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

M. de Coulmier conducted the house in the most despotic manner; and on the death of the principal surgeon, M. Gastaldi, in 1805, he assumed such powers in the medical department that the School of Medicine was obliged to intervene, when the medical direction was placed in the hands of Dr. Royer-Collard, brother of the celebrated orator of the same name. With all his tyranny, M. de Coulmier had many agreeable ways. Remembering the fury of Saul, calmed by the harp of the youthful David, and the quieting of savage animals by the lyre of Orpheus, the director, carried away by his artistic feeling, determined to apply a similar treatment to the demented ones of Charenton. To carry out his idea he introduced dancing, dramatic performances, fireworks, and even ballets, with the assistance of some of the choregraphic celebrities of the epoch. The imprisoned Marquis de Sade, known by books that no decent person can read, was the organiser of these entertainments, which were attended by all Paris.

To the joyous reign of M. de Coulmier succeeded, in 1814, the severe administration of Roulhac du Maupas. No more singing and dancing now! Comedies and ballets gave place to useful reforms, and the substitution of a new medical organisation for the former choregraphic system. Royer-Collard had suppressed the iron girdles, the fetters, the handcuffs, and the collars, by which the ungovernable madmen used to be restrained, and the melancholy ones driven to suicide. Esquirol did away with the human figures in wicker-work, in which violent maniacs used sometimes to be enclosed. The new programme met with the full approbation of the Government. A credit of 2,720,000 francs was voted by the Chamber of Deputies in July, 1838; and soon afterwards M. de Montalivet, then Minister of the Interior, laid with due solemnity the first stone of the new edifice. The memory of this important ceremony is consecrated by an inscription placed beneath the vestibule of the principal building.

At the back of the building is the wood of Vincennes, from which it is separated only by a wall, with a gate for the inmates of the asylum. In front the landscape comprises the immense and fertile plain of Maisons Alfort, Ivry, and Choisy-le-Roi. The panorama is one of the finest offered by the environs of Paris. The capricious meanderings of the Marne, with its green banks and its flower-clad islands, the picturesque hill of Alfort, the interesting domain of Charentonneau; villages sparkling beneath the sun in the midst of fields and meadows: on the horizon the smiling slopes of Saint-Maur, Créteil, Champigny, Chenevières, and Boissy-Saint-Lèger; the forest of Sénart, Villeneuve-St. – Georges – which, deserted by its inhabitants, was occupied, during the last war, in every house and every room by German troops, who left behind them sad proofs of their destructiveness; and, finally, the majestic course of the Seine, and its union with the Marne. The new establishment has been so built that from nearly every room the patients can gladden their eyes and refresh their minds by contemplating the enchanting scenery.

The patients are grouped together, not with reference to their social rank, but according to the medical peculiarities of each particular case. In the first division are patients who have reached the convalescent stage, and who are quiet. In the second are the lunatics who know how to behave themselves, but are still subject to fits of insanity. The third class consists of incurable lunatics, who are nevertheless capable of obeying orders. The fourth is reserved for incurable lunatics, difficult to govern; the fifth for paralytic lunatics; the sixth for lunatics who have been attacked by some ordinary malady; the seventh for epileptic patients; and the eighth for violent uncontrolable maniacs.

During the last twenty or thirty years a hydropathic establishment has been added to the asylum, together with workshops for the occupation and amusement of the convalescent.

On the 2nd of February, 1866, the Empress paid a visit to Charenton, and took the institution under her special patronage. She began by proposing the construction of a department for women on the same system and the same scale as the well-organised department for men; and, adopting the Empress’s idea, the legislative body voted an important sum towards carrying it out.

Charenton receives about 600 patients, 300 men and 300 women; but the number would be much larger were there sufficient accommodation. The terms for the paying patients are 1,500 francs for the first class, 1,200 for the second, and 900 for the third, while for those who have a separate room 900 francs extra, as the wages of a servant, are charged. Needless to add that the patients, paying or non-paying, are all on an equality as regards medical treatment. The quality and variety of the cooking vary with the different classes. The chief elements of the population of Charenton are furnished by officials and clerks, artists and men of letters, merchants, dealers in wine and spirits, officers and soldiers. Every type of madness may there be studied, from dementia and melancholia to mania. Many of the patients owe their malady to hereditary predisposition, alcoholic excesses, and other abuses, domestic calamities, reverses of fortune, and intellectual labour unduly prolonged.

