Edwards Henry Sutherland
Old and New Paris: Its History, Its People, and Its Places, v. 1
CHAPTER XIX
THE LOUVRE AND THE TUILERIES
The Louvre – Origin of the Name – The Castle – Francis I. – Catherine de Medicis – The Queen’s Apartments – Louis XIV. and the Louvre – The “Museum of the Louvre” – The Picture Galleries – The Tuileries – The National Assembly – Marie Antoinette – The Palace of Napoleon III. —Petite Provence.
THE origin of the Louvre is remote and the etymology of the word obscure. In the absence of any more probable derivation, philologists have fixed upon that of lupus, or rather in the Latin of the lower empire, lupara. According to this view, the ancient palace of the French kings was originally looked upon as a wolf’s den, or it may be as a hunting-box from which to chase the wolf. The word “louvre” is said at one time to have been used as the equivalent of a royal palace or castle, and in support of this view the following lines are quoted from La Fontaine’s fable of “The Lion, the King of Beasts,” in which the monarch of the forest is represented as inviting the other animals to his “louvre.”
This, however, only proves that the name of a French palace which had existed since the beginning of the thirteenth century could be used in La Fontaine’s time as a name for the palace of any king. “According to some,” says M. Vitet, “the Louvre was founded by Childebert; according to others, by Louis Le Gros. It was either a place from which to hunt the wolf, a ‘louveterie’ (lupara), or, according to another view, a fortress commanding the river in front of the city. It seems probable that before the time of Philip Augustus there was a fortified castle where now stands the Louvre, and that this king simply altered it, and indeed reconstructed it, but was not its founder. The historians of the time speak frequently of the great tower built in 1204 by this prince, to which the name of New Tower was given; an evident sign of the existence of some other more ancient tower. It was not in any case until 1204 that, for the first time, the name of Louvre was officially pronounced. Until then the field is open to conjectures.”
It appears certain that the ground on which the palace stands was called Louvre before anything was built upon it. A chart of the year 1215, referred to by Sanval, shows that Henri, Archbishop of Rheims, built a chapel at Paris in a place called the Louvre. Whence the name? it may once more be asked. One facetious historian declares that the castle of the Louvre was one of the finest edifices that France possessed, and that Philip Augustus “called it, in the language of the time, Louvre, that is to say, l’œuvre in the sense of chef-d’œuvre.” According to another far-fetched derivation the word “Louvre” comes from rouvre, which is traced to robur, an oak, because the Louvre stood in the midst of a forest, which may have been a forest of oaks!
Whatever meaning was attached to the word, it is certain that when in 1204 Philip Augustus built or reconstructed the Louvre he gave it the form, the defences, and the armament of a fortress. It was the strong point in the line of fortifications with which this monarch surrounded Paris.
The first existing document in which the Louvre is mentioned by name is an account of the year 1205 for provisions and wine consumed by citizens who in the Louvre had done military duty.
The castle was at that time in the form of a large square, in the midst of which was a big tower, with its own independent system of defence. The tower was 144 feet in circumference, and 96 feet in height. Its walls were 13 feet thick near the basement, and 12 feet in the upper part. A gallery at the top put it in communication with the buildings of the first enclosure, and it served at once as treasury and as prison. Here Ferrand, Count of Flanders, was confined by Philip Augustus in 1214, after the victory of Bouvines. John IV., Duke of Brittany, Charles II., King of Navarre, and John II., Duke of Alençon, were among many other illustrious prisoners shut up in the Big Tower or donjon of the ancient Louvre.
Louis IX. arranged in the west wing of the Louvre a large hall, which was long known as the Chamber of St. Louis. Charles V. enlarged and embellished the Louvre. He added to it another storey, and did all in his power to change what had hitherto been a purely military building into a convenient and agreeable place of abode. The architecture of the building, originally constructed for use, not show, was in many respects improved, and the gates were surmounted with ornaments and pieces of sculpture. The reception rooms were away from the river, and looked out upon a street long since disappeared, called La Rue Froidmanteaux. The apartments of the king and queen looked out upon the river.
