by Grant Allen
Room IV. — Fine Renaissance chimney-piece, by Hugues Lallement, 16th century, representing Actæon transformed into a stag by Diana, whom he has surprised in the act of bathing. (Subjects from the myth of Diana are favourites with the French Renaissance artists, owing to the influence of Diane de Poitiers.) From Châlons-sur-Marne, same house as that in Room II. Wall A (1779 and 1778), Renaissance classical paintings, part of a large series continued elsewhere; (1428) fine Renaissance carved cabinet (Diana and Chimæras); contrast this and neighbouring Renaissance work with the mediæval carvings in adjacent rooms. Wall B (6329), quaint old Flemish tapestry, representing the Angels appearing to the Shepherds; the Nativity; the Adoration of the Magi; and the Agony in the Garden. Study the arrangement of all these figures, which are conventional, and will reappear in many other examples of various arts. Wall C, R and L of fireplace, good Renaissance wood-carving. Wall D, fine cabinets. In the cases, medals.
Room V, to the side. Debased Italian and Spanish work of the 17th and 18th centuries. Centre, Adoration of the Magi, a meretricious Neapolitan group of the 17th century, intended to place in a church as a Christmas berceau. The costumes of the Three Kings, representing the three continents, the ruined temple in which the action takes place, and the antique statue in the background of the Madonna and St. Joseph, should all be noticed. Contemptible as a work of art, this florid composition of dolls is interesting and valuable for its spirited arrangement, and for the light it casts on the conception of the subject. The room also contains other similar church furniture of the 17th and 18th centuries. Observe their theatrical tinsel style and their affected pietism, as contrasted with the simplicity, naïveté, and truth of earlier periods. Take, as an extreme example of this tendency, the relief of the Annunciation on Wall D, to the R of the entrance door, and compare it with examples of the same subject in other rooms of the collection. Wall B, facing the entrance, good case of miscellaneous woodwork containing excellent Spanish art of this bad period — a Last Supper, a St. Francis receiving the Stigmata, a Massacre of the Innocents, the Faint of St. Catherine, St. Antony the Abbot, St. Antony of Padua carrying the infant Christ, and other figures. A large gilt tabernacle, on Wall C, also contains a debased figure of St. Anthony of Padua, from an altar dedicated to the Saint. Identify as many of these saints as possible, and remember their symbols.
We now quit the older suite of apartments, and enter a large central glass-covered court — Room VI, entirely modern. The Corridor is occupied by early altar paintings, for the most part of little value. Notice on the L, by the staircase (1701), a Giottesque Madonna and Child — Florentine, 15th century. Near it (1666), two oval panels, representing the Annunciation, divided (as frequently happens with this subject) into two distinct portions, and probably flanking a doorway in their original position — Italian, 14th century. All the paintings on this wall, mostly unsatisfactory as works of art, are valuable for their symbolism and the light they throw on the evolution of their subjects. For example: (1676), between the Annunciation pictures, represents the distribution of holy wine which has touched the relics (I think) of St. Hubert. Further on, we have a group of six Apostles; beginning from the R, St. Peter with the keys, St. John Evangelist with the cup and serpent, St. Andrew with his cross, St. Bartholomew with his knife, St. James the Greater with the pilgrim’s staff and scallop, and St. James the Less with a crosier and book. R of the staircase is a stone figure of St. Denis bearing his head, French, 15th century; also, a good statue of the Madonna, a little later. Above the doorway, R, are portions of a large Spanish altar-piece; in the centre, the Crucifixion; extreme R, Assumption of the Virgin, etc. Beyond it comes the continuation of the tabernacle already noticed, containing the six remaining Apostles, with the symbols of their martyrdom. Next, a fine Spanish altar-piece of the 15th century, from a church of St. Martin; in the centre, St. Martin dividing his cloak with the beggar; round it various other subjects, among them St. Antony with his pig, St. Stephen, in deacon’s robes, with the stones of his martyrdom, St. Jerome in the desert beating his bosom with a flint before the crucifix, St. Francis displaying the stigmata or five wounds of Christ, St. Paul the hermit with his lion, etc. R, towards the courtyard, a fine figure of Adam from St. Denis, a splendid example of the best French nude sculpture of the 14th century.
