The Project Gutenberg EBook of Vigée Le Brun, by Haldane MacFall This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Vigée Le Brun Author: Haldane MacFall Release Date: October 22, 2009 [EBook #30314] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK VIGÉE LE BRUN *** Produced by Al Haines Cover art MASTERPIECES IN COLOUR EDITED BY — T. LEMAN HARE VIGÉE LE BRUN 1755-1842 PLATE I.—MARIE ANTOINETTE. Frontispiece (At Versailles) The first portrait that Vigée Le Brun painted, in her twenty-fourth year (1779) of Marie Antoinette. Here is no hint of the tragedy that was to overwhelm the handsome young daughter of Austria; all was as yet but gaiety and roses and sunshine and pleasant airs, and the glamour that hovers about a throne. But there are signs of the imperious temper of her house, combined with the levity and frivolity of manners which were so early to make her unpopular. Plate I. Vigée Le Brun BY HALDANE MACFALL ILLUSTRATED WITH EIGHT REPRODUCTIONS IN COLOUR Title page art LONDON: T. C. & E. C. JACK NEW YORK: FREDERICK A. STOKES CO. 1907 CONTENTS I. The Beginnings II. The Wonderful Child III. Marriage and Motherhood IV. Marie Antoinette V. Sweet Exile VI. The End LIST OF ILLUSTRATIONS Plate I. Marie Antoinette At Versailles Frontispiece II. Madame Vigée Le Brun and Child In the Louvre III. Madame Vigée Le Brun and Child In the Louvre IV. Portrait of Madame Vigée Le Brun In the National Gallery, London V. The two elder Children of Marie Antoinette At Versailles VI. Portrait of Madame Molé-Raymond In the Louvre VII. Marie Antoinette and her Children At Versailles VIII. Peace bringing back Plenty In the Louvre Vigée Le Brun I THE BEGINNINGS In Paris, in the Rue Coquillière, Louis the Fifteenth being King of France—or rather the Pompadour holding sway thereover—there lived a witty, amiable fellow who plied the art of painting portraits in oils and pastels after the mediocre fashion that is called "pleasing." This Louis Vigée and his wife, Jeanne Maissin, moved in the genial enthusiastic circle of the lesser artists, passing through their sober day without undue excitement; for fame and wealth and the prizes of life were not for them. Boucher was lord of art; and La Tour and Greuze and Chardin were at the height of their genius; but honest Louis Vigée could but plod on at his pleasing portraits, and sigh that the gods had not borne to him the immortal flame. Yet he was to come near to the glory of it—nearer than he thought. 'Twas a pity that he was robbed of the splendour of basking in the reflected radiance, and by a fish's bone. It was to have its beginning in that year after the indolent but obstinate king, having fallen foul of his Parliaments in his game of facing-both-ways in the bitter strife 'twixt Church and people, patched up a peace with the Parliament men. PLATE II.—MADAME VIGÉE LE BRUN AND CHILD (In the Louvre) In Vigée Le Brun's portrait of herself and her child we see in full career the Greek ideals that were come upon France—a France weary of light trifling with life, and of mere butterfly flitting from flower to flower. Plate II. Our worthy mediocre Vigée could remember the banished Parliament re-entering Paris in triumph on that fourth day of September in 1754 amidst the exultant shouts of the people; the clergy looking on with a scowl the while. On that same day was born to the Dauphin a son—the little fellow called the Duke de Berry—whom we shall soon see ascending the throne as the ill-starred Louis the Sixteenth, for the Dauphin was to be taken before the old king died. Honest waggish Vigée, painting industriously at his pleasing portraits, would recall it well; since, early in the following year, there was that to happen under his own modest roof which was to bring fame to his name, though he should not live to bask in its full glow. On the 10th of April 1755 there was born to him a little girl-child, whom they christened Elizabeth Louise Vigée, or as she herself wrote it across the title-page of her Souvenirs, Louise Elizabeth Vigée. Into her little fingers Destiny set the skill that had been denied to her father; the flame was given to her. And by the whimsy of things, there was also born in far-away Vienna, in this same year of 1755, in the palace of the Emperors of Austria, a little princess whom they christened Marie Antoinette; who was to marry the little seven-month old princeling that lay sucking his thumb in the Royal palace near by, and thereby to become future Queen of France. Like François Boucher, the great painter to the king, Elizabeth Vigée came to the pretty business with the advantage of being an artist's child; like him, she received her first lessons at an early age from