Each of the towers was designated by a particular name, according to its history, or the purpose it was intended to serve. The Big Tower was also called the Ferrand Tower, from the Count of Flanders having been confined in it; and there were also the Library Tower, where Charles V. had brought together 959 volumes, which formed the nucleus of the National Library; the Clock Tower, the Horseshoe Tower, the Artillery Tower, the Sluice Tower, the Falcon Tower, the Hatchet Tower, the tower of the Great Chapel, the tower of the Little Chapel, the Tournament Tower (where the king took up his position to see tournaments and jousts), besides others. Charles V. added to the Louvre a number of buildings for tradespeople and domestics, whose services had to be dispensed with when the Louvre was purely a military building. Such names as pantry, pastry, saucery, butlery, were given to the different buildings and departments by the bakers, the pastry-cooks, the makers of sauces, and the keepers of the wine.
The gardens of the Louvre, though not very extensive, were greatly admired. Here were to be seen aviaries, a menagerie of wild beasts, and lists for different kinds of sports and combats. Charles VI., who lived by preference at the Hôtel St. Pol, increased the fortifications of the Louvre, and sacrificed to that end the gardens of the king and queen on the side of the river. The succeeding kings until the time of Francis I. occupied themselves very little with the Louvre, and scarcely ever resided there.
During this first period of its history, from Philip Augustus until Francis I., the Louvre was the scene of numerous historical events. In 1358, during the captivity of King John in England, the citizens of Paris, in support of the deputies of the communes in the States-General, besieged and took the Louvre, driving away the governor, and carrying off to the Hôtel de Ville all the arms and ammunition they could find in the arsenal of the fortress. Soon afterwards the governor, Pierre Gaillard, was decapitated by order of the Dauphin Regent for making so poor a defence. It was at the Louvre, moreover, in 1377, that the Emperor of Germany, Charles IV., allied himself with Charles V. of France, to make war upon England.
Under the reign of Charles VI., in 1382, while the king was engaged in suppressing an insurrection in Flanders, the Parisians, in their turn, revolted, and proposed to destroy alike the fortress of the Louvre, and that other fortress, destined five centuries later to fall beneath the first blows of the Revolution. They were counselled, however, by one of their leaders to spare both prison and palace; and the advice was sound, for after quieting the turbulent Flemings, the king returned to Paris more powerful than ever.
In 1399, Andronicus, and in 1400, Manuel Palæologus, both Emperors of Constantinople, were entertained at the Louvre, as were also, in 1415, Sigismund, Emperor of Germany, and, in 1422, the King and Queen of England.
When Francis I. ascended the throne, the Louvre regained all its importance as a royal residence. The king began by pulling down the Big Tower, constructed by Philip Augustus, which cast its shadow over the whole of the palace, and gave it the look of a prison. Twelve years later (1539), when the Emperor Charles V. visited Paris, Francis I. determined to receive him, not in the Hôtel des Tournelles, where he was living at the time, but in the old palace of the French kings. He undertook various repairs, and covered the crumbling walls with paintings and tapestry. Everything, too, was regilt, “even,” says a chronicler, “to the weather-cocks.” Finally the space comprised between the river and the moat of the castle was laid out in lists for tournaments.
After spending large sums of money in repairing the Louvre, Francis I. decided to reconstruct it on a new plan, so as to get rid altogether of the irregularity of the old buildings, with their Gothic architecture. The work of reconstructing the Louvre was entrusted to the Italian architect Serlio. But his plan was laid aside in favour of one presented by Pierre Lescot, who, in spite of his French name, was, like Serlio, of Italian origin. He belonged to the Alessi family; and Serlio was so pleased with his designs that he at once pressed the king to accept them. Lescot associated with himself the graceful, ingenious sculptor Jean Goujon, who, like every French artist of the time, had formed his style in Italy; and the Italian sculptor Trebatti, a pupil of Michel Angelo, who possessed more force than belonged to Jean Goujon. To these illustrious men is due the admirable façade of the west in the courtyard of the Louvre.
Great progress was made with the reconstruction of the Louvre under the reign of Henri II., who, while the works were going on at the ancient palace, lived at the Hôtel des Tournelles. It was to this residence that he was carried home to die after being mortally wounded by Montgomery, of the Scottish guard, in the fatal tournament of the Place Royale. Henri’s successor, Francis II., would not live in a place associated with such a tragic incident, and took up his residence at the Louvre.