Nothing is spared to provide the patients with salutary occupations, agreeable pastimes, and innocent amusements. They are encouraged to study music, singing, and drawing, and for those who have no artistic tastes, cards, draughts, dominoes, billiards, and bowls are provided. Among the outdoor recreations walks in the most beautiful parts of the wood of Vincennes, carriage excursions and picnics may be mentioned. The Thursday and Sunday concerts form, however, the great delight of the place. These are not given by the director simply as entertainments. They are prescribed by the regulations, and have formed part of the institutions of the House since 1811. In the spacious hall, which serves at once as ball-room and concert-room, assemble upwards of a hundred convalescents of both sexes. In the dress and demeanour of those present there is nothing remarkable, except that they are more quietly attired, and generally better behaved than in fashionable society. The billiard-room is much frequented, and the general aspect of the card-room reminds Dr. Linas of one of the aristocratic Paris clubs.

It should have been mentioned that at the periodical concerts the music is contributed by the patients, some of whom are singers, others violinists or pianists. The officials of the establishment join the inmates either as performers or among the audience. In like manner the patients and attendants act together in the comedies and dramas which are sometimes represented.

Charenton, though placed under the direction of the Ministry of the Interior, has its own particular administration, in which a clerk may in due time, after successive promotions, rise to be a functionary of almost the first rank. No one voluntarily quits the establishment; and the servants, like the officials, remain there until they are compelled by old age to resign. Charenton, like other madhouses, has had celebrities among its inmates, including the Marquis de Sade, who, after sending one of his infamous books to Napoleon, was at once ordered to be arrested and placed in a lunatic asylum; the same punishment which, at a later date, was inflicted by the Emperor Nicholas on a writer, blameless in his morality, who had attacked the existing order of things in Russia.

CHAPTER XXX.
THE RIVER BIÈVRE AND THE MANUFACTORY OF THE GOBELINS

The Brothers Gobelin – Lebrun – The Gobelins under Louis XIV. – At the Time of the Revolution – The Manufactory of Sèvres

THE Bièvre is a stream which, many years ago, behaved so badly in the matter of inundations that it was put under ground. Canalised subterraneously, it runs beneath or by the side of the Horse Market, passes near the Salpêtrière, and enters the Seine close to the Orleans Railway terminus. It is between the Bièvre and the Rue Mouffetard that the buildings of the Gobelins manufactory, so famed for its tapestry and dyes, are situated.

The superiority of the products of this factory is by some attributed to peculiar saline properties in the stream. Of these Rabelais speaks in thoroughly Rabelaisian style; and it was doubtless in consequence of the tinctorial qualities of the river that the brothers Gobelin established on its banks their famous manufactory.

It is to these brothers that the name of the establishment is due. They were famous dyers in Normandy, or, as is also said, at Rheims, in Champagne; and, whatever their origin, they came to Paris in the middle of the fifteenth century, and took up their position on the banks of the river above mentioned.

The water of the Bièvre, while helping the development of Gobelin dyes, is injured by them. Like all the streams which flow past dye works, the Bièvre is perpetually stained; and in the present day there are many scientific men who venture to affirm that the brilliant colours of the Gobelin tapestry are in no way due to water of any kind, but to artistic secrets belonging to the Gobelin brothers, and handed down by them to their descendants or successors.

Under the reign of Louis XIV. the Gobelins was a sort of school of furniture, in which not only tapestry but cabinet work of every kind was cultivated. “Here,” writes a chronicler of the time, “two hundred and fifty master weavers produced the richest tapestries, after the works of our best painters. The school was extended in order to include sculptors in metal and goldsmiths.”

A passion for ornamentation now took possession at once of the Court and of Paris society generally; and the candelabra and the lamps produced at the Gobelins were worthy of any palace. Most of the works produced at the Gobelins, to whatever category they belonged, were intended as presents to members of royal families and other persons of the very first distinction. Among the painters attached to the Gobelins manufactory may, in the first place, be mentioned the celebrated Lebrun in the reign of Louis XIV., and under the government of Colbert. “And as a matter of fact,” says an historian, “Lebrun gave to the Gobelins a splendour which was steadily maintained.”