her father; and, like him, she moved from earliest childhood in an atmosphere of art and artists. From her father she inherited a talent and taste for art, an amiable temper, a gift of wit; from her mother, a very handsome woman, she was dowered with a beauty for which she was as remarkable, and to which her many portraits of herself bear abundant witness. From very childhood she began to display the proofs of her inheritance—that happy disposition and that charm of manner that were to make her one of the most winsome personalities of her time. At the convent to which her parents sent her in her tenth year she fell to drawing on the margins of her books, filling them with little portrait-heads—an incessant habit that set her teachers grumbling at her lack of respect towards grammar and history. But to her delighted father the grumbles were matter for laughter; in him she found an ally who was hugely proud to discover in his girl an inheritor of his gifts. It is told of the fond father that the girl having taken to him one day a drawing, Vigée cried out exultantly: "You will be a painter, my girl, or there never was one!" Brought up, as the child was, in the world of artists, with the aims and ambitions and enthusiasms of artists for her very breath, she could not fail to find in such a world, besides the encouragement which was prodigally bestowed upon so young and promising a talent, the teaching needful to develop her powers. Amongst the artists who were on friendly terms with the girl's father, and of whom Doyen was the most intimate, was Davesne, a member and deputy professor of the Academy of St. Luke—he who afterwards claimed to have taught the little Elizabeth the elements of painting. Davesne's lessons were at best but few, and seem to have been limited to showing the eager child how to set a palette. The girl was in fact picking up the crumbs that fell from many tables; at any rate she showed astoundingly precocious industry and gifts, and was soon making quite a stir amongst the painter-folk, and becoming a source of pride to her father. Vigée, however, was only destined to guide and encourage the child towards the path; he died on the 9th of May 1768 from swallowing a fish bone. Little Elizabeth was but thirteen years old when this first great grief fell upon her. That was a strange world in which the child stood bewildered at the baffling cruelty of human destiny—this eighteenth-century France. The Pompadour had died in the child's ninth year; her dogged and persistent enemy, the Dauphin, the year after her; the neglected queen now followed the Pompadour to the grave in the June of this same year that left little Elizabeth fatherless. Under the scandals of the Court, and the tyranny and corruption of the nobility and clergy, the French people were no longer concealing their distress under courtly phrases, nor groaning in secret. The ideas of the new philosophers were penetrating and colouring public opinion. They were beginning to talk of the great antique days of Greece, of heroes, and of virtue, and of living and dying like Romans. Fickle fashion was turning her back upon the art of old Boucher, and upon Dresden shepherds and shepherdesses and pleasant landscapes and bosky groves, and was taking up her abode with heroes and amongst picturesque ruins. The Parliament men were demanding rights, were indeed going to prison and into banishment for those rights; nay, was not Choiseul the great minister of France; and Choiseul's power was deep planted in the rights of the people and founded on Parliaments. All France was watching for the dawn of liberty. II THE WONDERFUL CHILD The thirteen-year-old child suffered a grief so poignant at the loss of her father, to whom she had been passionately attached, that it threatened to have the gravest consequences on her future; had it not been for her father's old friend Doyen, who, transferring to the girl the deep affection he had had for the dead man, urged the child to take up her brushes again—for she was already painting from Nature. It was now that she entered the studio of Gabriel Briard, an historical painter and member of the Royal Academy; a mediocre artist (though superior to Davesne, who claimed to have been her teacher), but he was a fine draughtsman. To Briard's studio she went with a little friend, a year older than herself, Mademoiselle Bocquet, who was to become like herself a member of the Academy of Saint Luke; a girl of a certain talent who, however, abandoned painting on her early marriage. The two girls tripped it to Briard's studio like a couple of school-children, demurely escorted by a servant, who carried their dinner in a basket; and, as they