by smaller balls made of cast iron, but even to the present day the weight-carrying power of a gun is estimated on the supposition that the ball is of stone. Stone cannon-balls were used by the Turks long after they had been abandoned in European armies; so also were pieces of immense calibre. In Western Europe cast-iron balls were found to be more effective than the larger balls of stone.

The Artillery Museum contains specimens of every kind of cannon used, from the original breech-loader to the breech-loader of the present day. No. 1 of the catalogue is a small cannon of the earliest period, made of forged iron and furnished with a breech-loading apparatus; 14 and the numbers following are siege-pieces of various kinds abandoned by the English at Meaux, after the bombardment of 1422. The projectiles for these pieces were of stone. No. 7 comes from the ancient residence, near Verdun, of the Knights of Malta; and next to it is a fine cannon in bronze given to the Knights of Rhodes by the Emperor Sigismund in 1434. No. 19, also in bronze, belongs to the reign of Louis XI.; and, like No. 18, comes from Rhodes. It bears this inscription: – “At the command of Loys [Louis], by the grace of God King of France, eleventh of this name, I was cast at Chartres by Jean Chollet, knight, artillery master to this sovereign.” Next but one in the series is a large mortar of bronze, cast at the command of the Grand Master of the Order of the Hospitallers of Jerusalem, Pierre d’Aubusson, 1480.

The construction of the various pieces, as we follow them in chronological order, becomes simplified, then complicated, then simplified again. Gun-carriages and ammunition-chests vary in form, until we find at last the field artillery, under Napoleon III., of one pattern; though two kinds of guns, light and heavy, are still used in the reserve artillery. The rifled cannon introduced by the Emperor Napoleon, which did such effective service during the Italian war of 1859, was looked upon by the French as the best possible field-gun; and, possibly from exaggerated loyalty taking the form of servility, the commission of officers to whom the breech loading rifled guns of Krupp were submitted a few years before the war of 1870 rejected them as in no way superior to the gun of Napoleonic invention actually in use. Since the last war the French have adopted breech-loading rifled pieces more or less on the model of the Krupp guns, treated with such disdain by the military advisers of Napoleon III.