We now enter the covered courtyard or Room VI proper, filled with fine examples of French mediæval sculpture. Several of the objects bear labels sufficiently descriptive. I will therefore only call attention to a few among them. Wall D, two wooden Flemish statues (Our Lady and St. John at Calvary), R and L of the doorway; (417) carved marble monument of the 10th or 11th century; very fine workmanship, with distinct reminiscences of the antique. Wall A, *Magnificent stone frieze or reredos, originally gilt and coloured, representing the History of St. Benedict, from St. Denis; in the centre, Baptism in Jordan (compare the relief of the same subject in Notre-Dame); R and L, preaching and miracles of St. Benedict (overthrow of idols, cure of a dying woman). Middle of wall (6328), fine Italian tapestry, 16th century, representing the Adoration of the Magi; observe the attitude of the kings, together with the ox and ass in the background, invariable concomitants of the Nativity in art. Beneath (728), early wooden Madonna (13th century, Auvergne), with Byzantine aspect. Beautiful Romanesque capitals — Creation of Eve, etc. Wall B*(237), exquisite stone frieze or reredos from the church of St. Germer, about 1259, much-mutilated, but originally one of the most perfect specimens of French 13th century carving; it still betrays traces of colour. In the centre, Crucifixion, with Virgin and St. John: on either side (as at Notre-Dame), the Church, with cross and chalice, and the Synagogue, with eyes blinded: then, R and L of cross, St. Peter and St. Paul: beyond them, Annunciation and Visitation: finally, L, St. Ouen, uncle of St. Germer, cures a wounded warrior; R, St. Germer asks leave of King Dagobert to found the Abbey from which this came. Above it (509), exquisitely grotesque relief of the Resurrection with sleeping Roman soldiers, one of a set in alabaster, French 14th century (500 to 512), all of which deserve to be inspected; meanings of all are obvious except (501) St. Ursula. Still higher, fragment of the original Last Judgment on the central west door of Notre-Dame, Paris, before the restoration — interesting as showing the grounds on which Viollet-le-Duc proceeded; (6322), tapestry, Arras, 15th century, various scriptural subjects, confused, but decipherable. Beneath it, L, *beautiful stone relief (reredos) of the legend of St. Eustace, from the church of St. Denis — a fine French work of the 14th century. In the centre, Crucifixion; extreme L, St. Eustace, hunting, is converted by the apparition of the Christ between the horns of the stag he is pursuing; further R, his baptism, nude, in a font, as in all early representations; still further R, his trials and history; while he crosses a river with one of his children, a wolf seizes one, while a lion devours the other; last of all, reunited miraculously with his family, he and they are burned alive as martyrs by the Emperor Trajan, in a brazen bull. Observe naïf boy with bellows. The whole most delicately and gracefully sculptured. Next, coloured stone relief of the Passion — French 14th century; subjects, from R to L: the kiss of Judas (observe Peter drawing the sword); Flagellation; Bearing of the Cross, with Simon of Cyrene; Deposition in the Tomb; Resurrection; and Christ in Hades, delivering Adam and Eve from the jaws of death, realistically represented here and elsewhere as the mouth of a monster; notice in this work the colour and the Gothic architecture and decoration of the background, which help one to understand features that are missing in many other of these reredoses. Then, stone relief of the Annunciation, Visitation, and Nativity, very simply treated: notice the usual ox and ass in the manger. Above it, *(4763), good mosaic of the Madonna and Child with adoring angels, by Davide Ghirlandajo, of Florence, placed by the President Jean de Ganay (as the inscription attests) in the church of St. Merri at Paris. Wall C (513–518), interesting alabaster reliefs of the Passion, French, 14th century. Between them, Coronation of the Virgin, French, 15th century. (725) Good wooden figure of St. Loui
s, covered with fleur-de-lis in gold, from the Sainte Chapelle. [Here is the door which leads to the Musée des Thermes. Pass it by for the present.] Beyond it, continuation of the alabaster reliefs (514 and 517), etc.: examine them closely. Between them (435), Circumcision, in marble, early 15th century, French, full of character. Beneath it (429, etc.), admirable figures of mourners, from the tomb of Philippe le Hardi, at Dijon, 14th century. Wall D, again (1291), terra-cotta, coloured: Madonna and St. Joseph, with angels, adoring the Child (child missing), ox and ass in background; R, Adoration of Magi; notice once more the conventional arrangement: L, Marriage of the Virgin, a high priest joining her hand to Joseph’s, all under Gothic canopies, 15th century, from the chapel of St. Éloy, near Bernay, Eure. I omit many works of high merit.
The centre of this room is occupied by several good statues. Examine each; the descriptive labels are usually sufficient. (A noble *St. Catherine; St. Barbara with her tower; St. Sebastian, pierced with the holes where the arrows have been; a beautiful long-haired wooden Madonna; a fine [Pisan] Angel of the Annunciation, in wood, etc.) Also, several excellent figures of Our Lady. The large part played by the Madonna in this Room, indeed, is typical of her importance in France, and especially in Paris, from the 13th century onward. The church of Notre-Dame is partly a result, partly a cause, of this special cult of the Blessed Virgin.