The power of Catherine de Médicis was now beginning to assert itself, and she had the bad taste to interrupt the plans of Pierre Lescot, and to order new constructions of her own designing to be carried out by her own Italian architects. The Louvre was carried forward to the bank of the river; and the Italian painter Romanelli was employed to decorate a new suite of rooms, which became known as the apartments of the queen. The new work, while possessing a beauty of its own, was quite out of harmony with the severer style followed by Pierre Lescot in connection with the old Louvre. At the southern extremity of the wing built by Catherine de Médicis looks out upon the Seine a window of noble construction, from which, according to popular tradition, Charles IX. amused himself during the massacre of St. Bartholomew by firing on the unhappy Huguenots who were swimming to the other side of the river. Modern historians have, of course, discovered that the window in question did not exist at the time; also that Charles IX. on the day of the massacre was not at the Louvre, but at the Hôtel de Bourbon close by. It was possibly from one of the windows of the Hôtel de Bourbon that he fired. Henri IV. inhabited the Louvre; and it was there that he expired, mortally wounded by the dagger of Ravaillac. This sovereign had added a new gallery to the wing built by Catherine de Médicis, and had filled it with paintings by the most celebrated artists of the time. It perished, however, in a fire; and it was to replace it that Louis XIV. constructed what is now known as the Apollo Gallery. Henri IV. was the first moreover to connect the Tuileries with the Louvre, or, at least, to prolong the Tuileries along the Seine in the direction of the Louvre without completing the junction. The son of Henri IV., Louis XIII., continued the work left unfinished by Pierre Lescot; though, as happens with so many architectural continuations, he departed greatly from the original plan.
The “queen’s apartments,” constructed by Catherine de Médicis, were successively occupied by Marie de Médicis and Anne of Austria; and under each reign new decorations and new pictures were added. Particularly admirable was a series of portraits of Queens of France ending with Marie de Médicis, whose likeness by Porbus was said to be a masterpiece.
Nothing, according to an historian of the time, was spared to make the work perfect; and “although blue was then exceedingly dear, the painter nevertheless spread it over his canvas with so much prodigality that the cost of the colour came to six twenty-crown pieces.” In front of the “apartments of the queen,” which were furnished with every luxury, was a tastefully laid-out garden which, completely transformed, exists to this day. The “Garden of the Infanta” it is called, in memory of the poor little Infanta of Spain brought to France at the age of four to become the wife of Louis XV. Restricted for some years to the garden in question and the apartments adjoining it, she was afterwards sent back to Spain with a doll worth 20,000 francs, given to her by her late fiancé. The apartments of the queen consisted, according to Sanval, of a guard-room, a large ante-chamber, a sitting-room communicating with two galleries, a reception-room, and a boudoir.
While occupying himself chiefly with Versailles, his own personal creation, Louis XIV. did not forget Paris and the Louvre. It has been said that he reconstructed the gallery built by Henri IV., which, after the death of that monarch, was destroyed in a fire. The work of reconstruction was entrusted to Louis XIV.’s favourite painter, Lebrun; and the Apollo Gallery, which owes its name to the principal subject of the painter’s art, is perhaps the most complete, most perfect monument of the style which prevailed under the “Grand Monarque”; a style which may be wanting in purity of taste, but which, in a decorative point of view, is magnificent.
Colbert, appointed superintendent of royal buildings, was now ordered to complete the Louvre. The first thing to do was to add a façade on the east; by an idea which has since become commonplace, but which was strikingly original at the time, the Minister opened a competition for the best design. The one most admired was the work not of an architect, but of a doctor, Claude Perrault by name. Colbert was delighted with it, but before coming to a decision about a matter of so much importance, he sent to Nicolas Poussin, then at Rome, the designs of all the competitors except Perrault. Poussin sent back all the drawings with severe criticisms, and submitted a plan of his own, which satisfied neither Colbert nor the king. Things had reached this point, and Colbert was about to take upon himself the responsibility of adopting Perrault’s design, when he was urged by the Abbé Benedetti and Cardinal Chigi, afterwards Pope Alexander VII., to have recourse to the services of the celebrated Bernini, whose reputation was at that time universal. Thus pressed, Colbert addressed himself to the Duke de Créquy, French ambassador at the Pontifical Court, and begged him to see Bernini on the subject. Louis XIV., moreover, wrote himself to Bernini a letter, which made him resolve to visit France.