He painted for the manufactory, simply that they might be reproduced in wool, some of his greatest pictures, including “The Battles of Alexander,” “The History of Louis XIV.,” “The Twelve Months of the Year,” “The Story of Moses,” etc. etc. Van der Meulen, Yvart, Boëls, and others may be mentioned among the painters attached permanently to the establishment.

When, on the death of Lebrun, Mignard succeeded him as Director of the Gobelins, an architect, La Chapelle-Bessé, was appointed architect and builder. Under the joint direction of painter and architect a school of drawing was created at the Gobelins with Toby, Coysevox, and Sebastien Leclerc as professors.

Unfortunately the reverses sustained by Louis XIV. during the last year of his reign led to the discharge of the best workmen at the Gobelins, whom it was thought impossible any longer to pay; and from this time the establishment has occupied itself only with the production of tapestry, to the neglect of medals, cameos, cabinet work, and artistic furniture generally.

Specimens of the Gobelin tapestry were often given away as presents either to crowned heads or to celebrities of less eminence whom the king wished to honour with some mark of distinction. Thus there may still be seen at Windsor Castle the tapestries of “Esther” and of “Jason and Medea,” given to the King of England by Louis XIV. The King of Siam, the Emperor of Russia, the Duke of Lorraine, and the King of Prussia received similar presents. Occasionally, too, the Gobelins executed orders for men of wealth and of high position; and in every country in Europe so rare a work of art as a Gobelin tapestry gave a character to the furniture of a room, indeed of a whole house.

The Revolution was but little favourable to the Gobelin manufactory. Writing on the subject in 1790, Marat said: “No one has any idea abroad of establishments maintained at the expense of the State in connection with fine arts or rather manufactures: the honour of this invention was reserved for France. Such are, among others, the manufactories of Sèvres and of the Gobelins. The latter costs annually 100,000 francs; it is difficult to say why, unless it be to enrich intriguers and rogues.”

In spite of Marat’s report the Gobelin manufactory was not interfered with; not at least in theory. The Government subvention was not formally withdrawn, but it ceased to be paid. The Consulate, seeing how entirely the place was neglected, appointed a director at a fixed salary, and took the place generally under its charge. The Empire regarded the Gobelins as a state institution, and paid largely towards its support. It enjoyed also the full patronage of the Bourbons after the Restoration. The government of Louis Philippe ordered, at great cost, a whole series of tapestries representing the royal palaces and residences of France, which were intended for the decoration of these very mansions. At the same time, continuing ancient traditions, the king ordered a number of tapestries for presentation to foreign potentates. “Peter the Great in the Tempest,” after Steuben’s picture, admirably rendered in wool, was presented to the Tsar; the “Massacre of the Mamelukes,” after Horace Vernet, to the Queen of England.

The different revolutions which have taken place in France have never for any length of time affected the position of the Gobelins, which successive governments have learnt to regard as one of the glories of France. For the beautiful, brilliant colours in use during the present century the establishment has been indebted to the famous chemist and centenarian, M. Chevreuil.

Among the masterpieces executed at the Gobelins may be mentioned the portrait of Louis XIV., after Rigaud, of which the original may be seen in the Louvre; “The Assumption” of Titian, an immense composition, some thirty feet high; and the reproduction in wool of a number of delicate, graceful pictures by Boucher, etc. etc. Since 1848 a school has been established at the Gobelins, where the art of tapestry is systematically studied by pupils and apprentices.

