THE J. PAUL GETTY MUSEUM LIBRARY 
 
Digitized by the Internet Archive 
 in 2016 with funding from 
 Getty Research Institute 
 
 https://archive.org/details/jeanmarcnattierOOunse 
 
. r 
 
 i 
 
MASTERS IN ART 
 
 A SERIES OF ILLUSTRATED 
 MONOGRAPHS; ISSUED MONTHLY 
 
 PART 30 JUNE, 1902 VOLUMES 
 
 0Attiex 
 
 CONTENTS 
 
 Plate I. Madame Adelaide of France as Diana Palace of Versailles 
 
 Plate II. Marie Leczinska, Queen of France Palace of Versailles 
 
 Plate III. Mlle. de Clermont as Nymph of the Waters of Chantilly 
 
 CoNDE Museum: Chantilly 
 
 Plate IV. Madame Elisabeth, Duchesse de Parme 
 Plate V. Madame Sophie of France 
 Plate VI. Madame Henriette of France 
 Plate VII. Madame Louise of France 
 Plate VIII. La Duchesse d’Orleans as Hebe 
 Plate IX. Louise-Henriette de Bourbon-Conti 
 
 Plate X. Madame Adelaide of France 
 
 Portrait of Nattier by Himself: Palace of Versailles 
 The Life of Nattier 
 
 Madame ToccyiE 
 
 The Art of Nattier 
 
 Criticisms by Alexandre, Perate, Hedouin, Blanc, Burger, Merson, Mantz 
 The Works of Nattier: Descriptions of the Plates and a List of Paintings 
 Nattier Bibliography 
 
 Photo-engravings by Folsom Sunergren : Boston. Press-work by the Everett Press: Boston. 
 
 Palace of Versailles 
 Palace of Versailles 
 Palace of Versailles 
 Palace of Versailles 
 National Museum : Stockholm 
 Palace of Versailles 
 Palace of Versailles 
 Page ao 
 
 Page 21 
 
 Page 27 
 
 Page 33 
 Page 40 
 
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 Entered at the Bolton Pott-office at Second-clatt Mail Matter. Copyright. igOI. by Batet Guild Company. Botton. 
 
MASTERS IN ART 
 
 THIS WORK MIGHT JUSTLY HAVE BEEN NAMED “COLONIAL FURNITURE,” 
 FOR IT ILLUSTRATES THE VERY EXAMPLES FROM WHICH 
 OUR COLONIAL DESIGNERS COPIED 
 
 ilouoeijoltt 
 
 Georgian Period One Hundred Plates 
 
 a OR hundreds of years English private collect- 
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 their finest pieces to a loan exhibition at the South 
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 index gives complete descriptive details. The book is 
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 subject of furniture. 
 
 In Portfolio, $10.00, Express Paid 
 Bound, . . $12.00, Express Paid 
 
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 BATES & GUILD COMPANY, PUBLISHERS 
 42 CHAUNCY STREET, BOSTON, MASS. 
 
MASTERS IN ART 
 
 
 The illustration above is a section in our showrooms containing a gray- 
 sandstone mantel, modeled from the original in the South of France, 
 and counted one of the finest examples, architecturally, ever found. 
 
 AS the result of much study and effort, we are prepared to offer to 
 the public a most thoroughly equipped organization for Interior 
 Decorating and Furnishing, and can follow the builders in 
 their construction, executing the trim and cabinet work, all decora- 
 tions and furnishings, and making the furniturein harmony with archi- 
 tectural requirements, thereby securing correct freatment throughout 
 
MASTERS IN ART 
 
 A NEW BOOK BT 
 
 KATE DOUGLAS WIGGIN 
 
 Author of The Penelope Books 
 
 THE DIARY OF A GOOSE GIRL 
 
 WITH A 
 DECORATIVE 
 COVER IN 
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 BY M. M. BEARD 
 1 2MO 
 PRICE 
 $ 1 .00 
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 The fancy and humor for which Mrs. Wiggin is famous have free range, 
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MASTERS IN ART 
 
 AUDREY 
 
 By MARY JOHNSTON 
 
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 All Bookstores. $i .<so. Houghton, Mifflin 5r Co., Publishers 
 
 AUDREY 
 
MASTERS I N ART 
 
 BATES & GUILD CO.’S PUBLICATIONS 
 
 TWO BOOKS OF INTEREST TO EVERY STUDENT 
 OF THE COLONIAL PERIOD OF 
 AMERICAN HISTORY 
 
 EXAMPLES OF 
 
 Bome0ttc Colonial arcfjiterture 
 
 IN NEW ENGLAND 
 
 HIS COLLECTION, made in 1891 by James M. Corner and E. E. Soderholtz, has 
 been out of print for several years, copies commanding a high premium when sold. It 
 is the best collection extant of examples representative of the best architecture of the 
 Colonial Period, as found in Salem, Portsmouth, Danvers, Newburyport, Marblehead, and other 
 cities and towns in New England, and shows exteriors, interiors, and details. 
 
 C|)e Colonial ^rcljitecture 
 
 OF MARYLAND, 
 
 PENNSYLVANIA, AND VIRGINIA 
 
 COLLECTION similar and of equal excellence to that made by Messrs. Comer and 
 Soderholtz in New England, was made in Maryland, Pennsylvania, and Virginia by 
 Mr. J. E. Chandler, though Mr. Chandler did not confine himself to examples of 
 domestic work. The fact that this book is now in its third edition is proof of its value. In 
 publishing this new edition of the New England collection, the publishers have made it uniform 
 in style with Mr. Chandler’s book, and present it in a handsomer form than the original edition. 
 
 PRICE OF EACH BOOK, TWELVE DOLLARS, EXPRESS PAID 
 
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 FROM ORIGINAL COPYRIGHTED NEGATIVES, WITH TITLE-PAGE 
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MASTERS IN AHT PLATE 1 MADAME ADELAIDE OF FEANCE AS DIANA 
 
 PHOTOORAPH 8Y 8RAUB, CLEMENT 1 CIE PALACE OF VEESAILLES 
 
MASTKRS IX ART PLATE IT 
 
 photograph 9Y BRAUN, CLEMENT 4 CIE 
 
 XATTIER 
 
 MARIK LKC.ZIXSKA. rjTKKX OK KKAXCE 
 I’AI^ACE OF VEKSAILI/KS 
 
MASTERS IX ART PLATE III 
 
 photograph 8Y BRAUN, CLEMENT & CIE 
 
 XATTIER 
 
 MLLE. TIE CLERMOXT AS NTMPIT OE TITE WATERS OE CHANTILLY 
 CONDE MESEUM, CHANTILLY 
 
MASTKKS IX AKT I^I.ATE IV 
 
 PHOTOGRAPH BY BRAUN, CLEMENT & C(E 
 
 XATTIKK 
 
 MAJIAMK ElASAHETir. DUCIIESSE JJE PAKME 
 PA7.ACK OF VKKSAIEEES 
 
MASTKKS IX AKT PLATF: V 
 
 PHOTOGRAPH BY BRAUN, CLEMENT A ClE 
 
 XATTIEli 
 
 .MAJJAMK SOPIIIJ': OF FiiAXCE 
 J^U.ACK OF VKKSAIIA.KS 
 
MASTKHS IX AKT PI, ATE VI 
 
 PHOTOGRAPH BY BRAUN, CLEMENT 4 CiE. 
 
 XATTIKK 
 
 MADAME HEXHIKTTK OF FHAXCE 
 J^ALACE OF VKRi^AILLES 
 
MASTEKS rX AKT PLATE VII 
 
 PHOTOGRAPH BY BRAUN, CLEMENT A CIE 
 
 XAT'ITER 
 
 JIALAME LOriSP: OF P'RAA'CP: 
 PALACE OF Vp:RSArLLES 
 

MASTEJ^S IX AHr PLATE VIII 
 
 XATTIIilR 
 
 I.A lJUCJIESSE J)’OKLEAXS AS HEHE 
 XATIOXAI. MI’SKl’M, STOCKHOLM 
 
 PMOTOGRAPHEO POR ‘ MASTERS 
 
 ART 
 

MASTERS IX ART PLATE IX 
 photograph 9Y BRAUN, CLEMENT 4 CIE 
 
 XATTIKR 
 
 LOl'ISK-HEA*RIETTE })K JJOrKJ^.OX-«;OXTr 
 PALA(:K ok VERSA it. lks 
 
MASTKKS IX AKT PLATE X 
 
 PHOTOGRAPH 9Y 9RAUN, CLEMENT A. ClE 
 
 XATTIEK 
 
 MADAME ADELAIDE f)F FHAXCE 
 PALACE OF VERSAILLES 
 
POKTltAIT OF JEAX-MAItC A’^ATTIEll PALACE OF VERSAILLES 
 
 This portrait, a detail from the picture of Nattier, Madame Nattier, and four of their 
 children at Versailles, bears a legend stating that it was painted by “Jean-Marc 
 Nattier, Treasurer of the Royal Academy of Painting and Sculpture. ” It was begun 
 in 1730 and finished in 1761. The picture as a whole has various faults, due in part 
 no doubt to the long period which elapsed during its execution, for the children had 
 grown up meantime, and Madame Nattier had died. The portrait of the painter, 
 however, bears all the marks of being a good likeness, although we have no contem- 
 porary comment to show that such was the case. 
 