went to their daily task, be sure the quick intelligent girl heard more than a little scandal of the Court—indeed all Paris more than whispered of it—scandal big with meaning for France, and for little Elizabeth not least of all. The tears of the king's grief over the dead body of his queen were scarce dried when Louis the Fifteenth still further degraded the dignity of the throne of France—still more dangerously brought royalty into contempt by publicly acknowledging as his new mistress a young woman from the gutters, the beautiful, laughing, reckless spendthrift Du Barry, to whom one of the king's first gifts was Louveciennes, where Elizabeth was afterwards to meet her. Before the year was out Choiseul fell; and for the remaining four years that were left to the king France was governed by the milliner Du Barry and her precious trio, D'Aiguillon, Terray, and Maupeou; and rushed towards the abyss. However, these things troubled our precocious Elizabeth but little as yet. The girl grew rapidly in craftsmanship and in personal beauty. Indeed, she developed towards womanhood as early and as swiftly as in skill of artistry, being remarkable for her prettiness, her freshness and delicacy of colouring, and her elegance of figure—early displaying the airy wit that, with these abundant gifts of her fairy godmother, were so valuable an aid to the reputation which she was achieving by her artistry at a time when most children are in the schoolroom. Her advance was so astounding that every one was talking about the girl; and the moment soon arrived when her master saw the pupil passing him in skill of hand and reputation as a painter; gazing dumbfounded at the stream of the greatest celebrities and personages of the day flocking to the studio of a girl of but fifteen years of age. How strange a thing the weaving of the web of Destiny! In this very same year there came out of Austria a fifteen- year-old princess of its Royal House, leaving the home of her forefathers in tears, and amidst the tears of a people that had grown to love the winsome child; for, Marie Antoinette was setting forth on her life's adventure as future Queen of France, a tragic wayfaring for a butterfly! Elizabeth Vigée's extraordinary rise into notice brought her the friendship and counsel of Joseph Vernet, who gave her most precious advice which was a beacon to her career all her years: "My child," said he, "do not follow any system of schools. Consult only the works of the great Italian and Flemish masters. But, above all things, make as many studies as you can from Nature. Nature is the supreme master. If you study Nature with care it will prevent you from picking up any mannerisms." PLATE III.—MADAME VIGÉE LE BRUN AND CHILD (In the Louvre) Vigée Le Brun painted another portrait of herself and her little girl-child; and she painted both, fortunately for her fame, when her skill was at its increase. They stand out, with all their limitations, pure and exquisite as the Madonna and Child of Italy's finest achievement; for they were painted by a woman of genius with the passionate love of a child that is the wondrous heritage of woman—none the less religious in that it apes no show of religion. Plate III. Doyen and Greuze also helped her with suggestions; but she was from the beginning her own teacher. Davesne and Briard only flattered themselves by claiming her tutoring. The girl showed in no way any slightest sign of their influence. Ardent and enthusiastic in her pursuit of art, she haunted the galleries and private collections, but above all she went to Nature. Naturalness is by consequence a marked attribute of one who painted in this artificial age—in portraiture she largely escaped the conventional style, both its limitations and, be it also confessed, something of that great beauty of style and that superb decorative splendour that mark the handsome achievement of Nattier and Drouais and their fellows. Nor must it be forgotten that the realism claimed by the later years, and the naturalism claimed for this girl's art, were already to be seen in full career in the master-work of La Tour in portraiture, and in the still-life of Chardin. This girl's genius never reached to the force of La Tour, nor the superb handling or colour-sense or vigour of Chardin, but she painted with rare skill the eminent women of her day and, with near as remarkable a skill, more than one man; her loss would have left a serious gap in the statement of the French genius of the end of the seventeen hundreds. It has been a custom too long indulged in by literary critics to praise her at the expense of Boucher's "conventionality"; but she never painted a portrait that surpassed the