On his arrival at Paris, Bernini submitted to the king a project which is said to have been “full of grandeur,” but which was not put into execution. He was now in delicate health, and the annoyance caused to him by the jealousy of the French artists, vexed at seeing the plans of a foreigner preferred to their own, made him solicit the king’s permission to go back to Rome. Louis XIV. gave his consent, and at the same time granted Bernini a pension. Bernini having left Paris, Colbert hesitated no longer. He summoned Claude Perrault and ordered him to begin work at once. The first stone was laid by Louis XIV. with great ceremony, October 17, 1665; and, thanks to the activity of Colbert, the new façade was finished by 1670. This façade, known as the Colonnade of the Louvre, is upwards of 170 metres long, and more than 27 metres high. It may at once be objected to the new façade that, with all its magnificence, it is quite out of harmony with the style adopted in the four façades which form the admirable quadrangle of the Louvre. But whatever may be said against it, Perrault’s colonnade is one of the most remarkable conceptions of modern architecture. When first erected, it was looked upon as an unapproachable masterpiece; and it exercised on architecture abroad, as well as at home, a considerable influence which still lasts.
After finishing his colonnade, Perrault tried to bring it into harmony with the earlier portions of the building. But from the year 1680 Louis XIV. occupied himself no more with the Louvre. He thought of nothing but Versailles, which absorbed all, and more than all, the money he had to spare for building purposes. In 1688 Perrault died, and the Louvre was now not only neglected, but forgotten. Then it was remembered only to be turned to base uses. Stables were established in the ancient palace; though, by way of compensation, it must be added that a number of artists and men of learning had lodgings assigned to them in apartments formerly regarded as royal.
Among Louis XIV.’s favourite lodgers may be mentioned the sculptors Girardon, Couston, Stoltz, and Legros; Cornu and Renaudin, famous for their marble vases; the medallist, Du Vivier; the painters Rigaud, Desportes, Coypel, and Claudine Stella; the two Baileys, father and son, keepers of the king’s pictures; Bain, celebrated painter in enamel; the engraver Sylvestre, the decorators Lemoine and Meissonnier, who made nearly all the drawings for the festivals and ceremonies of the court; Bérin, celebrated for his theatrical costumes and scenes; the geographer Sanson, the engineer d’Hermand, goldsmiths Balin, Germain, Benier, and Mellin; the clockmakers Turet and Martinot, the gunmakers Renier and Piraube, the metal-worker Revoir, and finally (without mentioning many other men of science, art, and art work) Boule, the world-famed maker of the inlaid furniture invented by him.
This furniture, known in France as meubles de Boule, has, by the way, in some inexplicable manner, got to be known in England as “buhl,” and even “bühl” furniture, though Boule was born at Paris in 1642, and died there in 1732, without apparently having ever lived in Germany. In assigning to Boule a set of apartments in the Louvre, Louis XIV. at the same time appointed him engraver in ordinary of the royal seals. Boule, moreover, was honoured on this occasion with a diploma which gave him the titles of “architect, painter, sculptor in mosaic, artist in furniture, carver, decorator, and inventor of cyphers.” In his furniture, Boule employed with great effect woods of different colours, while for his inlaid work he used mother-of-pearl, ivory, gold, brass, bronze, and mosaic. He imitated on his furniture all kinds of animals, flowers, and fruits. He even represented landscapes, hunting scenes, battles, and historical subjects. Besides furniture, Boule applied his art to clocks, casquets, inkstands, and all kinds of arms. He worked much for Versailles and the other royal residences, and received frequent orders from foreign sovereigns.
The meaning, however, of Louis XIV.’s apparent liberality was, from a Versailles point of view, that the Louvre was not worth living in. To provide furnished apartments for the recipients of the king’s bounty, it was unfortunately necessary to put up partitions so as to divide and sub-divide the majestic halls of the palace into little sitting-rooms and bed-rooms. The Louvre was now an hotel, or rather a caravanserai, in which everyone made his bed as best pleased him. Worse still, traders were allowed to erect shops and booths in front of the palace, these improvised constructions resting, indeed, on the palace walls. In 1754, under the reign of Louis XV., Marigny, superintendent of fine arts, undertook to remedy this state of things. He succeeded in interesting the king, who not only ordered the space in front of the Louvre to be cleared, but empowered the architect, Gabriel, to complete the edifice. Gabriel continued the unfinished façade, but had made but little progress when Louis XV. died.