MASTERS IN ART 
 
 fattier 
 
 BORN 1(185: DIED 1766 
 FRENCH SCHOOL 
 
 T he following account of Nattier’s life is abridged from a biographical 
 sketch written by his eldest daughter, Marie-Catherine-Pauline, wife 
 of the painter Louis Tocque. 
 
 MADAME TOCQUE ‘MEMOIRES INEDITS’ 
 
 J EAN-MARC NATTIER' was born in Paris on the seventeenth of 
 March, 1685. His father, Marc Nattier, was an artist and a member of 
 the Royal Academy of France, and his mother was a miniature painter 
 of decided ability. When she was only twenty-two years of age, however, 
 she became paralyzed, and was an invalid for the remainder of her life. 
 Although the expenses necessarily incurred by this sad condition of affairs 
 were a great drain upon their fortunes, the parents gave every possible ad- 
 vantage in the way of education to their two sons, who from earliest child- 
 hood had shown such a marked inclination for painting that their father 
 determined to make every sacrifice for their advancement in this art. His 
 hopes were not disappointed, for the boys responded to his wishes with gen- 
 uine enthusiasm for the study. 
 
 As soon as little Jean-Marc, the younger of the two boys and the subject 
 of this memoir, was old enough to hold a pencil, his father sent him to the 
 Academy, where before long he took a prize for drawing. Indeed, his taste 
 and his love for drawing were so great that he eagerly seized every oppor- 
 tunity to copy the works of the great masters; and so excellent were his 
 copies that once when he submitted to the king, Louis XIV., a drawing 
 which he had made from Rigaud’s celebrated full-length portrait of that 
 monarch, Louis commended him, saying, “Monsieur, continue to work thus 
 and you will become a great man.” 
 
 Nattier was only fifteen years old when he copied from prints four large 
 battle-scenes painted by Le Brim. When the drawings were shown to 
 Mansart, who was then superintendent of buildings in Paris, he was so struck 
 bv their merit that he rewarded the young draughtsman by conferring upon 
 
 Pronounced Nat-te-a, with equal emphasis on each syllable. 
 
22 
 
 jWa^terie? in 
 
 him the small allowance which was set aside by the Academy for the bene- 
 fit of its most deserving pupils. The boy’s father, moreover, obtained for 
 his son permission from the king to make drawings for an engraver from 
 Rubens’ pictures, then in the Luxembourg Palace, representing scenes in the 
 life of Marie de Medicis. 
 
 After his father’s death Nattier devoted himself still more earnestly to study. 
 The Due d’Antin, noticing his great assiduity at the Academy, proposed that 
 he should go to Rome, where as a pensioner of the king he might take a 
 place then vacant in the French Academy of that city ; but Nattier had already 
 undertaken several commissions that were so urgent that he declined this 
 honor. In after life, however, he bitterly regretted his decision, and could 
 never forgive himself for having lost such an opportunity. 
 
 The death of Louis XIV., that great patron of art, led Nattier to listen to 
 propositions made to him in 1715 by Monsieur Lefort, minister and envoy 
 of Peter the Great, Czar of Russia. Lefort was commissioned by that mon- 
 arch to induce artists of every kind to go to St. Petersburg, and having 
 already engaged an able French architect, Leblond, to undertake the jour- 
 ney, he found no great difficulty in persuading Nattier to join the czar at 
 Amsterdam, where Peter the Great then was. No sooner had Nattier 
 reached Amsterdam than the czar desired him to make portraits of many of 
 the personages of his court then assembled in that city, and finally ordered him 
 to paint a picture of which he himself, Peter the Great, should be the hero, 
 the subject being the famous battle of Pultowa. When these various works 
 had been completed to the satisfaction of the czar, that prince, who was on 
 the point of leaving Amsterdam, despatched Nattier to The Hague with an 
 order to paint there a portrait of the Empress Catherine, his consort. 
 Scarcely was this work begun than the czarina wrote such a glowing account 
 of it to the czar, who was then in Paris, that he, curious to see it, com- 
 manded Nattier to return at once to the French capital, and to bring the por- 
 trait of the empress with him, which Nattier did. Now it so happened that 
 on the day on which the portrait arrived the czar was to sup at the house 
 of the Due d’Antin, and he was so delighted with the striking resemblance 
 which the painting of the czarina bore to the original, although the head 
 was the only part of the portrait that was entirely finished, that he ordered 
 it to be sent to the duke’s house, and had it placed upon a throne in the 
 banqueting-hall. On the following day Nattier began a portrait of the czar, 
 with which that prince was as much pleased as he had been with the artist’s 
 other works. 
 
 On the day before his departure for St. Petersburg, the czar, never doubt- 
 ing that Nattier had fully decided to go to Russia, although as a matter of 
 fact the artist had only agreed to take the journey to Holland, despatched 
 Monsieur Alsouffiow, Grand Marshal of the Russian court, to ask him when 
 he would be ready to follow the emperor. This direct question troubled 
 Nattier exceedingly, for, having been absorbed in his travels and his work, 
 he had given no serious thought to the matter, and was consequently entirely 
 undecided as to what to do. All the hardships and inconveniences of such 
 
23 
 
 3^ e a n ? JW a r c a 1 1 i c r 
 
 an undertaking as a journey to Russia at once presented themselves to his 
 mind. If, on the one hand, the alluring prospect of a brilliant fortune lay 
 before him, he could not, on the other hand, shut his eyes to the innumer- 
 able difficulties which lay in his path. Fortunately for him, a friend in 
 whom he had every confidence opportunely appeared on the scene and helped 
 him out of his dilemma. Most decidedly disapproving of the scheme, this 
 friend so forcefully represented to Nattier all the dangers to which his talent, 
 his reputation, and even his life would be subjected in expatriating himself 
 and in undertaking such a journey, that the artist, convinced by his friend’s 
 reasoning, no longer hesitated, but positively declined to accompany the 
 czar. Peter the Great was so incensed by this refusal that, as a mark of his 
 resentment, he immediately ordered the portrait of the czarina to be removed 
 from the studio where it had been taken at his command that miniature 
 copies might be made from it; and as a consequence the picture was never 
 entirely finished, nor, indeed, was it ever paid for. 
 
 All thought of Russia being given up. Nattier now devoted himself to the 
 task of painting his picture of admission to the Royal Academy, — a histor- 
 ical work (now in the Tours Museum) representing Perseus showing the head 
 of Medusa at the wedding of Phyneus. In the year 1718 he was received 
 into the Academy with every possible mark of distinction. As his natural 
 taste lay in the line of historical painting, his first work after becoming a 
 member of this society was a large allegorical painting of the family of 
 Monsieur de la Motte, Treasurer of France. 
 
 In 1719 occurred the “System” of Law, ^ that scheme which destroyed 
 so many fortunes and had such a disastrous effect upon Nattier’s finances 
 that it cannot be passed over in silence. Messieurs Couturier and Desvieux, 
 directors of the India Company, whose portraits Nattier was at that time 
 painting, advised the artist to sell his drawings of Rubens’ works to Law in 
 exchange for stock in the “System.” Unfortunately Nattier took this ad- 
 vice, and the drawings were disposed of for the sum of 18,000 livres paid in 
 bank-notes. At the end of two months the notes depreciated to half their 
 face value, and soon afterwards, in the general ruin of Law and his “Sys- 
 tem,” became utterly worthless, while Nattier’s beautiful drawings, the ad- 
 miration of all Paris, were carried off by Law’s son. 
 
 This loss, a considerable one for a young artist, was followed by a family 
 lawsuit^ which so reduced his financial resources that nothing was left him 
 
 ^John Law, a Scotchman, was an able adventurer in finance, who succeeded in impressing the French 
 government with his scheme for the issue of paper money. He acquired from France the territory then 
 called Louisiana, which he proposed to colonize — an enterprise which became famous under the name of 
 “ The System,” afterwards known as the “ Mississippi Bubble.” The East India and China companies were 
 later absorbed into it, and it was thereafter known as the “ Compagnie des Indes.” In 1718 Law became 
 Director-general of the “ Banque Royale,” of which the king guaranteed the notes. The Company and 
 the Bank were combined, and in 1720 Law was made Comptroller-general of Finance. For a while the 
 “System” prospered and great fortunes were made in speculation; but the overissue of paper money 
 brought on the catastrophe, and in the same year the “ System ” collapsed, with financial ruin to its share- 
 holders. Law’s estate was confiscated, and he was driven from France — Editor. 
 