Room VII (beyond the corridor, a modern covered courtyard). — Tapestries and textile fabrics, interesting chiefly to ladies. On Wall A, and others, Flemish tapestry, representing the History of Bathsheba, much admired and very ugly; compare it with the tapestry of the Lady and the Unicorn, to be visited later in Room III, upstairs, contrasting them as models of what such work should and should not be. Wall B, admirable Renaissance relief of the Cardinal Virtues. Above it, a good Madonna, and figures of Grammar and Astronomy. Wall C, Caryatid of inferior art, French, 16th century. * *(448), Admirable group of the Three Fates, attributed to Germain Pilon, the great French sculptor of the 16th century, whom we shall meet again at the Louvre — a fine specimen of the plastic art of the Renaissance, said to represent Diane de Poitiers and her daughters. Below * *(447), exquisite Renaissance bas-relief of the huntress Diana, of the School of Jean Goujon, again in allusion to Diane de Poitiers. (478) Good mask of the same epoch. (251) Virgin and Child, meretricious; in the decadent style of the 16th century; very French in type, foreshadowing the Louis XV spirit — the Madonna resembles a little-reputable court lady. Wall D (463, etc.), Judgment of Solomon, Solomon and the Queen of Sheba, Annunciation, and other reliefs in the florid and least pleasing French style of the 16th and 17th centuries. Table by the doorway * *(449), exquisite small marble statue of the Deserted Ariadne (perhaps Diane de Poitiers), in the best Renaissance manner, probably by Germain Pilon: found in the Loire, near Diane’s château of Chaumont. Beside it, three sleeping Venuses, one of which is also said to be Diane de Poitiers, the goddess of the Renaissance in Paris. L of doorway (457), singular marble relief of Christ and the Magdalen after the Resurrection (Noli me tangere); the Saviour strangely represented (as often) in a gardener’s hat and with a spade; in the background, angels by the empty sepulchre; Flemish, florid style of the 16th century. Beside it (467 and 468), two exquisite Renaissance reliefs of Venus. In front of it, on the table *(479), Entombment, with the body of Christ placed in the sarcophagus by Joseph of Arimathea and Nicodemus — portraits, I think, of the donors.
Room VIII — Textile fabrics and ecclesiastical robes. Wall B, L of door (487), pretty but meretricious little group of Venus and Cupids, with grapes, French style of the 17th century; the national taste still more distinctly showing itself. R of door (459), in two separate figures, a quaint Annunciation — French, 16th century, frankly anachronistic. Close by (464), the Judgment of Solomon, same school and period. Above (563), clever small alabaster group of the Rape of the Sabines, after Giovanni da Bologna. These all stand on a handsome French carved chest of the 16th century. Wall C, greatly worn altar-relief of the Adoration of the Magi, from the chapel of the Château d’Anet, French Renaissance, 16th century. Above it (446), Mary Magdalen, kneeling, with long hair and the alabaster box of ointment — her symbol in art — 15th century, curious. At the back, gilt and painted figures of the Holy Trinity, from the demolished church of St. Marcel at Paris, 17th century. Similar representations of the Trinity, showing the three Persons thus, are common in Italian art. Further on (493), good figure of a shepherd, French, 16th century. Wall A (266), curious altar back, Herod ordering the Massacre of the Innocents. (267) St. Eustace crossing the river (see Room VI) with the lion and the wolf seizing his children. A very different treatment from the previous one. (291) A lintel of a chimney, Flemish, dated 1555; centre, a river-god; L and R, pelican and eagle; between the figures, Faith, Hope, Charity and Prudence. (273) Madonna and Child (Notre-Dame de l’Espérance, throned on an anchor). On the wall, far L, interesting piece of French 14th century tapestry, with a legend of St. Marcel and St. John Evangelist, most naïvely represented.
Room IX. — State coaches and Sedan chairs of the 17th century, as ugly as can be imagined. They need not detain you.
MUSÉE DE CLUNY FIRST FLOOR
The staircase to the FIRST FLOOR is in the Corridor to Room VI. Observe the staircase itself, in carved wood, bearing the arms of France and Navarre, and also the crowned initials of Henri IV and Marie de Médicis. It was formerly in the old Chambre des Comptes of Paris, and was re-erected here at the installation of the Museum.
The corridor above contains arms and armour. At the head of the staircase (742), very quaint Magdalen in wood with the box of ointment; German in style, 15th century; observe her long hair, here twisted and plaited with German neatness. (1466 and 1468) Renaissance cabinets in ebony.