When Louis XVI. ascended the throne in 1774 the Louvre was far from being finished; and the first step taken by the new monarch in connection with the old palace was to have the interior quadrangle cleared of the heaps of sand and dust which had accumulated there, some of these heaps forming little mountains which reached the first floor of the building. Louis XVI., after the first years of his reign, had more pressing matters to attend to than the completion of the ancient palace of the Kings of France. His own throne was menaced, and the history of the Louvre as a royal residence was now at an end.
More than one sovereign has left his mark on the walls of the Louvre. The western wing bears the monogram of Louis XIII. and Anne of Austria; also of Louis XIV. and Marie Thérèse. In the north wing, the letters L. B. are to be seen, signifying Louis de Bourbon, an extremely rare form of the name of Louis XIV. On the south wing, several K’s are to be seen, standing for “Karolous,” or Charles IX. Look to the east, and the Napoleonic empire is symbolised by several eagles.
The Louvre, as we know it, with its magnificent gallery of pictures open to the whole world, dates only from the Revolution. There were from the time of Francis I. pictures in the old palace, and the collection was constantly increased under his successors. But the galleries were private. They were reserved for the delectation of the sovereign and his court. At the very beginning, however, of the Revolution, the Louvre was literally invaded, and some of the unfinished portions were finished in an unexpected manner by being converted into private dwelling houses. But the Republican Government soon put an end to this; and it was under the Convention that the picture gallery of the Louvre, increased by works of art from other palaces, was for the first time thrown open to the public.
To speak only of the building, it was continued by the Republic, and all but completed by Napoleon, who, after appointing a committee of artists, and receiving from them a report in favour of Pierre Lescot’s design, determined, on his own responsibility, to finish the Louvre according to the later design of Claude Perrault.
Napoleon wished, moreover, to join the Louvre to the Tuileries, so as to make of the two palaces one immense palace. Two architects, Percier and Fontaine, were ordered to put this project into form, and they presented their plans to the Minister of Fine Arts in 1813. But the Imperial Government was now near its fall, and it was not during the calamitous retreat from Moscow that architectural projects of any kind could be entertained.
Under the reigns of Louis XVIII. and Charles X. the halls of the Louvre were redecorated. When Louis Philippe came to the throne, M. Thiers, his Minister, laid before the Chambers a proposition for joining the Louvre to the Tuileries at a cost of fourteen million francs. But the Bill was thrown out, and a similar one presented to the Chamber ten years later, in 1843, met with the same fate.
Liberal and even prodigal as the kings of France have often shown themselves in connection with art, they have never given it such effective encouragement as it has received from France’s Republican Governments. After the Revolution of 1848, the Provisional Government had not been more than four days in power when, February 28th, it issued a decree ordering the completion of the Louvre under the name of “The People’s Palace.” A Bill was afterwards passed, on the proposition of the President, General Cavaignac, for restoring the two principal halls of the Louvre, together with the Apollo Gallery. A design from the hand of M. Visconti, in conformity with the decree of February 28th, was now adopted, and this was the one ultimately carried out. But the Assembly hesitated for a time before the expenditure which the execution of the plan would necessarily entail; and its deliberations were put an end to by the coup d’état of 1851. Then came the Empire; and in 1854 Napoleon III. ordered the completion of the Louvre, and its junction with the Tuileries. The plan of M. Visconti, adopted by the Republican Government in 1848, was now carried out, and the palace begun by Francis I. was at last, after three centuries, completed by Napoleon III.
Apart from certain incongruities between the different styles adopted, far less apparent to the general public than to the critical architectural eye, and from which no ancient building that has ever been repaired is entirely free, a magnificent line of palaces and gardens now extended for some three-quarters of a mile along the course of the Seine from St. Germain l’Auxerrois to the Place de la Concorde. But the Louvre and the Tuileries now, after so many ineffectual attempts, joined together, were not destined to remain together very long. The Emperor Napoleon was, after the catastrophe of Sedan, to be replaced by the Republican Government of the 4th of September, which was soon to give way to the Commune, under whose abominable rule so many fine buildings, with the Palace of the Tuileries among them, were wantonly sacrificed, and in a spirit of blind hatred burnt down. The conflagration lighted by the Communists had left standing and comparatively uninjured the outer walls, and therefore the general outline of the palace. But these were calmly pulled down by the “moderate” Republicans, less through considerations of art than from political prejudice.