 ^ This was a criminal affair which resulted in the imprisonment of Nattier’s brother in the Bastille, where 
 he committed suicide before learning his sentence. — Editor. 
 
24 
 
 jWajeftenGf in ^rt 
 
 but his talent. He consequently determined to devote his attention to por- 
 traiture as the most lucrative branch of art, and was soon fortunate enough 
 to acquire a great reputation in that line. 
 
 In 1724 Nattier married Mademoiselle de Laroche, a charming girl whose 
 talents, youth, and beauty had captivated his heart. Her father was a former 
 officer to the king, and the family lived with such an air of ease and luxury 
 that Nattier, judging from appearances, thought that in following his inclina- 
 tion he should also benefit his financial condition. It was not until several 
 years after his marriage that he discovered that his father-in-law’s fortune 
 had been entirely wiped out by Law’s “System,” and found himself obliged 
 to support a dowerless wife and a family of children who could in no way 
 lighten for him the burden of their maintenance. Happily his reputation for 
 portraiture brought many distinguished patrons to his studio, and before 
 long he became, so to speak, the rage among the fashionable world — a dis- 
 tinction which he enjoyed for several years. Among the works which con- 
 tributed most largely to his reputation were the full-length portrait of Mar- 
 shal Saxe, an allegorical picture of Mademoiselle de Clermont, one of the 
 Princesse de Lambesc as Minerva arming her brother the Comte de Brionne, 
 and those of the princes and princesses of the House of Lorraine. His work 
 called forth the admiration of all, and won for him the epithet, bestowed upon 
 him by Gresset, the poet, of “pupil of the Graces and painter of Beauty.” 
 
 All these portraits were treated historically, and added so much to Nat- 
 tier’s reputation in that particular style of painting that the Chevalier d’Or- 
 leans. Grand Prior of France, wished him to finish the series of pictures in 
 the Temple ‘ which had been begun by the artist Raoux, who had died before 
 completing it. The first of the series, however, was to be painted in 
 competition with the gifted artist Noel Nicolas Coypel; but as Nattier was 
 so fortunate as to be victorious in the competition the Grand Prior decided 
 in his favor, and placed a beautiful apartment in the Temple at his disposal. 
 There he painted the six allegorical pictures which completed the decoration 
 of the Prior’s gallery, and finally the full-length portrait of the Grand Prior 
 himself in command of a seaport with all appropriate attributes. 
 
 In the year 1740 Madame la duchesse de Mazarin engaged Nattier to 
 paint portraits of her two nieces, the beautiful Mesdemoiselles de Nesle 
 (notorious in later years as Madame de Chateauroux and Madame de Flava- 
 court), as ‘Point du jour’ and ‘Silence.’ These two pictures created such a 
 sensation at court that the queen’s curiosity was excited; and when she saw 
 them she was so struck with their exact resemblance to their fair originals 
 that she immediately ordered Nattier to paint a portrait of one of her daugh- 
 ters, Madame Henriette. The artist accordingly painted a full-length of this 
 princess engaged in making a crown of flowers, and afterwards, by order of 
 
 1 The “Temple,” originally the fortress-residence of the Order of Knights Templars, was built in the 
 twelfth century. After the abolition of the Order in 1313 the building was used for various purposes, and 
 during the reign of Louis XV. was the official abode of the Grand Priors of France. The last vestige of the 
 Temple was finally destroyed in 1820. — Editor. 
 
25 
 
 i^attier 
 
 Louis XV., painted a second portrait of Madame Henriette and also one of her 
 sister Madame Adelaide, which were placed at Choisy in the king’s sleeping- 
 apartment. When these works were finished his majesty bade Nattier come 
 to Versailles to paint his own portrait, after which the artist was despatched 
 to the Abbey of Fontevrault with an order to paint the portraits of the 
 three royal princesses who were being educated there. This expedition was 
 a secret one, as the king wished the pictures to be a surprise to the queen, 
 who when she saw them was so delighted with Nattier’s work that she de- 
 cided to have him paint her portrait also. 
 
 In his portrait of the queen, which he accordingly made. Nattier succeeded 
 even beyond his hopes, and was gratified by the universal applause which it 
 evoked, not only because of the excellent likeness it bore to her majesty, 
 but also on account of the noble simplicity of the composition — a simplicity 
 which he had taken pains to preserve at the express request of the queen. 
 Nattier was also successful in his portraits of Monsieur le Dauphin and 
 Madame la Dauphine, Monsieur le due de Bourgoyne, and Madame, the 
 daughter of the Dauphin. While engaged on these works he received an 
 order to paint the princesses for the third time. A portrait of Madame 
 Elisabeth, the Duchess of Parma, in court dress was his last work, for he fell 
 ill very soon after it was completed. 
 
 Nattier’s reputation had been greatly increased by his continuous and pro- 
 nounced success. Commissions poured in upon him from all the youth and 
 beauty of court and city. He had the honor to paint the Due and Duchesse 
 d’Orleans, the Prince and Princesse de Conde, and many other personages 
 belonging to the nobility. It would be an endless task to enumerate them; 
 suffice it to say that his talents were in demand at almost all the courts of 
 Europe, and that there was none where his name was not known and which 
 did not deem it an honor to possess some example of his work. 
 
 Always industrious, Nattier devoted every moment not given to painting 
 to reading and drawing, his favorite pursuits, and the beautiful sketches which 
 he has left are due to this employment of his leisure moments. 
 
 If Nattier’s prosperous days only were to be recorded in this biographical 
 sketch and no mention made of those full of sorrow and sadness which fol- 
 lowed, this would be the place to close; but truth demands that as exact and 
 faithful an account shall be rendered of the last years of the artist’s life as has 
 been given of the first. As a matter of fact, the extent of Nattier’s fortune 
 was never so great as it had seemed to be, and still less was it in proportion to 
 his reputation as a painter. Moreover, he had unfortunately neglected to 
 insure an easy old age for himself, so that had he attempted to continue to 
 live with the same degree of comfort to which he had been accustomed 
 he would have been obliged to work up to the last moment — all through 
 the long illness, in fact, which confined him to his bed for more than four 
 years. Appreciating as he did the necessity for work, it was doubly hard to 
 find that his popularity was waning. Long before he became incapable of 
 using his brush he experienced the unhappy fate of so many celebrated men 
 
26 
 
 in ^rt 
 
 of every age, — he realized that he had outlived his reputation. War, that 
 enemy to art, the inconstancy of the public, the taste for novelty — every- 
 thing, in short, combined to make him experience the most pitiful neglect. 
 An almost complete desertion on the part of the public succeeded the great 
 popularity to which he had been accustomed, until at last, of all his commis- 
 sions, there remained only the completion of a few works begun for the court 
 in his more prosperous days. 
 
 Domestic sorrows also embittered Nattier’s last years. The keenest of 
 these was the death of a son, who had shown a decided talent for painting, 
 and whom at his own expense he had sent to the French Academy at Rome. 
 This son drowned himself in the Tiber six months after his arrival in Rome; 
 and as Nattier had become a widower in 1742, three daughters were alone 
 left to console his declining years. In July, 1762, he became ill; and after 
 four years of great suffering he died, on the seventh of September, 17 66. — 
 ABRIDGED FROM THE FRENCH 
 
 M adame TOCQUE doses the account of her father’s life with a 
 touching tribute to his virtues. “He was most tenderly attached to his 
 friends and to his children,” she writes; “and such were the frankness and 
 simplicity of his nature, the purity of his character and the sweetness of his 
 disposition, such his scrupulous honesty and eager disinterestedness in serv- 
 ing others, that he fully merited the titles of a good father, a true friend, and 
 a thoroughly upright man — titles by no means brilliant it may be, but which 
 when taken in their fullest significance are the highest praise that can be 
 bestowed upon a man.” 
 
 The writer then goes on to summarize a statement made by her father 
 in explanation of his lack of worldly success, in which Nattier reproaches 
 himself with having made many unfortunate bargains, as, for instance, his 
 disposal to Law of his drawings of Rubens’ pictures in exchange for stock 
 in the “System”; blames himself for careless investments and a too great 
 willingness to lend money to people who as a rule never returned it; for his 
 negligence in exacting payments for many portraits which he had painted, 
 not only for his friends, but often for mere acquaintances; for having spent 
 more money than he had been justified in spending in the purchase of articles 
 of virtu; and finally he pleads that he had had heavy expenses to bear, as 
 an invalid wife and a family of nine children had necessitated large inroads 
 upon his fortune. 
 
 “With so much to contend with,” concludes Madame Tocque, “it may 
 be seen that it was difficult for Monsieur Nattier to save much of the money 
 which he had so easily acquired; but can any one in justice blame him, and 
 does he not judge himself too harshly ? Surely any man may be counted happy 
 who at the end of a long life can reproach himself with no other failings 
 than those which every noble and generous soul can readily forgive.” 
 