Wallace "Pompadour" or the "Infant Orleans," to say nothing of other rare portraits from Boucher's easel. To set her up in rivalry against one of the greatest decorative artists of the years is but to give her an ugly fall. The astounding part is not that she painted better than she did, but that she achieved what she did. But free from convention? No. She was a woman, and a painter of women—a painter of women from the woman's point of view that desires the world only to think of woman in her pose as woman, reticent, careful to screen the impulsive, most of all the vexatious, the violent, and the irregular moods of femininity's temperament from the eyes of the passer-by; always eager to show woman dressed for the part, and well dressed. She was incapable of stating the deeps of character; and had she had the power, she would have looked upon it as something of an indecency—or worse, an indelicacy. She would, in fact, have preferred to deny the deeps. She sets her sitter ever in the drawing-room of fashion, draws a heavy curtain with a rattle between the drawing-room and the inner boudoir (the "sulking room"), slams the door on the bedroom, or any hint that there is a bedroom, before she cries "come in," to admit us to her studio; she prefers to show the woman in her properties as the creature of fashion, not in the intimacy of her inner living and full significance. This is as much and as absolutely convention as any tricking out of ladies as Dresden shepherdesses, and the more subtle in that it is the less obvious; as much convention as any painting of large eyes or rose-bud mouths. It is as misleading as convention. But it is the basis of a woman's life; and, in that, it is true. Boucher has been blamed for being conventional; is often sneered at as the arch-make-believe. But when he painted women he painted them as men really see them with their masks off, and with all their allure of femininity. This sneer of convention is a two-edged sword. In the year that they found Boucher dead, seated at his easel before an unfinished canvas of Venus, this girl of fifteen discovered herself celebrated; saw her studio invaded by the flower of the world of fashion; the women of the nobility at the French Court visiting her; the exclusive doors of the Faubourg St. Germain thrown open to her; princesses, duchesses, countesses, celebrities of the day and strangers of distinction her friends. She was in close touch with the leading artists of her day—Le Moyne, blunt Quentin de La Tour, and the rest. The girl, in spite of her astounding industry, was soon wholly unable to carry out the orders for portraits which rained in upon her; her charm of manner and her increasing beauty added to the pressure of the siege of her admirers. A little while before her fifteenth birthday her mother married again a young jeweller, of the name of Le Sèvre, a miserly fellow, who, under the pretext of taking them into the country, hired a little house at Chaillot, where they went with the girl for their Sundays; the thrifty stepfather planting its garden with the gay blossoms of the useful haricot-bean and the nasturtium. He had a frugal mind. The petty tyrannies of the thrifty jeweller, his mean outlook on life, and his sordid aims, made of the habits and atmosphere of his class an even more uncongenial world for this brilliant girl to live in. Happily the pursuit of her art, and the friendship of that circle into which that art and her gifts and charming personality raised her, mitigated the tyranny of this sordid relationship. And, to add to her relief, Madame Suzanne, wife of the sculptor, and a friend of her mother, would carry off the girl with her into the country; and it was during one of their walks at Marly that she met for the first time Marie Antoinette. On the 10th of May 1774, a month before Elizabeth Vigée's nineteenth birthday, King Louis the Fifteenth died of the small-pox—died without a friend, for he had dismissed the Du Barry in tears a short while before. His body was hastily thrust into a coffin, and hurried at the trot through the darkness to St. Denis, for fear of attack from the sullen crowds that gathered to do it dishonour; so was he huddled away amongst the bones of the ancient kings of his race, unattended by the Court, and amidst the curses of his people. Louis the Sixteenth, son of Louis Fifteenth's only son, the dead Dauphin, ascended the throne of France in his twentieth year, a pure-minded, honourable young fellow, full of good intentions, and sincerely anxious for the well-being of his people; but of a diffident temper, timid, hesitating, and uncertain in decision, and under the influence of his young consort, the beautiful