The Memoirs of Madame Vigée Lebrun. Louise-Elisabeth Vigée-Lebrun
am sorry to say, Your Majesty," I replied, "I was so ill that I was unable to comply with Your Majesty's commands. I am here to receive more now, and then I will immediately retire."
"No, no! Do not go!" exclaimed the Queen. "I do not want you to have made your journey for nothing!" She revoked the order for her carriage and gave me a sitting. I remember that, in my confusion and my eagerness to make a fitting response to her kind words, I opened my paint-box so excitedly that I spilled my brushes on the floor. I stooped down to pick them up. "Never mind, never mind," said the Queen, and, for aught I could say, she insisted on gathering them all up herself.
When the Queen went for the last time to Fontainebleau, where the court, according to custom, was to appear in full gala, I repaired there to enjoy that spectacle. I saw the Queen in her grandest dress; she was covered with diamonds, and as the brilliant sunshine fell upon her she seemed to me nothing short of dazzling. Her head, erect on her beautiful Greek neck, lent her as she walked such an imposing, such a majestic air, that one seemed to see a goddess in the midst of her nymphs. During the first sitting I had with Her Majesty after this occasion I took the liberty of mentioning the impression she had made upon me, and of saying to the Queen how the carriage of her head added to the nobility of her bearing. She answered in a jesting tone, "If I were not Queen they would say I looked insolent, would they not?"
PORTRAIT OF MARIE ANTOINETTE AND HER CHILDREN
Known as "The Royal Family." Exhibited at the Paris Salon of 1788, the Year Before the Outbreak of the Revolution.
The Queen neglected nothing to impart to her children the courteous and gracious manners which endeared her so to all her surroundings. I once saw her make her six-year-old daughter dine with a little peasant girl and attend to her wants. The Queen saw to it that the little visitor was served first, saying to her daughter, "You must do the honours."
The last sitting I had with Her Majesty was given me at Trianon, where I did her hair for the large picture in which she appeared with her children. After doing the Queen's hair, as well as separate studies of the Dauphin, Madame Royale, and the Duke de Normandie, I busied myself with my picture, to which I attached great importance, and I had it ready for the Salon of 1788. The frame, which had been taken there alone, was enough to evoke a thousand malicious remarks. "That's how the money goes," they said, and a number of other things which seemed to me the bitterest comments. At last I sent my picture, but I could not muster up the courage to follow it and find out what its fate was to be, so afraid was I that it would be badly received by the public. In fact, I became quite ill with fright. I shut myself in my room, and there I was, praying to the Lord for the success of my "Royal Family," when my brother and a host of friends burst in to tell me that my picture had met with universal acclaim. After the Salon, the King, having had the picture transferred to Versailles, M. d'Angevilliers, then minister of the fine arts and director of royal residences, presented me to His Majesty. Louis XVI. vouchsafed to talk to me at some length and to tell me that he was very much pleased. Then he added, still looking at my work, "I know nothing about painting, but you make me like it."
The picture was placed in one of the rooms at Versailles, and the Queen passed it going to mass and returning. After the death of the Dauphin, which occurred early in the year 1789, the sight of this picture reminded her so keenly of the cruel loss she had suffered that she could not go through the room without shedding tears. She then ordered M. d'Angevilliers to have the picture taken away, but with her usual consideration she informed me of the fact as well, apprising me of her motive for the removal. It is really to the Queen's sensitiveness that I owed the preservation of my picture, for the fishwives who soon afterward came to Versailles for Their Majesties would certainly have destroyed it, as they did the Queen's bed, which was ruthlessly torn apart.
I never had the felicity of setting eyes on Marie Antoinette after the last court ball at Versailles. The ball was given in the theatre, and the box where I was seated was so situated that I could hear what the Queen said. I observed that she was very excited, asking the young men of the court to dance with her, such as M. Lameth, whose family had been overwhelmed with kindness by the Queen, and others, who all refused, so that many of the dances had to be given up. The conduct of these gentlemen seemed to me exceedingly improper; somehow their refusal likened a sort of revolt—the prelude to revolts of a more serious kind. The Revolution was drawing near; it was, in fact, to burst out before long.
With the exception of the Count d'Artois, whose portrait I never did, I successively painted the whole royal family—the royal children; Monsieur, the King's brother, afterward Louis XVIII.; Madame Royale; the Countess d'Artois; Madame Elisabeth. The features of this last-named Princess were not regular, but her face expressed gentle affability, and the freshness of her complexion was remarkable; altogether, she had the charm of a pretty shepherdess. She was an angel of goodness. Many a time have I been a witness to her deeds of charity on behalf of the poor. All the virtues were in her heart: she was indulgent, modest, compassionate, devoted. In the Revolution she displayed heroic courage; she was seen going forward to meet the cannibals who had come to murder the Queen, saying, "They will mistake me for her!"
MADAME ELISABETH, SISTER OF LOUIS XVI.
The portrait I made of Monsieur favoured me with the occasion to become acquainted with a prince whose wit and learning one could extol without flattery; it was impossible not to find pleasure in the conversation of Louis XVIII., who talked on all subjects with equal degrees of taste and understanding. However, for the sake of variety no doubt, at some of our sittings he would sing to me, and he would sing such common songs that I was unable to understand how these trivial things had ever reached the court. He sang more out of tune than any one in the whole world. "How do you think I sing?" he asked me one day. "Like a prince, Your Highness," was my reply.
The Marquis de Montesquiou, equerry-in-chief to Monsieur, would send me a fine carriage and six to bring me to Versailles and take me back with my mother, who accompanied me at my request. All along the road people stood at the windows to see me pass, and every one took their hats off. This homage rendered to six horses and an outrider amused me, for on returning to Paris I got into a cab, and nobody took the slightest notice of me.
About this time I also painted the Princess de Lamballe. Without being actually pretty, she appeared so at a little distance; she had small features, complexion of dazzling freshness, superb blond locks, and was generally elegant in person. The unhappy end of this unfortunate Princess is sufficiently well known, and so is the devotion to which she fell a victim. For in 1793, when she was at Turin, entirely out of harm's way, she returned to France upon learning that the Queen was in danger.
CHAPTER III
Work and Pleasure
IMPRESSIONS OF FLANDERS—THE AUTHORESS'S ELECTION TO THE FRENCH ROYAL ACADEMY OF PAINTING—HER DEVOTION TO WORK—SOCIAL PLEASURES—A TALE OF AN ARTIST'S EXTRAVAGANCE—CALONNE AND CALUMNY—M. LEBRUN ALLOWS HIS WIFE NOUGHT PER CENT. OF HER EARNINGS—A DRAMATIC CONSTELLATION—THE INCOMPARABLE MME. DUGAZON.
In 1782 M. Lebrun took me to Flanders, whither he was called by affairs of business. A sale was then being held in Brussels of a splendid collection of pictures belonging to Prince Charles, and we went to view it. I found there several ladies of the court who met me with great kindness, among them the Princess d'Aremberg, whom I had frequently seen in Paris. But the acquaintance upon which I congratulated myself most was that of the Prince de Ligne, whom I had not known before, and who has left an historic reputation for wit and hospitality. He invited us to visit his gallery, where I admired various masterpieces, especially portraits by Van Dyck and heads by Rubens, for he owned but few Italian pictures. He was also good enough to receive us at his magnificent house at Bel-Oeil. I remember that he made us ascend to an outlook, built on the top of a hill commanding the whole of his estate and the whole