3ean^j¥larc i^atticr 
 
 27 
 
 Clje art of Jtattttr 
 
 ARsInE ALEXANDRE ‘HISTOIRE POPULAIRE BE LA PEINTURE’ 
 
 T he name Nattier calls up innumerable charming visions of pretty, 
 blooming ladies with soft, caressing eyes, clad in the daintiest and 
 most sumptuous gowns — gowns of velvets and silks and satins, gowns em- 
 broidered with gold and delicate with laces, gowns with the stiff bodices 
 and swelling skirts of court or town, or those coquettish dishabilles which, if 
 we are truly gallant, we will unquestioningly accept as the accredited garb of 
 the Olympian goddesses and muses. Nor is the result less captivating when 
 he clothes one of these delightfully frivolous little ladies in the tunic of a 
 penitent Magdalene (a tunic, be it assured, of satin, and from the most 
 fashionable tunic-maker, and which clings so coquettishly about her pretty 
 limbs) and exiles her to a cave in the desert j and no less fascinating when 
 he replaces the penitential tunic (ah! delicious little penitent — she has been 
 careful not to forget her becoming court-plaster patches !) by the leopard’s 
 skin and quiver of the nymph a-hunting. How delicately graceful are these 
 small heads, with the close-dressed powdered hair that gives them something 
 charmingly boyish of aspect! They all wear, it may be, even the goddesses, 
 a touch of rouge — perhaps the painter himself may have taught them how to 
 lay it on most becomingly — but we acknowledge that it is quite in charac- 
 ter and wholly deceptive. It is all, of course, as false, as theatrical, as one 
 can well imagine, and yet somehow entirely unaffected and broadly simple. 
 Reconcile the two if you can! 
 
 Casanova says that Nattier could paint an ugly woman, produce a perfect 
 likeness, and yet make her beautiful. If he could he certainly solved a 
 problem that has vexed artists since the beginnings of portraiture. We 
 would not, however, be so ungallant as to suggest that he availed himself of 
 this talent when he painted the numerous portraits of Louis XV. ’s charming 
 daughters, which are unquestionably his most important works. They hang, 
 the gentle little ladies, unworthily, in the dusty galleries of Versailles, high 
 up under the roof, in stifling heat in summer, bedewed with dampness in 
 winter, with no care, apparently, for their rank, their delicate graces, or their 
 fortunately solid painting. It seems strange that the authorities intrusted 
 with these valuable pictures should be thus careless of them, since, in recent 
 years at least, Nattier’s work has been accorded the sincerest proofs of pop- 
 ular admiration. Whenever a picture of his has been sold it has fetched an 
 extremely high price, and when one has appeared in a loan exhibition it has 
 attracted much admiration. 
 
 In color. Nattier was fond of broad unbroken tones. Never was he more 
 himself than when he had to paint a sweeping robe of rich blue bordered 
 with fur, or a gown of warm, glowing red, shining here and there with gold; 
 and yet, though he painted full colors without dulling them, he never made 
 them garish. His eye for harmony was sure. 
 
28 
 
 in 
 
 The quality of his talent is, as was his education, wholly French. The 
 copies he made from Rubens’ pictures were, his contemporaries assure us, 
 far from being truthful renderings of the originals; and his journey to Am- 
 sterdam and The Hague was not undertaken because of an inclination to 
 study Dutch or Flemish art, but solely to undertake commissions. His talent 
 is peculiarly and thoroughly French in the fullest acceptation of the term. 
 It is light of touch, graceful, easy, clear, and self-poised. Though he did 
 not go beneath the surface, or attempt to portray character in his portraits, 
 they are marked, one and all, with great charm, simplicity, harmonious effect- 
 iveness, perfect distinction, and true refinement. — abridged from the 
 
 FRENCH 
 
 ANDRE PERATE < C H E FS - D ’ CE U V R E * 
 
 I N every one of Nattier’s portraits, even those in which the subjects seem 
 to have been most unpromising, we must admire the delicacy of model- 
 ing and the rich and subtle harmonies. In the eyes of this magician of the 
 brush no woman could seem ill-favored — that she was a woman was enough 
 for him. He once said to Casanova, and not without a touch of pedantry 
 perhaps, “The gods have granted me a kind of magic — the power to trans- 
 fer from my mind to my brush the divine charm of beauty, — a charm none 
 can define, since none can tell wherein it lies, and yet one which all recog- 
 nize and admire. But impalpable and fugitive as is the shade that separates 
 beauty from ugliness, the effect of it is startlingly great to those who have 
 no knowledge of our art.” 
 
 This impalpable shade of separation betwixt ugliness and beauty vanishes 
 under Nattier’s brush. It fades beneath the witchery of a smile, the sparkle 
 of a glance, the shimmer of gold-embroidered stuffs. His was the art of 
 charm and grace; the art of creating fascination with a touch of rouge, and 
 grace with a flowing line. — from the french 
 
 P. HEDOUIN ‘MOSAIQUE’ 
 
 C ELEBRATED as Nattier was in his own day, little information has 
 come down to us concerning his life, and we find only brief mention 
 of him by any of the eighteenth-century biographers; yet his art was more 
 characteristic of that century than was that of any other French artist. With- 
 out Nattier’s portraits, indeed, how could we form any accurate idea of the 
 pink-and-white complexions, the velvety cheeks, their fairness emphasized by 
 tiny black patches of court-plaster, the ravishing eyes, and all the varied and 
 coquettish costumes of the duchesses, the countesses, and the marchionesses 
 — the fair charmers of the reign of Louis XV.? 
 
 Of that gay and brilliant world Nattier became the idol. Strong as this 
 epithet is, it is nevertheless none too strong, for by all women, whether 
 pretty or plain, he was known as “the Magician.” It is easy to see why; 
 for no painter ever succeeded so skilfully as he in not only concealing the 
 defects of nature in his models, but in converting those very defects into 
 
29 
 
 S^ean^jHarc i^attier 
 
 charms. He knew how to give an interesting air to a plain face, a capti- 
 vating vivacity to a dull blue eye, and to a bold black eye that was hard and 
 forbidding he could impart so spiritual and tender an expression that the 
 most timorous would be charmed. His brush, indeed, might be compared 
 to the magic wand of Armida, for it bestowed beauty, grace, and piquancy 
 upon every face that came under the spell of his enchantment; and perhaps 
 the most wonderful thing about it all was that notwithstanding the flatter- 
 ing transformations which his models underwent, the resemblance which his 
 portraits bore to their originals invariably remained striking. 
 
 If, however, I should be called upon to pass judgment upon Nattier as a 
 painter, I should be obliged to admit frankly that in my estimation he is in- 
 ferior to Rigaud and even to Largilliere. He never possessed the force, 
 scope, and style of the first of these portraitists, nor the breadth of execu- 
 tion nor unctuous coloring of the second. At first sight, it is true, Nattier’s 
 manner of painting has an exceptional fascination and charm. His touch 
 was light and delicate, his color sparkling, and his draperies, painted in a 
 way peculiar to himself, while they define the form beneath, float and flutter 
 with an unparalleled airiness and grace. Finally, his compositions are always 
 marked by both propriety and esprit. These qualities, however, are generally 
 accompanied by a certain stiffness, a certain finical affectation, a studied and 
 artificial air; and in consequence his portraits have none of that frankness, 
 truth, and appearance of nature — that realism, in short — which are found 
 in the works of the great masters. 
 
 As likenesses Nattier’s portraits were said to be excellent, although it was 
 admitted that he beautified even beauty itself. This method of painting, 
 which contributed so largely to his success, especially among the ladies of 
 the court, is not in my opinion true art as I understand the word. But after 
 all, his talent, like that of the more gifted Watteau, was in perfect harmony 
 with the spirit and the taste of the times in which he lived. 
 
 Nattier occasionally attempted historical painting; but there is nothing 
 remarkable about any of his works in this kind that have come down to us. 
 He lacked the boldness, force, and severe nobility which should characterize 
 historical pictures, but painted them with the same delicacy and in the same 
 somewhat affected manner as he painted the portraits of the pretty women 
 of the court; and the very qualities that make these court portraits so inde- 
 scribably charming become, in his historical efforts, serious faults. — from 
 
 THE FRENCH 
 
 CHARLES BLANC ‘HISTOIRE DES PEINTRES DE TOUTES LES ECOLES’ 
 
 “ T TE would paint an ugly woman and depict her features so accurately that 
 X X the most scrupulous examination failed to discover any untruthfulness, 
 yet nevertheless those who saw the portrait only would deem her beautiful. 
 In some imperceptible way he had bestowed a real but undefinable beauty 
 upon the whole.” This is Casanova’s dictum upon Nattier. The “imper- 
 ceptible way” was the artist’s gift of grace; a gift to which we owe so many 
 charming portraits and so many charming painters of the French school. 
 