Queen Marie Antoinette, who had the imperious temper of her house, wedded to light and frivolous manners; she brought to her counsels a deplorable lack of judgment and a steadfast incompetence in knowledge of men. The good qualities of this young pair had been very well in private life; but France needed greater abilities for her guidance than the simple virtues. It was a hideous part of the destiny of this young couple that they came to rule over a France that was passionately angered at the misdeeds of a king and his privileged class of nobles and clergy who had gone before them—of a class that had come unscathed through that reign, and were grown incapable of realising that they could not come unscathed through another. The Du Barry flown, and her precious trio of ministers with her, Louis recalled the crafty old schemer Maurepas to power from the banishment into which the Pompadour had sent him; but he otherwise began well by making Turgot his minister of finance. On the 25th of October in this 1774 that saw Louis Quinze and Marie Antoinette come to the throne of France, Elizabeth Vigée was elected to the Academy of St. Luke at nineteen years of age. She brought to her early successes a charming modesty and an utter absence of conceit or of pose that added greatly to her reputation, and paved the way to further honours. III MARRIAGE AND MOTHERHOOD But early success was not to be without black care stepping into the triumphal car in her procession towards an early and wide fame of this charming and accomplished young woman of twenty. Honours were easy. But the devil was in the machinery. Her family had lived in the Rue de Cléry, opposite the hotel Lubert; thence they had drifted to the Rue St. Honoré hard by the Palais Royal; they now returned to the Rue de Cléry to the hotel Lubert itself. Here it chanced that Le Brun, the expert, carried on a lucrative traffic in pictures. His gallery attracted the pretty artist, who could study there at leisure the works of the great masters that passed through. The two families soon became intimate. Le Brun carefully weighing the great advantages that such a union could bring to him, but entangled by his engagement to marry the daughter of a Dutch dealer in pictures who lived opposite to him, and with whom he had considerable business in works of art, beat about as to how he could marry Elizabeth Vigée. The girl was living in the splendour of a circle to which her family could not hope to aspire; the picture-dealer belonged to the middle-class in which her own family moved. Any day she might marry out of that middle-class world into the world of fashion. He saw that the girl moved in, and was happiest in, a great world to which he had not the key. He had the ambition to belong to that world, though his common-sense might have told him that he never could do more than hang about its outer courts. He was a calculating blackguard, a man of loose life, and a vulgar fellow with vulgar ambitions. He saw astutely enough that this girl was well on the high-road to considerable fortune. The Dutch girl opposite necessitated wary walking. He played the romantic lover, and before six months were run out he was pressing his suit, asking Elizabeth Vigée to marry him secretly. PLATE IV.—PORTRAIT OF MADAME VIGÉE LE BRUN (In the National Gallery, London) She saw at Anvers the famous "Chapeau de paille" by Rubens. This canvas by Rubens clearly inspired her to the painting of the portrait of herself in a straw hat, where she stands bathed in the sunlight, her palette in her hand. The painting of the flesh of the pretty face is exquisite, and in spite of intense finish is broadly conceived and rich and glowing in colour. The clumsy drawing of the hand that holds the palette is the only defect in this, one of her masterpieces. The picture has the added interest of revealing to us how Vigée Le Brun set her palette. The thing is thrilling with life; and the little feminine conceit of wearing her black wrap is quaintly delightful. Plate IV. The girl seems to have had a presentiment of the misery that such a marriage would mean for her. After long and serious hesitation she gave her consent. It was perhaps due to a sense of being between the devil and the deep sea, for her sordid and miserly stepfather the jeweller must have been a sorry table-companion of her home life. If she suspected the picture-dealer to be a rogue, she thought, likely enough, that the more genial rogue would be a pleasanter fellow to live with than the other. She married him secretly on the 11th of January 1776, on the edge of her twenty-first year. It was not a wholly promising beginning, this that gave her the name that she