Although not connected in any direct manner with the Gobelins, the manufactory of Sèvres is associated with it as an establishment for art work. It enjoys a similar reputation for the excellence of its products, and is supported, like the Gobelins, by grants from the State, and by state patronage of every kind. At St. Cloud in 1695 a manufactory of pottery was started by the brothers Chicanneau, who took for their trade-mark a sun, doubtless by way of flattery to Louis XIV., the Sun King – “Le Roi Soleil.” The factory was visited in 1700 by the Duchess of Burgundy, on whose recommendation it obtained special privileges in 1702. Twenty years later Henri Trou, Chicanneau’s son-in-law, and his brother Gabriel, took the direction of the establishment, which at this time prided itself on its imitations of China porcelain. In 1735 the brothers Dubois, one a painter, the other a sculptor, quitted the establishment of St. Cloud, where they had hitherto been employed, and founded a rival establishment at Chantilly, under the patronage of the Prince de Condé. The Dubois brothers afterwards moved to Vincennes; and it was not until 1756 that general headquarters for the porcelain work of Paris were fixed at Sèvres. The establishment belonged to a body of shareholders. But four years after the company was started the king bought up all the shares, thus becoming not only the patron but the proprietor of the Sèvres manufactory. At once managing director and monarch, Louis XIV. was able to forbid competition of every kind, and under the severest penalties. To attempt to make porcelain elsewhere than at Sèvres was not only a criminal offence, but almost an offence of State.

Admirable as were the results obtained, the pieces of porcelain turned out at Sèvres were seldom, if ever, quite perfect; and it was only the cups, vases, plates and dishes in which there was some perhaps almost imperceptible flaw that were offered for sale to the general public. When perfection had been attained the fortunate work was reserved for the royal palaces or for presentation to some foreign potentate. In 1761 a native of Strasburg, which for about a century had belonged to France, sold to the Sèvres manufactory the secret of a so-called “hard paste” porcelain which he had obtained from a relative, director of some porcelain works in the neighbouring Palatinate.

Like the Gobelins, the manufactory of Sèvres was not interfered with by the Revolution. From 1800 to 1847 it remained continuously under the direction of Brongniart, who introduced many improvements in the manufacture of porcelain, though he is thought to have paid more attention scientifically to the matter than artistically to the form of his products. Perfectly-made paste, but bad designs.

The Sèvres porcelain of the period of the First Empire was remarkable for the stiffness and sham-academical style of the figures. From this epoch dates the custom of reproducing on cups and saucers, vases and plates, copies of great historical pictures and other unsuitable works. The landscapes, the pastoral pieces of Watteau and of Boucher, were far more appropriate.

Under the Second Empire the Sèvres manufactory cost the State 480,000 francs a year, and sold porcelain to the general public to the amount of 80,000 francs. There was a clear loss, then, to the establishment of 400,000 francs, or £16,000 a year. After the fall of the Empire an attempt was made by M. Charles Garnier, the architect of the new opera, and M. Jules Simon, at that time Minister of Public Instruction, to place the Sèvres manufactory on a more satisfactory footing. A commission was appointed with well-known artists, art-critics, and manufacturers among its members, to consider what was to be done; and in the first place M. Duc, the celebrated architect, was requested to draw up a report on the subject.

M. Duc set forth that the fabrication of the material left nothing to be desired, and that the artists who furnished designs for the porcelain were unequalled. But there were not enough of them, and M. Duc’s main proposal was that a school should be established in connection with the Sèvres manufactory, precisely what had been proposed and adopted under Louis Philippe’s reign in connection with the Gobelins. The school of Sèvres was established in conformity with M. Duc’s recommendation, and at the same time a “Sèvres prize” of the value of 2,000 francs was instituted as an annual recompense to the author of the most artistic design for pottery work.

CHAPTER XXXI.
THE PALAIS BOURBON

The Palais Bourbon – Its History – The National Convention – Philippe Egalité

THE Palais Bourbon, situated between the Quai d’Orsay on the north and the Place de Bourgogne on the south, bears a name which is singularly inappropriate to the edifice in its modern character; for neither under the ancient monarchy nor under the restored Bourbons has the great monarchical family of France shown the least favour towards the parliamentary discussions of which in modern times the Palais Bourbon has been the scene. The building was constructed in 1772 by the Italian architect, Gardini, at the orders of the Dowager-Duchess of Bourbon. After passing through various hands, the Palais Bourbon was made national property at the time of the Revolution, when “Maison de la Revolution” was the name given to it. In 1795 its principal reception-rooms were transformed into a hall for the Council of the Five Hundred, and it was at the same time enlarged. The present façade was added in 1804 under Napoleon I.

Among the other remarkable halls contained in the Palais Bourbon as it at present exists, the most important is the one in which, under the name now of Chamber of Deputies, now of Legislative Body, the French Parliament has held its sittings.