30 
 
 in ^rt 
 
 Assuredly Louis XV. ’s queen, Marie Leczinska, was not beautiful; she was 
 the Cinderella of that brilliant court. Yet when we look at Nattier’s por- 
 trait of her we find her charming, and marvel that those dimpled hands and 
 rounded arms, as white as ivory, could not confine her flighty husband. 
 When we recall her story, and remember how she was elbowed aside into 
 the shadow, ever protesting from her obscurity, with a somewhat bourgeois 
 prudery perhaps, against the follies of the butterfly life about her, and mark 
 how the painter has somehow contrived, by the border of black fur which 
 winds about the folds of her red velvet robe, to suggest her lifelong exile from 
 her native Poland, the image of the queen takes on a strong fascination for 
 us, and we pay tribute to the subtle art of the painter. 
 
 Nattier was never a great artist; but he was the painter of pretty women 
 par excellence. If his drawing was slightly insipid and cold, his brush was 
 endowed with suppleness and grace; and the harmony of his coloring is 
 sometimes so remarkable that it produces the effect of those splendid ancient 
 tapestries which, mellowed by time, have faded into a magical harmony. 
 He was, nevertheless, in no wise afraid of pure colors, and boldly transferred 
 to his canvases the vivid tones of the splendid stuffs with which the court 
 ladies of his day were wont to adorn themselves, — the flame-color or bright 
 greens of their ribbons, the violet or scarlet of their taffeta or velvet mantles, 
 the blue or corn-color of their silks, and their white satins; but he blended, 
 combined, and harmonized the strong tones so cunningly, and so warmed 
 his chiaroscuro to meet them, that the effect is never harsh nor crude. 
 
 Costume played no less an important part in his canvases than in women’s 
 portraits by all artists, but he was by no means dependent upon the sheen of 
 rich stuff's, the cloud of delicate laces, or the gleam of gold. Indeed he was 
 especially fond of posing his sitters as mythologic or allegoric figures whose 
 costumes counted but slightly, and such subjects are not the least delightful 
 of his works; nor, in spite of their fantastic quality, do they cease to be truly 
 historical in the broader sense. — abridged from the french 
 
 W. BURGER ‘GAZETTE DES BEAUX-ARTS’; 1860 
 
 J EAN-MARC NATTIER was a court painter with all the accomplish- 
 ments and all the faults peculiar to that species of fashionable manufac- 
 turer. He imparted an appearance of youth and nobility to his models, 
 frequently deviating from nature to bestow a sort of conventional flattery 
 upon people to whom aristocratic birth had not always lent distinction or 
 charm; and, as a natural consequence, his portraits are marked by no depth 
 nor individuality of character. 
 
 All the princesses painted by Nattier so strongly resemble one another 
 that they might easily be mistaken for one and the same. Upon leaving the 
 gallery at Versailles, where so many of his portraits are collected, one remem- 
 bers but a single face, a description of which would answer for the passport 
 of any pretty woman, — a round face, a nose of no particular kind, a medium- 
 sized mouth, and a pink-and-white complexion. Sometimes this same 
 charming lady appears disguised as a vestal virgin seated in a temple near 
 
31 
 
 S^can^j^larc i^attier 
 
 the sacred fire, and she is also to be met with under the titles of Madem- 
 oiselle de Lambesc as Minerva arming her young brother the Comte de 
 Brionne, and Madame la duchesse d’Orleans as Hebe holding an urn of nectar 
 in her hand. But Nattier was unquestionably an able artist, and painted with 
 marvelous skill the gleaming satins, lustrous silks, and costly brocades — all 
 the accessories in short, however trifling, that we see in his sumptuous and 
 stately portraits. — from the french 
 
 OLIVER MERSON ‘LA PEINTURE FRAN 9 AISE AU XVII® ET AU XVIII® SIECLE’ 
 
 N attier, whose fame was very great about the middle of the eight- 
 eenth century, and who was subsequently almost forgotten, seems to 
 have recently sprung again into a singularly exaggerated popularity. His 
 early vogue was due to the fact that, as Mariette puts it> “his method of 
 painting charmed those, particularly the ladies, to whom fine colors and 
 smooth finish were the first of things in art.” They flocked to his studio, 
 the fair ones and the plain ; and, since even the ugly among them found that, 
 by some miracle, they had become lovely on his canvases, it is not surpris- 
 ing that the gallant painter became the fashion. His trick of subtly flatter- 
 ing his sitters by representing them as Olympian goddesses added too to his 
 popularity in that artificial age. 
 
 But times have changed; and it is difficult to account for the newly arisen 
 vogue of our own day for Nattier. He has not one single quality of real 
 eminence : his drawing is often incorrect, his technique without salient 
 merit, his color lacks any unusual charm, novelty, or distinction, and his 
 allegory seems to modern eyes little short of ridiculous. Surely the merit of 
 having flattered his sitters, of having rouged their cheeks and brightened 
 their eyes, seems hardly enough to set this “pupil of the Graces and painter 
 of Beauty” above even the worthiest of his contemporaries. 
 
 Nattier had, be it admitted, moments of superiority, especially when, as 
 portraitist to the royal house of France, he painted his noble portraits of the 
 queen and princesses in court dresses or in the garbs of mythology. These 
 works, if not of the sincerest art, are at least stamped with distinction and 
 truly royal elegance. — from the french 
 
 PAUL MANTZ ‘GAZETTE DES BEAUX-ARTS’: 1894 
 
 AT about the period when Nattier was at the height of his esteem with 
 ./a the fine ladies of Louis XV. ’s court the witty Cochin was publishing 
 in the ‘Mercure’ a series of ironical essays hitting off the foibles of that friv- 
 olous world. One of these skits thus satirizes the contemporary fashion for 
 allegorical portraits of women : 
 
 “Our ladies are represented,” he writes, “almost indecently naked, their 
 only garment a tunic, which leaves throats, arms, and legs uncovered. 
 This garb, which is in reality none, is eked out by a piece of silk, blue, 
 violet, or some other color, wrapped about them in such a way as to serve 
 no useful purpose, although it must be cumbersome to wear nevertheless. 
 
32 
 
 in 
 
 since it contains many yards of fine stuff. Some of these ladies are crowned 
 with blades of wheat or other such rustic adornments, most appropriately 
 fastened with strings of rich pearls. Their most common amusement, it 
 appears, is to lean upon earthenware pots filled with water which they are 
 invariably tipping over, apparently for the purpose of watering the gardens 
 at their feet. This leads us to believe that they must be unusually fond of 
 horticulture — a supposition confirmed by the fact that they are always rep- 
 resented in the midst of the open country. Another favorite recreation with 
 them seems to be the raising of birds, even of those sorts most difficult to 
 tame, such as eagles, which we frequently observe them attempting to nourish 
 with white wine out of golden cups. They seem, however, to be most 
 thoroughly successful in the breeding of turtle-doves, for these gentle birds 
 flutter about some of them, especially those of more melancholy humors, in 
 great numbers.” 
 
 Although Nattier is not named, it is clear that the writer’s irony is directed 
 at his portraits, with their diaphanous draperies, their flowing urns, their agri- 
 cultural attitudes, and their Hebes attempting to “nourish eagles with white 
 wine out of golden cups.” But, if we must admit that Nattier’s allegorical 
 subjects are mere theatrical nonsense, we should remember that he was con- 
 strained by the fashion of his times. The painter Raoux had shown the way 
 to Olympus before him, and had depicted Mile, Prevost as a bacchante. 
 Mile. Journet as a priestess of Diana, Mile. Quinault as Amphitrite, as Sil- 
 via, and as Thalia, not to mention the host of actresses to whom such 
 masquerading came more naturally. Nattier but carried the fashion further, 
 and subpoenaed, as it were, all the fairer denizens of Olympus. How many 
 noble ladies became Hebes, or Floras, or Auroras under his brush! — nay, 
 even the most unoffending of the bourgeoises were transformed into muses at 
 the very least. How many white-armed nymphs tilt urns to irrigate symbolic 
 reeds! — for Nattier was allegorical even to his minor accessories; and never 
 was there a more lavish use of turtle-doves and white-wine-nourished eagles 
 than in his pictures. 
 
 To name all his shortcomings at once, we may as well confess that he 
 was frankly a mannerist, and that instead of modifying his processes accord- 
 ing to his models, and instead of searching for their individual characteristics, 
 he preferred to adhere to his own rather limited type; that he was least suc- 
 cessful in his portraits of men, since he so softened their features as to 
 make them effeminate, — a tendency towards oversoftness for which he was 
 not, however, wholly to blame, for it marked all the painting of his time. 
 He seems, moreover — gallant courtier that he was — to have been unwill- 
 ing to admit that any woman could be ugly, and was from first to last a per- 
 sistent flatterer. 
 