was to immortalise—Vigée Le Brun. It was a sorry match. It began in secrecy; she was to discover that it was founded on a treachery. When the marriage was discovered it was too late to dissuade the girl from it; she had to listen to some plain home-truths as a Dutchman saw them, and to grim prophecies of the evil that would come of the business. But he might have spared his breath. She was to have her ugly awakening. She early discovered that Le Brun was a gambler, a rake, and a thoroughly dissolute and unscrupulous rogue. It was not long before he had not only squandered his own fortune, but was playing ducks and drakes with every penny that she gained by her art and her untiring industry. She was soon to become a mother; the love that she had sedately allowed to go out to her disreputable and pretentious husband, and which she had early withdrawn in tatters, she now lavished upon this, her girl-child. Meanwhile, her reputation increased by leaps and bounds. Her studio was simply besieged by "the Quality." The Duchess of Orleans had to wait her turn a whole year before she could be painted. Vigée Le Brun's praise was in every mouth. She was sung in prose and verse; the poetasters ran to much doggerel of handsome intent, as was the fashion of the day. Marquises and the rest of the scribbling folk tripped over halting feet to sing her charms and immortalise her art. "L'orgueil de France" rhymed it to "la double puissance;" and "immortal crayon" to "admiration." They spilled the rosy inks. Le Brun, not the picture-dealing husband, but the poetical fellow who modestly nicknamed himself the Pindar of his age, plucked at the lyre with both hands in her honour. Nay, have we not the written record that Laharpe, uttering his rhymed discourse on the genius of women to a great gathering of the bloods and wits at the Academy, and bursting into violent poesies in announcing that Elizabeth, "the modern Rosalba, but more brilliant than she, weds the voice of Favart with the smiles of a Venus"—every one rose to their feet, "not omitting the Duchess of Chartres and the King of Sweden," and turning to the blushing Elizabeth, applauded her "with transports"! So much for France within the walls of the Royal Academy. But France without! The great minister, Turgot, baffled by the selfishness of the privileged classes, fell. But Louis called to power near as good a man, worthy banker Neckar. In an unfortunate hour for the Royal house, and against the will of the king, be it credited, and to the bewilderment of Neckar, the nation having gone mad with enthusiasm over the prospect of an alliance with Britain's revolted American colonies, war was declared against England, France undertaking not to conclude peace until the colonies were free. The success of the revolted colonies made the Revolution in France a certainty. The fall of Neckar and the setting up of the reckless and incompetent Calonne over the destinies of France brought the shout of the Democracy to the gardens of the king. Vigée Le Brun's picture of the dandified man certainly does not show him a leader of great enterprises. His reckless extravagance satisfied the nobles; it brought bankruptcy stalking to the doors of the king's palace. The distress and sufferings of the people became unbearable. The miserable scandal of the diamond necklace added to the discredit of the queen. The Royal family and the Court sank further in the people's respect. As for Vigée Le Brun, she was come into her kingdom. And it is during those twenty years, from shortly after her marriage until she was forty, that her best and most brilliant portraiture belongs, before the hardness and dryness of her later style showed signs of the decay of her powers. PLATE V.—THE TWO ELDER CHILDREN OF MARIE ANTOINETTE—THE FIRST DAUPHIN (born 1781, died 1789) AND THE MADAME ROYALE (At Versailles) The little Dauphin of four years, and his seven-year-old sister, the Madame Royale, seated on a bank, the boy's hat thrown at his feet upon the flower-strewn ground—a work in which Vigée Le Brun's colour-sense, her fine arrangement, and her feeling for style reach to their highest flight. The handsome boy was mercifully taken at the dawn of the Revolution; the girl was to know all its terrors. Plate V. To its earliest, freshest years belongs the first portrait that Vigée Le Brun painted, in her twenty-fourth year (1779) of Marie Antoinette, in which the young queen is seen with a large basket, and dressed in a satin gown, holding a rose in her hand—painted the year after the birth of her eldest child, the Madame Royale. Here is no hint of the tragedy that was to overwhelm the handsome young daughter of Austria; all was as yet but