We arrived in Paris on the 1st of January at nine o'clock in the evening; and as the theater of the palace of the Tuileries was now completed, on the Sunday following his Majesty's return the Griselda of M. Paer was presented in this magnificent hall. Their Majesties' boxes were situated in front of the curtain, opposite each other, and presented a charming picture, with their hangings of crimson silk draped above, and forming a background to broad, movable mirrors, which reflected at will the audience or the play. The Emperor, still impressed with the recollections of the theaters of Italy, criticised unsparingly that of the Tuileries, saying that it was inconvenient, badly planned, and much too large for a palace theater; but notwithstanding all these criticisms, when the day of inauguration came, and the Emperor was convinced of the very great ingenuity M. Fontaine had shown in distributing the boxes so as to make the splendid toilets appear to the utmost advantage, he appeared well satisfied, and charged the Duke of Frioul to present to M. Fontaine the congratulations he so well deserved.
A week after we saw the reverse of the medal. On that day Cinna was presented, and a comedy, the name of which I have forgotten. It was such extremely cold weather that we were obliged to leave the theater immediately after the tragedy, in consequence of which the Emperor exhausted himself in invectives against the hall, which according to him was good for nothing but to be burnt. M. Fontaine [Born at Pontoise, 1762; erected the arch of the Carrousel; died 1853] was summoned, and promised to do everything in his power to remedy the inconveniences pointed out to him; and in fact, by means of new furnaces placed under the theater, with pipes through the ceiling, and steps placed under the benches of the second tier of boxes, in a week the hall was made warm and comfortable.
For several weeks the Emperor occupied himself almost exclusively with buildings and improvements. The arch of triumph of the Place du Carrousel, from which the scaffolding had been removed in order to allow the Imperial Guard to pass beneath it on their return from Prussia, first attracted his Majesty's attention. This monument was then almost completed, with the exception of a few bas-reliefs which were still to be put in position. The Emperor took a critical view of it from one of the palace windows, and said, after knitting his brows two or three times, that this mass resembled much more a pavilion than a gate, and that he would have much preferred one constructed in the style of the porte Saint-Denis.
After visiting in detail the various works begun or carried on since his departure, his Majesty one morning sent for M. Fontaine, and having discoursed at length on what he thought worthy of praise or blame in all that he had seen, informed him of his intentions with regard to the plans which the architect had furnished for joining the Tuileries to the Louvre. It was agreed by the Emperor and M. Fontaine that these buildings should be united by two wings, the first of which should be finished in five years, a million to be granted each year for this purpose; and that a second wing should also be constructed on the opposite side, extending from the Louvre to the Tuileries, forming thus a perfect square, in the midst of which would be erected an opera house, isolated on all sides, and communicating with the palace by a subterranean gallery.
The gallery forming the court in front of the Louvre was to be opened to the public in winter, and decorated with statues, and also with all the shrubbery now in boxes in the garden of the Tuileries; and in this court he intended to erect an arch of triumph very similar to that of the Carrousel. Finally, all these beautiful buildings were to be used as lodgings for the grand officers of the crown, as stables, etc. The necessary expense was estimated as approximating forty-two millions.
The Emperor was occupied in succession with a palace of arts; with a new building for the Imperial library, to be placed on the spot now occupied by the Bourse; with a palace for the stock-exchange on the quay Desaix; with the restoration of the Sorbonne and the hotel Soubise; with a triumphal column at Neuilly; with a fountain on the Place Louis XV.; with tearing down the Hotel-Dieu to enlarge and beautify the Cathedral quarter; and with the construction of four hospitals at Mont-Parnasse, at Chaillot, at Montmartre, and in the Faubourg Saint-Antoine, etc. All these plans were very grand; and there is no doubt that he who had conceived them would have executed them; and it has often been said that had he lived, Paris would have had no rival in any department in the world.
At the same time his Majesty decided definitely on the form of the arch of triumph de l'Etoile, which had been long debated, and for which all the architects of the crown had submitted plans. It was M. Fontaine whose opinion prevailed; since among all the plans presented his was the simplest, and at the same time the most imposing.
The Emperor was also much interested in the restoration of the palace of Versailles. M. Fontaine had submitted to his Majesty a plan for the first repairs, by the terms of which, for the sum of six millions, the Emperor and Empress would have had a comfortable dwelling. His Majesty, who liked everything grand, handsome, superb, but at the same time economical, wrote at the bottom of this estimate the following note, which M. de Bausset reports thus in his Memoirs:--
"The plans in regard to Versailles must be carefully considered. Those which M. Fontaine submits are very reasonable, the estimate being six millions; but this includes dwellings, with the restoration of the chapel and that of the theater, only sufficiently comfortable for present use, not such as they should be one day.