 Admitting all these faults, however, I believe that we owe a long unpaid 
 debt of recognition to Jean-Marc Nattier; and even at the risk of bringing 
 down upon my devoted head the contempt of purists and of those enamored 
 of the “grand style,” I must frankly confess that I cannot join the ranks of 
 those who scorn him. As a painter he possessed no mean ability; his color- 
 
33 
 
 ^ t an ^ ^ at c a 1 1 i e r 
 
 ing, at the very least, was always effective and agreeable, and he was unde- 
 niably the possessor of a most distinctive and individual quality of charm. 
 Theatrical he was, it is true, but he was the court painter of a theatrical age; 
 and we may well ask if, on the whole, the Court of Louis XV. could have 
 found a better historian. — abridged from the french 
 
 'Ci)t WotkQ of jEattter 
 
 ELEANOR LEWIS ‘THE COSMOPOLITAN’: 1897 
 
 T he pictorial figure of the fifteenth Louis against its no less pictorial 
 background has been a favorite subject with artists of the pen, and his 
 life has been thoroughly investigated even as regards his family relations. 
 We are made acquainted with the private life of this royal family, with its 
 monotonous, comfortless luxury, its paralyzing dullness, its daily low levels 
 of enjoyment and occasional heights of aspiration ; and are led to observe the 
 significant fact that at the most corrupt court of Europe, and possessing in 
 husband and father the most corrupt prince in Europe, it was yet possible 
 for that prince’s wife and children to lead lives that the breath of scandal 
 never touched. 
 
 As to the king himself, it must, in common fairness, be remembered that 
 circumstances were against him from the first, — the age in which he lived, 
 his surroundings, associates, early orphanage, and early accession to absolute 
 power, for he was only five when the sequence of events placed him upon 
 his great-grandfather’s throne. There could be but one feeling for the beau- 
 tiful boy with his graceful body, gold-brown curls, and dark-blue eyes, his 
 childish dignity and gracious acceptance of the homage placed at his feet — 
 he was more than ^^bten aitn'e” he was adored. The first concern of his 
 advisers was to get him married. The regent had betrothed him to his three- 
 year-old cousin, an Infanta of Spain, but political intrigue broke off the 
 match, and she was sent home. A maturer bride replaced her. In August, 
 17 25, he wedded the Polish princess, Marie Leezinska. He was at this time 
 fifteen, and almost ideally beautiful; while the queen, who was twenty-two, 
 possessed in lieu of beauty a fine complexion, a charming expression, and 
 moral graces which endeared her to the people if not to the court. Although 
 her married life was passed at Versailles, it was passed in comparative retire- 
 ment. She had a quiet circle of personal friends, while the court and the 
 royal mistresses followed the king. At Versailles were born her ten children, 
 whose list, beginning with twin daughters in 1 7 27, includes two sons, one 
 of whom died at the age of three, and concludes with a daughter in 1 7 37. 
 
 Each princess was given a “ household ” at her birth, for with these babies, 
 as with their seniors, etiquette was rigidly observed. The eldest, known 
 simply as “Madame,” with her twin sister, Madame Henriette, the Dauphin, 
 and Madame Adelaide, remained at court; but the four younger princesses 
 
34 
 
 in 3lrt 
 
 were sent early in 1738 to be educated at the Abbey of Fontevrault, where 
 ensued that curious routine of religious discipline, fragmentary study, and 
 mild amusement which, under the name of their education, was to continue 
 for more than ten years. Music and dancing, for which all the princesses 
 had a natural aptitude, were the only branches pursued with even a sem- 
 blance of system. As for solid studies, Madame Louise was twelve years old 
 before she knew the alphabet, and her older sisters fared little better. Such 
 discipline as there was, was exercised in the wrong direction — Mesdames 
 Victoire and Sophie were made timid for life by being compelled to say their 
 prayers alone in the burial-vault of the convent; while, on the other hand, 
 there was no restraint at all in the matter of eating, and they were frequently 
 ill from over-indulgence. Madame Felicite’s fatal illness in 1744 was in the 
 beginning merely a bad cold, but was soon aggravated into a fever by injudi- 
 cious eating and excitement. In view of the danger, she was hastily baptized, 
 — a trifling ceremony which the “Most Christian King” had hitherto for- 
 gotten, — lethargy set in, and the next day she died, at the age of eight. 
 Their majesties did not seem much troubled at her loss: the king played 
 and dined in public as usual; the queen dined alone for a few times, but 
 played cards each evening and never spoke of the child again. 
 
 At about this time large allowances, out of all proportion to their manner 
 of life, were given to Mesdames Victoire, Sophie, and Louise, and in 1747 
 Madame Victoire was permitted to return to Versailles. The two younger 
 princesses remained at Fontevrault another two years and a half, thus pass- 
 ing more than twelve years without once seeing their parents, although at so 
 short a distance from Versailles. They finally returned almost as untaught, 
 almost as ignorant, as they went. 
 
 During their monotonous convent years several events of importance had 
 taken place at court, first amongst which may be mentioned the marriage of 
 “Madame.” In 1739, being then twelve years of age, she was wedded with 
 great expense and splendor to the Duke of Parma, and went to live in Spain. 
 At first she was cordially welcomed, but the dislike of Elizabeth Farnese 
 soon clouded her life. This imperious old lady blamed her daughter-in-law 
 for everything, — for being young, for liking sweets, for possessing the love 
 of her youthful husband, for remembering her own country, for longing for 
 her twin sister, for existing at all when she might so much more suitably be 
 dead. Three times, however, she had the pleasure of returning to France, 
 where her jocund, piquant beauty was greatly admired. At her last visit, in 
 September, 17 57, she came fresh, blooming, and gay. Three months later 
 she lay dead of smallpox at Versailles. 
 
 Scarcely happier was Madame Henriette. According to her portraits, she 
 possessed an ivory whiteness of complexion, great tender, melancholy eyes, 
 and delicate, aristocratic features. Unfortunate in her love for the Due de 
 Chartres (their marriage being forbidden by the king), parted from her twin 
 sister, her other self, Madame Henriette found her best remaining joy in the 
 society of the Dauphin, and in being gentle and considerate with all. .More 
 than any of her sisters she was noted for a certain gracious amiability and tact. 
 
35 
 
 e a n ? i¥l a r c a 1 1 i e r 
 
 She shared their artistic tastes, and played the violoncello well, and excelled 
 in drawing and in the painting of miniatures. Her father’s favorite when in 
 health, she no sooner began to fail than he turned from her with that notice- 
 able shrinking from the thought of pain and death which grew upon him year 
 by year. He bade her conceal her pallor under rouge, saying harshly that he 
 did not like white faces, and she obeyed. She tried to conceal her illness 
 itself as long as possible. Lonely in the midst of numbers, desolate in mag- 
 nificent Versailles, she died, in February, 1752, murmuring some last words 
 about “My sister, my poor sister!” The king’s grief, intense for a moment, 
 did not interfere with his ordinary diversions, and was entirely dissipated with 
 the superb funeral bestowed upon this sweetest of all his daughters. 
 
 Of Madame Sophie, who died in 1782^-in good time to escape the Revo- 
 lution, there is comparatively little to be said. She was shy, reserved, terribly 
 afraid of thunder-storms, harmonious with the others in tastes and habits, 
 and blends indistinguishably with the family group. 
 
 Madame Victoire followed the lead of Madame Adelaide, with her survived 
 the rest, with her died in exile, and at about the same time. 
 
 The strongest character among the sisters was undoubtedly Madame 
 Adelaide. She was decidedly the best educated, and seems to have had a 
 natural inclination for study. She understood English and Italian, was well 
 versed in history and mathematics, and played with skill upon several instru- 
 ments, especially the violin. She was, moreover, very exact in matters of 
 etiquette — an all-important science at that time. The king often consulted 
 her, and, where her prejudices were not aroused, her judgment was good. 
 With advancing age she grew domineering, and whereas Madame Victoire 
 put her finger into other people’s pies out of pure gossipy interest as to their 
 contents, Madame Adelaide examined them as her right. . . . 
 
 The sisters usually spent the forenoon in their own rooms, reading, paint- 
 ing, practising, tending their flowers, and on most days receiving a short 
 visit from the king. At about noon they dined, later were present at his 
 majesty’s “ debotter” visited the queen at six, played a game of cards, con- 
 cluded the evening with a hearty meal, and went early to bed. They learned 
 to play upon various instruments, including the bass viol and the tambourine. 
 They also seem to have read with some method, and each formed her own 
 collection of books. Now and then they hunted, an amusement of which 
 they were passionately fond; but this and every other pleasure yielded to 
 that of eating. Gormandizing was a failing with all the sisters, and much of 
 their ill-health was due to it. D’Argenson says plainly that they took far too 
 little exercise and ate at irregular hours, always keeping in their cupboards a 
 supply of ham, Bologna sausage, and Spanish wine. . . . 
 