gaiety and roses and sunshine and pleasant airs and the glamour that hovers about a throne. But there are signs of the imperious temper of her house, combined with the levity and frivolity of manners, which were so early to make her unpopular. Vigée Le Brun was to paint her royal mistress close on thirty times during the next ten years, until the prison doors shut upon the Royal house of France; and there grew up between the two women a subtle and charming friendship that was to make the talented woman a dogged and convinced royalist to her dying day—indeed, the temperament of women needs small incense towards the worshipping of idols. Vigée Le Brun was rarely more happy in her art than in several of the many portraits she painted of herself about this time—more particularly the two famous pictures of herself with her little daughter. "The Marie Antoinette with the Rose" is redolent still of the eighteenth-century France—the siècle Louis Quinze. In Vigée Le Brun's portrait of herself and her child we see in full career the Greek ideals that were come upon France—a France weary of light trifling with life, and of mere butterfly flitting from flower to flower; here is that crying back to the antique spirit that was leavening the middle-class of France which was about to claim dominion over the land and to step to the foot of the throne and usurp the sceptre and diadem of her ancient line of kings as the Third Estate; and to come to power with violent upheaval, wading to the throne through blood and terror. Here we see Vigée Le Brun, royalist, glorifying motherhood, her arms and shoulders bare in chaste nudity, her body scantily attired in the simple purity of Greek robes, her child in her embrace. Vigée Le Brun painted another portrait of herself and her little girl-child; and she painted both, fortunately for her fame, when her skill was at its increase. They stand out, with all their limitations, pure and exquisite as the Madonna and Child of Italy's finest achievement; for they were painted by a woman of genius with the passionate love of a child that is the wondrous heritage of woman; none the less religious in that it apes no show of religion. We see the age of free thought stating the innate religion of free thought; as Renaissance Italy painted paganism in religious disguise with the innate irreligion of its day. In all her portraiture one is struck by the fact that Vigée Le Brun took much pains to arrange the draperies in what she considered picturesque fashion rather than that she painted the ordinary gowns of her day as her sitters wore them on entering her studio. And we have her own word for it in her Souvenirs (wherein the careful record of each picture that she painted may be found) that the dress of most women of the time seemed ugly to her—as it does to so many artists, generally not the best, in all times—indeed, she used every ounce of tact that she possessed in order to "arrange" the draperies. She sternly set her face against the use of powder and paint that the fashion of her century put upon complexions even of the most delicate beauties; and she always, when she could, arranged the hair of the women sitters. She tells, not without pride, how, having persuaded the beautiful Duchess of Grammont-Caderousse to put off paint and powder, and to allow her to arrange her jet-black hair, drawing it down over the forehead and separating it over the brow and arranging it in irregular little curls, the duchess went to the theatre as she was, and created the fashion thereby, in spite of the fact that Vigée Le Brun could never persuade the queen to give in to her, Marie Antoinette replying to all her beguilings: "I shall be the last to follow the fashion; I do not wish them to say that I am trying to hide my huge forehead." Marie Antoinette was beginning to realise that all France did not fawn upon her with the courtier's bended shoulder or pretty speech. IV MARIE ANTOINETTE In her twenty-seventh year (1782) Vigée Le Brun made a journey into Flanders with her husband, who had gone thither picture-dealing. The works of the Flemish masters that she there saw had a marked effect upon the increase of her art. She saw at Anvers the famous "Chapeau de paille" by Rubens; and had revealed to her the beauties of a sun- flooded figure, with the face painted in the golden glow of reflected lights under the shadow flung down over it by a large hat. This canvas by Rubens clearly inspired her to the painting of the portrait of herself in a straw hat, where she stands bathed in the sunlight, her palette in her hand. The painting of the flesh of the pretty face is exquisite, and in spite of intense finish is broadly conceived and