"By this plan, the Emperor and Empress would have their apartments; but we must remember that this sum should also furnish lodgings for princes, grand and inferior officers.
"It is also necessary to know where will be placed the factory of arms, which will be needed at Versailles, since it puts silver in circulation.
"It will be necessary out of these six millions to find six lodgings for princes, twelve for grand officers, and fifty for inferior officers.
"Then only can we decide to make Versailles our residence, and pass the summers there. Before adopting these plans, it will be necessary that the architect who engages to execute them should certify that they can be executed for the proposed sum."
A few days after their arrival their Majesties, the Emperor and Empress, went to visit the celebrated David
[Jacques Louis David, born in Paris, 1748, celebrated historical painter, member of convention, 1792, and voted for the death of the king. Died in Brussels, 1825.]
at his studio in the Sorbonne, in order to see the magnificent picture of the coronation, which had just been finished. Their Majesties' suite was composed of Marshal Bessieres, an aide-de-camp of the Emperor, M. Lebrun, several ladies of the palace, and chamberlains. The Emperor and Empress contemplated with admiration for a long while this beautiful painting, which comprised every species of merit; and the painter was in his glory while hearing his Majesty name, one by one, all the different personages of the picture, for the resemblance was really miraculous. "How grand that is!" said the Emperor; "how fine! how the figures are brought out in relief! how truthful! This is not a painting; the figures live in this picture!" First directing his attention to the grand tribune in the midst, the Emperor, recognized Madame his mother, General Beaumont, M. de Cosse, M. de La Ville, Madame de Fontanges, and Madame Soult. "I see in the distance," said he, "good M. Vien." M. David replied, "Yes, Sire; I wished to show my admiration for my illustrious master by placing him in this picture, which, on account of its subject, will be the most famous of my works." The Empress then took part in the conversation, and pointed out to the Emperor how happily M. David had seized upon and represented the interesting moment when the Emperor is on the point of being crowned. "Yes," said his Majesty, regarding it with a pleasure that he did not seek to disguise, "the moment is well chosen, and the scene perfectly represented; the two figures are very fine," and speaking thus, the Emperor looked at the Empress.
His Majesty continued the examination of the picture in all its details, and praised especially the group of the Italian clergy near the altar, which episode was invented by the painter. He seemed to wish only that the Pope had been represented in more direct action, appearing to give his blessing, and that the crown of the Empress had been borne by the cardinal legate. In regard to this group, Marshal Bessieres made the Emperor laugh heartily, by relating to him the very amusing discussion which had taken place between David and Cardinal Caprara.
It is well known that the artist had a great aversion to dressed figures, especially to those clothed in the modern style. In all his paintings, there may be remarked such a pronounced love for the antique that it even shows itself in his manner of draping living persons. Now, Cardinal Caprara, one of the assistants of the Pope at the ceremony of the coronation, wore a wig; and David, in giving him a place in his picture, thought it more suitable to take off his wig, and represent him with a bald head, the likeness being otherwise perfect. The Cardinal was much grieved, and begged the artist to restore his wig, but received from David a formal refusal. "Never," said he, "will I degrade my pencil so far as to paint a wig." His Eminence went away very angry, and complained to M. de Talleyrand, who was at this time Minister of Foreign Affairs, giving, among other reasons, this, which seemed to him unanswerable, that, as no Pope had ever worn a wig, they would not fail to attribute to him, Cardinal Caprara, an intention of aspiring to the pontifical chair in case of a vacancy, which intention would be clearly shown by the suppression of his wig in the picture of the coronation. The entreaties of his Eminence were all in vain; for David would not consent to restore his precious wig, saying, that "he ought to be very glad he had taken off no more than that."
After hearing this story, the particulars of which were confirmed by the principal actor in the scene, his Majesty made some observations to M. David, with all possible delicacy. They were attentively noted by this admirable artist, who, with a bow, promised the Emperor to profit by his advice. Their Majesties' visit was long, and lasted until the fading light warned the Emperor that it was time to return. M. David escorted him to the door of his studio; and there, stopping short, the Emperor took off his hat, and, by a most graceful bow, testified to the honor he felt for such distinguished talent. The Empress added to the agitation by which M. David seemed almost overcome by a few of the charming words of appreciation she so well knew how to say, and said so opportunely.
Opposite the picture of the coronation was placed that of the Sabines. The Emperor, who perceived how anxious M. David was to dispose of this, gave orders to M. Lebrun, as he left, to see if this picture could not be placed to advantage in the grand gallery at the Tuileries. But he soon changed his mind when he reflected that most of the figures were represented in naturalibus, which would appear incongruous in an apartment used for grand diplomatic receptions, and in which the Council of Ministers usually sat.