 The tranquil routine of Marie Leczinska’s life was not interrupted by the 
 return of her daughters from the convent. They had their own lives to lead, 
 she hers; and she paid them hardly any attention except in matters of eti- 
 quette, for which, with all her simplicity, she was a stickler, and in requir- 
 ing them to play cards with her daily at a stated hour. 7'heir feeling for her 
 naturally held less warmth than duty. For their father, on the other hand. 
 
36 
 
 in 
 
 reprobate though he was, they entertained a very real affection ; and he, on 
 his side, seems to have cared for them as much as he could care for any- 
 thing. The queen’s death, in 1768, drew them still closer together in their 
 regret for a common loss; and his later intimacy with Madame du Barry 
 did not alter their relations, except as it led Madame Louise to a convent, in 
 177 0, the better to pray for his much imperiled soul. 
 
 In 1774, when the king died of malignant smallpox at Versailles, he could 
 hardly be called an old man, yet he had long outlived the bright promise of 
 his youth. Throughout his terrible infectious illness he was tenderly nursed 
 by Mesdames Adelaide and Victoire. They reached their moral apogee be- 
 side his death-bed. Henceforth, under the new regime, their course was 
 steadily decadent. “The old aunts,” as the “adorable princesses” were 
 now called, found their chief occupation from this time on in criticizing 
 Marie Antoinette, “the Austrian woman;” and sowed with lavish hands the 
 seeds of discord. The calamities of their later years were but the legitimate 
 harvest of their sowing. 
 
 When the storm of the Revolution burst over France, Mesdames Adelaide 
 and Victoire, the last of their family, stood alone, like frightened children, 
 in its path. Helpless, piteous, scared, they were thrust out from the safe 
 seclusion of a palace into the rude streets. It was only after a long and pain- 
 ful debate that they were allowed to leave France. For some time they lived 
 in Rome, then, on the approach of the French troops, withdrew to Caserta. 
 When the Bourbons were driven from Naples the poor exiles fled once 
 more, this time to Trieste, where they died. When Louis XVIII. came to 
 the throne he had their bodies brought back to France, and interred in the 
 tomb of their race at St. Denis. After so many vicissitudes, Mesdames de 
 France sleep at last in peace. 
 
 DESCRIPTIONS OF THE PLATES 
 
 ‘MADAME ADELAIDE OF FRANCE AS DIANA’ PLATE I 
 
 T he first portraits which Nattier painted of the daughters of Louis XV. 
 
 were two companion mythological likenesses, one depicting Madame 
 Henriette as Flora, and this picture, showing Madame Adelaide as Diana. 
 The youthful princess is seated beneath the shadow of a rock in a glade 
 which opens to show a distant prospect. She holds a bow in the left hand, 
 and draws an arrow from her quiver with the right. About her waist is 
 wrapped a leopard’s skin, and the small crescent on her head suggests her 
 allegorical divinity. The picture is wrongly listed in the Versailles gallery, 
 where it hangs, as ‘Madame Victoire en Nymphe Chasseresse.’ 
 
 ‘MARIE LECZINSKA, QUEEN OF FRANCE’ PLATE II 
 
 O NE of Nattier’s most successful and dignified portraits was that of the 
 queen, Marie Leczinska, which was first exhibited in 17 48, when she 
 was forty-five years old. The queen, dressed in a red robe trimmed with 
 
37 
 
 ^ean^0iatc a 1 1 i e r 
 
 fur, is seated against a background of columns draped with a green curtain. 
 On her head is a kerchief of black lace tied over a white lace cap. Her 
 arm rests upon a table on which lie the crown, the royal mantle, and a copy 
 of the Gospels. This picture originally hung in the queen’s own apartment, 
 and if not the original of the subject, which Nattier repeated many times, 
 it is certainly a replica which he was expressly commissioned by the queen 
 to execute for her. It is now at Versailles. 
 
 <MLLE. DE CLERMONT AS NYMPH OF THE WATERS OF CHANTILLY’ PLATE III 
 
 M ademoiselle de clermont was the daughter of Louis 
 
 III. of Bourbon, Prince of Conde, and in the romance called by her 
 name which Madame de Genlis has written, she appears as one of the most 
 picturesque and pathetic figures of her time. She was, according to the 
 novelist, of supreme beauty, great wit, and lovable character. When twenty 
 years old she went to the celebrated watering-place, Chantilly, with her 
 father, and soon won all hearts. Here she fell in love with a young courtier, 
 Louis de Melun, Prince d’Epinay, and, it is reported, was clandestinely 
 married to him. He was, according to the novel, killed in a boar hunt at 
 Chantilly, and Mademoiselle de Clermont remained all her life faithful to 
 his memory. Nattier’s portrait of her was painted in 1 7 29, five years after 
 the death of her lover. It now hangs in the Conde Museum, Chantilly. It 
 shows her as the nymph of the waters of Chantilly, seated before the spring 
 and leaning on an urn. On her left a naiad, in a white tunic and violet 
 drapery, pours the mineral water into a crystal cup; on her right is a child 
 holding the serpent of Tlsculapius to mark the health-giving quality of the 
 spring. The child’s body is relieved against a yellowish-green drapery; and 
 the lady herself is clad in a light tunic, with a thin blue drapery thrown 
 about her shoulders. Behind may be seen the pavilion of Chantillv, with its 
 bit of formal garden, as it was in her time. 
 
 ‘MADAME ELISABETH, DUCHESSE DE PARME’ PLATE IV 
 
 T his portrait, at Versailles, of Madame Elisabeth, eldest daughter of 
 Louis XV., and twin sister of Madame Henriette, was Nattier’s last 
 work. It represents the princess, who by her marriage with the Infante Don 
 Philip of Spain had become Duchess of Parma, in a court dress, seated in 
 a palace. Her gown is white, embroidered with gold, and her long ermine- 
 bordered mantle is covered with fleurs-de-lis. A crown is placed beside her 
 upon a rococo table. The portrait was painted after the early death of the 
 Duchess, the face being copied from one of the artist’s former pictures of her. 
 
 ‘MADAME SOPHIE OF FRANCE’ PLATE V 
 
 T his picture, at Versailles, is one of the three which Nattier painted 
 in 17 47 at Fontevrault, where he had been sent by the king without 
 the knowledge of Marie Leczinska, that he might take the portraits of her 
 
38 
 
 in ^rt 
 
 daughters there as a surprise to her. Madame Sophie is represented in a 
 white dress embroidered with gold, holding her veil with her right hand. 
 It may be regarded as a companion picture to that of the little Madame Louise, 
 painted at the same time. 
 
 ‘MADAME HENRIETTE OF FRANCE’ PLATE VI 
 
 T his picture, now at Versailles, is the finest full-length portrait executed 
 by Nattier, and is especially brilliant in its scheme of color. Madame 
 Henriette, dressed in a gown of rich red brocade patterned with gold leaves, 
 is seated in a gilded chair before a voluminous curtain of blue silk draped 
 across the back of the canvas. With one hand she touches the strings of a 
 bass viol which rests against the stiff folds of her ample skirt, and in the 
 other she holds the bow. Her bodice is embroidered with pearls, white satin 
 bows are on her lace sleeves, and in her powdered hair are delicate pink and 
 pale yellow flowers. 
 
 The picture was begun in 1748 and finished six years later — two years 
 after the death of Madame Henriette. Nattier has left a letter regarding this 
 portrait in which he speaks of it as “one of my best works, which I am sure 
 will do me great credit.” 
 
 ‘MADAME LOUISE OF FRANCE’ PLATE VII 
 
 T his likeness of Madame Louise, the youngest of the daughters of 
 Louis XV., was one of those portraits painted by Nattier at the Abbey 
 of Fontevrault, where the three younger princesses were then being educated. 
 In a letter to the Duchesse de Luynes, the queen, writing of these portraits, 
 says: “The two elder girls have recently grown pretty; but I have never 
 seen anything so charming as the little one. She has such a touching, tender, 
 sad little face, and is almost pathetically sweet and spirituelle."' As M. de 
 Nolhac has observed, “Nothing could better set forth the charm of Nattier’s 
 portrait of the little Madame Louise as a child of eleven than this maternal 
 description of her, so delicately expressed by the queen.” The picture is at 
 Versailles. 
 
 ‘LA DUCHESSE d’oRLEANSAS HEBE’ PLATE VIII 
 
 T his portrait of the Duchesse d’Orleans, formerly Madame Louise- 
 Henriette de Bourbon-Conti (whose likeness is also reproduced in Plate 
 ix), represents her as Hebe, the goddess of youth, seated in the clouds. Her 
 dress is white, and a gray-blue drapery is thrown over her knees ; a garland 
 of flowers crosses her breast, and flowers are in her powdered hair. In her 
 hand she holds a shell-like goblet, towards which the eagle of Jupiter descends 
 with spread wings. In her other hand is a gilded glass ewer filled with nectar. 
 The picture is now in the National Museum of Stockholm. It is signed 
 ^‘Nattier pinxit, 1744.” 
 