rich and glowing in colour. The clumsy drawing of the hand that holds the palette is the only defect in this, one of her masterpieces. The picture has the added interest of revealing to us how Vigée Le Brun set her palette. The thing is thrilling with life; and the little feminine conceit of wearing her black wrap is quaintly delightful. Thenceforth her art has an added sense of style, a fuller statement of atmosphere; in her handling of paint and employment of colour she was soon to reach the very height of her achievement. It was shortly after her return from this journey into Flanders that Joseph Vernet decided to put down her name for election to the Royal Academy. Her portrait of herself created such a sensation that her election became assured. She had to paint the usual formal tableau de reception, and chose Allegory, painting her "La Paix ramenant l'Abondance," which, though a somewhat stilted affair such as Academies demand, is full of charm—and is still to be seen at the Louvre. She was received into the Academy on the last day of May in 1783 in her twenty-eighth year, and thenceforward had the valuable privilege of the right to show at the Salon. Vigée Le Brun had not reached to such rapid and wide success, in spite of all her charm and youth and the defence that chivalry should grant to her sex, without setting jealous tongues wagging. The "Peace bringing back Abundance" happened to be hung under a canvas by Ménageot, "The Birth of the Dauphin"; and comparisons between the two pictures were aimed at creating a slander which there were only too many ready to believe; for it was supported by certain facts which fell into place, and took on a suspicious air when pointed to as supporting evidence. This Ménageot, who afterwards became Director of the Academy at Rome, lived in the same house as Vigée Le Brun; and rumour soon got agog to the effect that he was in the habit of painting, or at any rate putting the finishing touches to, her work, Pierre, at this time first painter to the king, had employed this slander in order to oppose her election to the Academy; he was the leading spirit of a cabal against her, as soon became known; for he was the victim soon afterwards of a satirical jingle that went the round of the studios. She was harassed also by the petty spites of enemies who did not hesitate to try and have her studio seized under the charge that she was painting without legal title since she had never been apprenticed to a painter. And malignant tongues whispered it abroad that she never would have been elected to the Academy had it not been done at the command of the Court. They made her very friendship with the queen a whip with which to lash at her. She was now painting many portraits of the queen. Vigée Le Brun spent her entire day at her easel, from the time she arose in the morning, and she rose early, until the daylight went. She gave up dining in the town, in order not to be drawn away from her work; and the temptation must have been strong for a young and charming woman so greatly in request. But at nightfall she went out to social functions, and herself received the most brilliant and distinguished members of society and art and letters at her own house, giving concerts where Grétry, whose portrait she painted, and other celebrated musicians played portions of their operas before they were seen or heard upon the stage; whilst the grandees of the old noblesse and the famous wits frequented her house. Again, the report of her receptions got noised abroad; and envious tongues were soon exaggerating the extravagance and luxury in which she lived, descending to such childish tittle-tattle as that she lit her fires with bank- notes, that the number of her guests was so great and so distinguished that, for lack of seats, the marshals of France had to sit upon the floor; gossip and babble that were to cost her dearer than she thought, though she laughed it all away with a shrug of her pretty shoulders at the time. It was concerning one of her six-o'clock suppers that a slander was started which was to be a serious menace to her in after years. PLATE VI.—PORTRAIT OF MADAME MOLÉ-RAYMOND (In the Louvre) This famous painting of Madame Molé-Raymond, the pretty actress of the Comédie Française, is one of Vigée Le Brun's masterpieces. Her brush is now at its most dexterous use; the laughing pretty woman is caught like a live thing and fixed upon the canvas as at a stroke as she trips across the vision, with muff upraised, smiling out upon us as she passes. Vigée Le Brun never stated character with more consummate skill than here; never set down action with more vivid brush, catching movement flying. Plate VI.