The hall arranged in 1795 for the Council of the Five Hundred was afterwards occupied by the Legislative Body of the Empire, and again, under the Restoration, by the Chamber of Deputies. In 1814 the Palais Bourbon was, as property, restored to the Prince de Condé, who left the use of it to the State for the benefit of the Chamber. The Government bought from the prince in 1827 a portion of the palace, and purchased the rest from the Duke of Aumale in 1830, the full price paid amounting to 10,500,000 francs. In 1829 the Hall of the Five Hundred was replaced provisionally by a building of wood, in lieu of which the hall as it now exists was soon afterwards constructed. After the Revolution of 1848 a wooden hall was built in the courtyard of the palace to receive the nine hundred deputies of the Constituent Assembly. This hall was invaded by the mob on the 15th of May, 1848, and demolished after the coup d’état of the 2nd of December, 1851.

The Legislative Body of the Empire was now installed in the former Chamber of Deputies until the 4th of September, 1870, when the palace of the Legislative Body was once more invaded by the mob.

The most famous parliamentary debates, however, of the French, and the most important parliamentary trials, have taken place not in the Palais Bourbon but at the Tuileries and at the Luxemburg. Under the reign of Louis Philippe, in the best days of Guizot and Thiers, debates of the greatest interest took place at the Palais Bourbon in the “Chamber of Deputies,” as the French representative body was at that time called; for with each new government the name of the assembly, as of almost every other institution in France, is changed. All public establishments are from time to time Royal, National, or Imperial; and the body which corresponds in France to the House of Commons in England is called, turn by turn, Chamber of Representatives, Chamber of Deputies, or Legislative Body. No country, indeed, has had so many legislative and governing assemblies as France, which until the Revolution was as nearly as possible an absolute monarchy. The States-General, under the ancient régime, were convoked from time to time by the king, but had no real power. The most that can be said in their favour is that they at least preserved among the people the idea of popular representation. In 1788, the year before the Revolution, there was a general demand for a convocation of the States-General, to which an unexpected reply was made by the calling together of Constituent and Legislative Assemblies. These bodies both admitted the royal veto as a bar upon their decisions. But the Convention, the Revolution having now been accomplished, recognised no counterbalancing power, no control of any kind. It governed the country through its commissaries and its committees.

The constitution of the year 3 of the Republic (1792) divided the legislative power into two assemblies, the Council of the Five Hundred and the Council of the Elders. To the former belonged the initiative, to the latter the final decision.

Dissatisfied with the working of these two bodies, Bonaparte introduced a parliamentary reform of the most remarkable kind. According to his constitution of the year 1797, the Legislative Body was to be divided into two assemblies, one of which was to discuss the laws submitted to it by the Government, the other to accept the decisions in the upper chamber without debate and simply by way of registration. After the fall of Napoleon the restored monarchy, obliged by the circumstances of the time to tolerate the existence of a parliament, formed the Chamber of Representatives, which, under the government of Louis Philippe, was succeeded by the Chamber of Deputies, destined to play an important part in the political history of the country. Under the Second Empire the governmental forms of the First Empire were as much as possible introduced. The Legislative Body and the Senate came now once more into existence, the former being empowered to discuss the laws proposed by the Government, the latter to prevent their promulgation should they, under the influence of the debates, have taken a form which the Government might consider objectionable. Under the Third Republic the French chambers have resumed something of the importance they possessed under Louis Philippe. Their powers, indeed, have been increased, though they contain no such distinguished men as those which gave character and brilliancy to the Chamber of Deputies between the years 1830 and 1848.

The assembly of the States-General held at Versailles in May, 1789, preceded by three months the taking of the Bastille; and it was in this assembly that the task-work of the peasants – their serfdom, that is to say – was abolished; that obnoxious feudal rights of various kinds were suppressed; and that religious liberty, individual liberty, liberty of the press, and general equality before the law were proclaimed.

The Bastille was taken while the assembly was in full deliberation, and this event gave to its discussions and decisions a more liberal, more revolutionary turn than ever.