3^ean?jHarc i^attier 
 
 39 
 
 ■‘LOUISE-HENRIETTE DE BOU R BON-CONTl ’ LATE IX 
 
 M adame louise-henriette de bourbon-conti, 
 
 daughter of Louis Armand II., Duke of Bourbon and Prince of Conti, 
 was married at the age of seventeen to the Duke of Chartres, afterwards 
 Louis Philippe, Duke of Orleans, and was the mother of Philippe Egalite. 
 She died in 17 59, at the age of thirty-three, and we know little about her 
 save that she was witty, sharp-tongued, and one of the most beautiful of the 
 great ladies of Louis XV. ’s court. The present likeness, now at Versailles, 
 shows her in a white underdress draped with a blue scarf. Her complexion 
 was dark and vivid, and her hair, when unpowdered, was brown. 
 
 <MADAME ADELAIDE OF FRANCE’ PLATE X 
 
 T his portrait, at Versailles, of Madame Adelaide, third daughter of Louis 
 XV., represents the princess in a dress of crimson-and-white shot silk 
 covered with embroidered stars. She holds a shuttle and gold thread — “yizz- 
 sant de la frivoUte ” the catalogue says. This may perhaps refer to the then 
 fashionable occupation of “unraveling,” which consisted in disentangling 
 the gold and silver threads from trimmings, laces, epaulettes, and brocaded 
 and embroidered stuffs. The gentlemen were expected to provide the mate- 
 rials for this popular pastime, and the ladies frequently derived goodly sums 
 from the sale of the proceeds. Indeed, so much the rage did this “unravel- 
 ing” become in the fashionable world of that period that we are told that a 
 gentleman who entered a circle of ladies was in danger of losing “all his gold 
 fringes and laces, nay, even his very coat,” in the eagerness with which his 
 decorations were torn from him. 
 
 A LIST OF THE PRINCIPAL PAINTINGS OF NATTIER, WITH THEIR 
 PRESENT LOCATIONS 
 
 E N gland. Barnard Castle, Bowes Museum ; Portrait of a Lady; A Lady as Diana 
 — London, Collection of Alfred Beit, Esq: La Duchesse d’ Orleans as Hebe 
 — London, Wallace Collection: Qiieen Marie Leczinska; A Prince of the House ot 
 France (in part by Tocque); Portrait of a Lady; The Bath; The Countess of Dillieres — 
 Sheffield, Collection of Reginald Vaile, Esq: The Countess of Neubourg and her 
 Daughter — FRANCE. Amiens Museum: Portrait of Gresset; A Young Girl — Bor- 
 deaux Museum : A Daughter of Louis XV. (unfinished) — Chantilly, Conde Museum : 
 Mile, de Clermont (Plate in); Louise-Henriette de Bourbon-Conti as Hebe; La Princesse de 
 Conde — -Dijon Museum : (^leen Marie Leczinska — Limoges Museum : Madame de Pom- 
 padour — Marseilles Museum: Madame de Chateauroux as ‘Point du jour’ — Nantes 
 Museum: ‘La Camargo’; Portrait of a Lady — Orleans Museum: La Princesse de 
 Conti — Paris, Louvre: The Magdalene; A Daughter of Louis XV. as a Vestal Virgin; 
 Madame Adelaide; Mile, de Lambesc and the Comte de Brionne; A Knight of Malta — 
 Perpignon Museum: Louis XV. — Tours Museum: Perseus Showing the Head of Me- 
 dusa at the Wedding of Phyneus — Valenciennes Museum: Le Due de Boufflers — 
 Versailles, Palace:’ Queen Marie Leczinska (Plate ii); Marie-Josephe de Saxe; Ma- 
 
 ^The titles here given to the portraits at Versailles do not in all cases follow the names in the official 
 catalogue of that gallery; several have been renamed in accord with M. de Nolhac’s more correct identi- 
 fications, published in the ‘ Gazette des Beaux-Arts,’ 1895. — Editor. 
 
40 
 
 in 
 
 dame Adelaide; La Duchesse du Maine; Madame Adelaide (Plate x); Madame Henriette 
 (Plate vi); Madame Elisabeth, Duchesse de Parme (Plate iv); Madame Adelaide as Diana 
 (Plate i); Madame Henriette; Madame Sophie; Madame Louise (Plate vii); Madame Vic- 
 toire as Hebe; Madame Henriette as Flora; Madame Victoire; L’ Archduchesse d'Au- 
 triche; Madame Elisabeth in Hunting-costume; Le Due de Bourgoyne; Madame Sophie as 
 a Vestal Virgin; La Princesse de Tourenne; Madame Henriette; Madame Adelaide; Ma- 
 dame Henriette; Madame Sophie; Madame Louise-Henriette de Bourbon-Conti (Plate ix); 
 Madame Henriette; Madame Sophie (Plate v); Mesdames Adelaide, Victoire, and Sophie; 
 The little Infanta Isabella; Jean-Marc Nattier and his Family (see page 20) — GERMANY. 
 Dresden, Royal Gallery: Marshal Saxe — Frankfort, Stadel Institute: Portraits 
 of Jean-Georges Leerse and his Wife — Frankfort, Collection of M. Alexandre 
 Manskopf: Two Portraits — Mayence Museum: La Princesse de Talmont — SPAIN. 
 Madrid, The Prado: A Prince of France; Two Portraits of Mile, de Berry — SWEDEN. 
 Stockholm, National Museum: La Duchesse d’Orleans as Hebe (Plate viii); La Mar- 
 quise de I’Opital; La Marquise de Broglie as a Sultana- — Stockholm, Von Platen Col- 
 lection : Madame de Flavacourt as ‘ Silence ’ ; La Duchesse de Chateauroux; La Princesse 
 de Rohan-Soubise — UNITED STATES. Boston, Art Museum: Portrait of a Lady — 
 Chicago, Art Institue: The Duchess of Montmorency (loaned). 
 
 A LIST OF the principal BOOKS AND MAGAZINE ARTICLES 
 DEALING WITH NATTIER 
 
 -EXANDRE, A. Histoire populaire de la peinture: ecole fran9aise. (Paris, 1.893) — 
 
 Bellier de la Chavignerie, E., and Auvray, L. Dictionnaire general des artistes 
 de r ecole frangaise. (Paris, 1882—7) — Blanc, C. Histoire des peintres de toutes les ecoles: 
 ecole fran^aise. (Paris, 1865) — Dayot, A. LTmage de la femme. (Paris, 1899) — 
 Dilke, Lady. French Painters of the xviiith Century. (London, i 899) — Gelis-Didot, P. 
 La Peinture decorative en France, du xvi® au xviii® siecle. (Paris, 1901) — Gonse, L. Les 
 Chefs-d’oeuvre des musees de France. (Paris, 1901) — Gruyer, F. A. La Peinture au 
 Chateau de Chantilly. (Paris, 1898) — Hedouin, P. Mosaique. (Valenciennes, 1856) — 
 Kingsley, R. G. A History of French Art. (London, 1899) — Lejeune, T. Guidede 
 I’amateur de tableaux. (Paris, 1864) — Mariette, J. P. Abecedario et autres notes in- 
 edites. (Paris, 1857—8) — Merson, O. La Peinture fran^aise au xviie et au xviii® siecle. 
 (Paris, 1900) — Michaud, J. F. Biographic universelle. (Paris, 1 843-55) — Nolhac, 
 P. de, and Perate, a. Le Musee national de Versailles. (Paris, 1896) — Perate, A. 
 ‘Madame Henriette de France par Nattier’ in Les Chefs-d’oeuvre: Peinture, sculpture, 
 architecture. (Paris, 1898) — Pinset, R., and D’Auriac, J. Histoire du portrait en 
 France. (Paris, 1884) — Tocque, Madame. ‘ Jean-Marc Nattier ’ in Memoires inedits. 
 (Paris, 1854) — Vachon, M. La Femme dans 1’ art. (Paris, 1893). 
 
 Art Journal, 1901: The Wallace Collection; French Pictures (C. Phillips). 1902: 
 Mr. Reginald Vaile’s Collection of Eighteenth Century French Pictures (F. Rinder) — 
 Chronique des Arts, 1899: Deux portraits de Nattier a I’lnstitut Stadel a Frankfort 
 (A. Valabregue) — Cosmopolitan, 1897: A Royal Family (E. Lewis) — Gazette des 
 Beaux-Arts, i860: Exposition de tableaux de I’ecole frangaise (W. Burger). 1894: Un 
 Document sur Nattier (B. Prost). 1894: J.-M. Nattier (P. Mantz). 1895: Nattier, peintre 
 des Mesdames, lilies de Louis XV. (P. de Nolhac). 
 
 MAGAZINE articles 
 
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