The Louvre subsists in its entirety, and in virtue of its magnificent collection of pictures, constantly enriched through sums voted during the last hundred years by National Assemblies, it has come to be looked upon as public property. The Tuileries, however, was a palace to the last; and the destruction of this palace, which the communards had only partially accomplished, was effectually completed by the “moderate” Republic established on the ruins of its immediate predecessor.
Interesting as the Louvre may be by its ancient history, the old palace is above all famous in the present day for its admirable picture gallery, first thrown open to the public in the darkest, most sanguinary days of the French Revolution. The modern collection was formed by Francis I., who, during his Italian campaigns, had acquired a taste for Italian art, and who not only invited celebrated Italian artists to his court, but gave princely orders to those who, like Raphael and Michel Angelo, were unable to visit France in person. He collected not only pictures, but art works, and especially antiquities of all kinds – statues, bronzes, medals, cameos, vases, and cups. Primatice alone brought to him from Italy 124 ancient statues and a large number of busts. These treasures were collected at Fontainebleau, and a description of them was published long afterwards by Father Dan, who, in his “Wonders of Fontainebleau” (1692), names forty-seven pictures by the greatest masters, nearly all of which had been acquired by Francis I. It was not, indeed, until the reign of Louis XIII. that any important additions were made to Francis I.’s original collection. Among the pictures cited by Father Dan may in particular be mentioned two by Andrea del Sarto, one by Fra Bartolommeo, one by Bordone, four by Leonardo da Vinci, one by Michel Angelo (the Leda, afterwards destroyed), three by Perugino, two by Primatice, four by Raphael, three by Sebastian del Piombo, and one by Titian.
The royal gallery was considerably augmented under the reign of Louis XIV. At his accession it included only 200 pictures. At his death the number had been increased to 2,000. Most of the new acquisitions were due to the Minister Colbert, who spared neither money nor pains to enrich the royal gallery, the direction and preservation of which was entrusted to the painter Lebrun.
A banker, Jabach of Cologne, resident at Paris, had purchased a large portion of art treasures collected by King Charles I., and brought them over to Paris. He had bought many pictures, moreover, in various parts of the Continent. Ruined at last by his passion for the fine arts, he sold a portion of his collection to Cardinal Mazarin, and another portion, composed chiefly of drawings, to the king. On Mazarin’s death, Colbert bought for Louis XIV. all the works of art left by that Minister, including 546 original pictures, 92 copies, 130 statues, and 196 busts. Louis XIV. placed his collection in the Louvre, and his first visit to the palace after the installation of the pictures is thus described in Le Mercure Galant of December, 1681: —
“On Friday, the 5th day of the month, the king came to the Louvre to see his collection of pictures, which have been placed in a new series of rooms by the side of the superb gallery known as the Apollo Gallery. The gold which glitters on all sides is the least brilliant of its adornments. What is called ‘the cabinet of his Majesty’s pictures’ occupies seven large and lofty halls, some of which are more than 50 feet long. There are, moreover, four additional rooms for the collection in the old Hôtel de Grammont adjoining the Louvre. So many pictures in so many rooms make the entire number appear almost infinite. The walls of the highest rooms are covered with pictures up to the ceiling. The following will give some idea of the number of pictures, by the greatest masters, contained in the eleven rooms: – There are sixteen by Raphael, six by Correggio, five by Giulio Romano, ten by Leonardo da Vinci, eight by Giorgione, twenty-three by Titian, sixteen by Carraccio, eight by Domenichino, twelve by Guido, six by Tintoretto, eighteen by Paul Veronese, fourteen by Van Dyck, seventeen by Poussin, and six by M. Lebrun, among whose works there are some (the battles of Alexander) which are 40 feet long. Besides these pictures there are a quantity of others by Rubens, Albano, Antonio Moro, and other masters of equal renown. Apart from the pictures, there are in the old Hôtel de Grammont many groups of figures and low reliefs in bronze and ivory.”
