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.