Room I. — Gallery, looking down on the courtyard of Room VI, below. Wall D, by which you enter; tiles, French Renaissance. Wall C: first case, blue Flemish stoneware. Fine wrought-iron gates, gilt. In front of them, female Satyr, French, 18th century, very characteristic of the national taste; opposite it, male Satyr, the same. Second case: Palissy ware, French 16th and 17th centuries. This fine ware is full of Renaissance feeling. Notice particularly (3140), a Sacrifice of Abraham; (3145) the Baptism in Jordan, conventional treatment; (3139) Judith and Holofernes, with several other scriptural scenes in the older spirit; intermingled with these are classical and mythological scenes, displaying the growing love for the nude; observe particularly (3119), a Venus with Cupids; and another dish below it, unnumbered, same subject; also, a Creation of Eve; (3131) Susanna and the Elders, and other scenes of similar character. Observe that while the early work is purely scriptural or sacred, the Renaissance introduces classical subjects. Note too the frequent scenes of the Baptism in the same connection. Centre (3102), beautiful vase with lid, of the period of Henri II. Study all the Palissy ware. Wall B, French pottery of the 18th century, exhibiting the rapid decline in taste under Louis XIV and XV, especially as regards colour. The most satisfactory pieces are the blue and white dishes with royal monograms, arms, etc. Second case: Rouen ware of the 18th century, far superior in style and tone to the preceding. Good nude figure of Venus. Wall A, Nevers pottery, delicate blue and white; (3338) figure of a page, to support a lamp. Last case: Dutch pottery, Delft, 18th century, exhibiting the strong domestic Dutch tendency.
Room II. — Also galleries, surrounding a courtyard. Exquisite Italian Renaissance pottery. Wall B, R of entrance, beautiful Italian specimens of Faenza ware, 15th and 16th centuries (whence the word faïence); these should be closely studied in detail. (2811) Quaint dish with Diana as archer; beside it, portraits. (2824 and 2825) Decorative plaques with heads of women. (3949) St. George and the Dragon in green pottery. Behind it, plate with admirable portrait. In the same case, Judith receiving the head of Holofernes; (3024) Hercules playing the lyre to entice Auge. Wall C, first case, Deruta and Chaffagiolo ware of the 16th century. Exquisite decorative dishes and plaques; (2814) Actæon changed to a stag by Diana. (2849) Susann
a and the Elders. (2887) St. Jerome in the desert, with his lion. (2895) The doubting Thomas. (2823) Another Actæon. Observe frequent repetition of certain scenes. Fine plates with arms of Medici Popes, etc. Second case: Deruta ware, still more splendid specimens, many of them with remarkable lustre. (2894) Madonna and Child, with infant St. John of Florence. Other plates with Mercury, a sphinx, a lion, the huntress Diana, a Moor’s head, portraits and decorative designs. Examine in detail. Wall D, first case, Casteldurante and Gubbio ware, 16th century (3007) Manius Curtius leaping into the Forum. (3015) Crucifixion, with the sun and the moon darkened. (3004) Dædalus and the Minotaur. (3008) Fine conventional design. Other plates have heads of St. Paul and mythological persons. (2802) a quaint Temptation of St. Antony. (2818) Leda and the Swan, etc. Second case: Urbino ware, 17th century. Head of Raphael, and delicate Raphaelesque scenes, instinct with the later Renaissance feeling. (2961) Perseus and Andromeda. (3064) Expulsion from Paradise; on either side, Temptation, and Adam eating the fruit. (2872) a Baptism in Jordan. Notice again the mixture of religious and mythological scenes, with a preference for those where the nude is permissible — Judith and Holofernes, Orpheus, etc. Wall A, fine Florentine terra-cotta bust of the young St. John, patron saint of the city. More Urbino ware, to be carefully examined. The greater part of this wall, however, is occupied by * *Della Robbia ware, glazed Florentine majolica of the 15th and 16th centuries. (2794) Fine figure of St. Michael. (2799) Martyrdom of St. Catherine, the wheels of her torture broken by angels. Above it, Madonna adoring the Child; observe in this and many other cases the beautiful setting of fruit and flowers, characteristic of the Delia Robbias. Beneath, no number, the Beheading of St. Catherine; in the background, angels conveying her soul to Heaven. (2795) The Infant St. John, patron Saint of Florence. (2793) Temperance, with flagon and patera. Then, more Urbino ware, very fine examples of the end of the 16th century; above them, touching Madonna and Child, Della Robbia. Wall B, again, Castello ware, and Venetian pottery, 15th, 16th and 17th centuries. Apothecary’s jars, plaques, etc., extremely beautiful.