The assembly of the States-General followed the king to Paris, and soon afterwards installed itself in the riding-school of the Tuileries. After the flight of Louis XVI. (June 21, 1791) it took possession of the executive power, and held it with a firm hand until the acceptance of the constitution by the king on the 14th of September. On the 30th of the same month it dispersed, to be replaced by the Legislative Assembly, to which, in virtue of a resolution proposed by Robespierre, no member of the previous assembly could belong. The number of laws, acts, and decrees passed by the assembly afterwards to be known as the Constituent amounted to not less than 3,250.

The Legislative Assembly of 1791, in which, as just mentioned, no member of the famous Constituent Assembly could sit, began by swearing allegiance to the constitution just proclaimed. A number of émigrés having assembled on the frontier, it confiscated their property, and took proceedings against the king’s brothers, the chiefs of the fugitive royalists now threatening return. It replied to the coalition against France by a declaration of war, called the country to arms, and decreed the formation of a camp of 20,000 men beneath the walls of Paris. The king making objection to these vigorous measures, the Assembly declared the monarchy at an end, and on the 10th of August it was abolished, or rather “suspended,” by law.

On the 10th of August, 1792, the Legislative Assembly, in presence of Louis XVI., decreed the “provisional suspension of the chief of the executive power,” and the convocation of a national convention – that is to say an extraordinary assembly invested by the people with full powers for reconstituting the government of the country. The members of the new legislative body were to be chosen by double election. Every Frenchman who was of age, and possessed not a house but a “domicile,” had a right to vote for an elector; and the electors thus chosen elected in their turn the members of the new assembly. There was one elector to every hundred citizens; and at the primary elections the merits of the candidates for electoral honours were freely discussed.

The procedure of the Convention was almost identical with that of the Constituent and Legislative Assembly. Many readers will be surprised to hear that among the 749 deputies forming the National Convention there were sixteen bishops, eight episcopal grand vicars, eighteen priests, and seven Protestant ministers; besides one prince of the blood (the Duke of Orleans, nicknamed Philippe Égalité), and a number of barristers and lawyers, officers of the king’s army, now disbanded; former members of the Paris Parliament, nobles, landed proprietors, doctors, men of science, men of letters, several poets, painters, and actors; a few merchants and manufacturers, and only one workman, a wool-carder named Armonville. The Convention, though a Revolutionary assembly, can scarcely be said to have been a democratic one. On the 20th of September the new representatives of the people held a preparatory sitting in the Hall of the Hundred Swiss at the Tuileries. On the 21st the Convention reassembled at the Tuileries, and notified its official existence to the Legislative Assembly, which at once deposited its powers in the hands of the new representatives of the people, who thereupon established themselves in the Riding School. The Convention did not take possession of the Tuileries until eight months afterwards, May 10th, 1793, the unfortunate king having meanwhile, been sentenced to death and (Jan. 21) executed.

When the Convention began its sittings the enemy’s outposts were only seventy-five miles from Paris, and the German powers, who had invaded France, were preparing to take a terrible vengeance on the country which, if it had not actually dethroned, had formally “suspended” the power of its king.

“Kings” exclaimed the Bishop of Blois in an excited debate, “are in the moral order what monsters are in the physical”; and in the midst of general acclamation the Assembly adopted unanimously this declaration:

The Girondists, who for some time had the upper hand in the Convention, wished to spare the king, and some of them proposed to leave the decision of his fate to the people at large; confident, no doubt, that the verdict of the nation would be, if not altogether favourable, at least not fatal to the unhappy monarch. The Girondists, however, could not get their views adopted by the Assembly generally; and in the end many of them voted for the king’s death.

The king having been tried and found guilty by the Assembly, each member was called upon to declare in writing what sentence the convicted monarch deserved. Some were for keeping him in prison until peace was made with the invading powers, and then sending him into exile on condition of his never attempting to return. The greater number, however, of the deputies were in favour of death. One, more brutal than the others, is said to have recorded his view as to the sentence that should be passed in these cynical words: “La mort sans phrase.” M. Edouard Fournier has, however, well explained, in his admirable little volume, “Les Mots Historiques,” that whereas in most cases the deputy signing the register explained, in one or more phrases, why he was in favour of a particular sentence, the sentence in this particular case was given without one word of explanation, “sans phrase” in short, as the registrar put it.