Citizen Emperor (151 page)

Read Citizen Emperor Online

Authors: Philip Dwyer

BOOK: Citizen Emperor
9.47Mb size Format: txt, pdf, ePub
70
.
Antoine Schnapper,
David, témoin de son temps
(Paris, 1980), p. 231.
71
.
Hauterive,
La police secrète du premier Empire
, iv. pp. 35, 54 and 194 (29 January, 11 February and 24 May 1808); Bernard Chevallier and Christophe Pincemaille,
L’impératrice Joséphine
(Paris, 1996), pp. 332–3.
72
.
Arlequin, au Muséum, ou critique en Vaudeville des Tableaux du Salon
(Paris, 1808).
73
.
Cited in Annie Jourdan, ‘Napoleon and his Artists’, in Howard Brown and Judith Miller (eds),
Taking Liberties: Problems of a New Order from the French Revolution to Napoleon
(Manchester, 2002), p. 194.
74
.
Burke,
Eyewitnessing
, pp. 28–9.
75
.
Burke,
Eyewitnessing
, p. 73.
76
.
On this painting see Susan Siegfried, ‘The Politics of Criticism at the Salon of 1806: Ingres’s
Napoleon Enthroned
’,
Proceedings of the Consortium on Revolutionary Europe
(Athens, Georgia, 1980), pp. 69–81; Porterfield and Siegfried,
Staging Empire
, pp. 38–60.
77
.
See Telesko,
Napoleon Bonaparte
, pp. 50–1.
78
.
Porterfield and Siegfried,
Staging Empire
, p. 50, argue that Ingres had attempted to reinvent the divine body of the king.
79
.
Porterfield and Siegfried,
Staging Empire
, p. 88.
80
.
Susan Siegfried suggests that the Legislative Corps was thus attempting to modify its own image as a republican institution by purposefully adopting a particular kind of imperial image (Porterfield and Siegfried,
Staging Empire
, pp. 73–4).
81
.
Henriette Bessis, ‘Ingres et le portrait de l’Empereur’,
Archives de l’art français
, 24 (1969), 89–90.
82
.
According to Pierre-Nolasque Bergeret,
Lettres d’un artiste sur l’état des arts en France
(Paris, 1848), pp. 72–3.
83
.
Telesko,
Napoleon Bonaparte
, p. 45.
84
.
Cited in Porterfield and Siegfried,
Staging Empire
, p. 92.
85
.
Cited in Telesko,
Napoleon Bonaparte
, p. 45.
86
.
Susan Siegfried, ‘The Politicisation of Art Criticism in the Post-Revolutionary Press’, in Michael R. Orwicz (ed.),
Art Criticism and its Institutions in Nineteenth-Century France
(Manchester, 1994), pp. 9–28; Adrian Rifkin, ‘History, Time and the Morphology of Critical Language, or Publicola’s Choice’, in ibid., pp. 29–42; Wrigley,
The Origins of French Art Criticism
, pp. 165–349.
87
.
See the critique by Jean-Baptiste Boutard, ‘Salon de l’art 1806’,
Journal de l’Empire
, 4 October 1806.
88
.
Pierre Jean-Baptiste Chaussard,
Le pausanias français
(Paris, 1808); Porterfield and Siegfried,
Staging Empire
, pp. 98, 100.
89
.
Porterfield and Siegfried,
Staging Empire
, p. 7.
90
.
Fontaine,
Journal
, i. p. 92 (5 December 1804).
91
.
Porterfield and Siegfried,
Staging Empire
, pp. 45–6.
92
.
Corr.
ix. n. 7876 (27 July 1804). Also Hughes, ‘Vive la République, Vive l’Empereur!’, p. 56.
93
.
See, for example, Marcel Baldet,
La vie quotidienne dans les armées de Napoléon
(Paris, 1965), p. 132; Maurice Choury,
Les Grognards et Napoléon
(Paris, 1968), pp. 165–6; Lynn, ‘Toward an Army of Honor’, 165–6; O’Brien,
After the Revolution
, p. 126.
94
.
Louis-François Lejeune,
Mémoires du général Lejeune, 1792–1813
(Paris, 2001), p. 160.
95
.
Moniteur universel
, 26–27 messidor an IX (14–15 July 1801); Hughes, ‘Vive la République, Vive l’Empereur!’, p. 41.
96
.
Fontaine,
Journal
, i. p. 93 (5 December 1804); Boulart,
Mémoires militaires
, pp. 125–6; Masson,
Le sacre et le couronnement de Napoléon
, pp. 220–2.
97
.
Marrinan, ‘Literal/Literary/“Lexie”’, 191.
98
.
Valérie Bajou, ‘Painting and Politics under the Empire: David’s
Distribution of the Eagles
’, in Ledbury (ed.),
David after David
, pp. 55–71.
99
.
Johnson,
Jacques-Louis David
, p. 207.
 
100
. Johnson,
Jacques-Louis David
, pp. 214–16.
 
101
. Bigarré,
Mémoires
, p. 160.
 
102
. Klemens Wenzel von Metternich,
Mémoires: documents et écrits divers
, 8 vols (Paris, 1881–4), i. p. 283.
 
103
. Katia Malaussena, ‘The Birth of Modern Commemoration in France: The Tree and the Text’,
French History
, 18 (2004), 154–72, here 159.
 
104
. Bluche,
Le Bonapartisme
, p. 27; Brian Jenkins,
Nationalism in France: Class and Nation since 1789
(Savage, Md, 1990), p. 36.
 
105
. Cited in Keith Michael Baker,
Inventing the French Revolution
(Cambridge, 1990), p. 225.
 
106
. Chanteranne,
Le sacre de Napoléon
, pp. 209, 211. More than 75,000 silver medallions were distributed along the boulevards by heralds in arm during the coronation procession.
 
107
. J.C.,
Précis historique-chronologique du voyage du saint-père le pape Pie VII en France
(Brussels, 1804), p. 46; Aulard,
Paris sous le Premier Empire
, i. p. 397 (20 November 1804).
 
108
. Bernard Chevallier, ‘Préparatifs des fêtes données par la ville de Paris à l’occasion du sacre’, in
Napoléon le sacre
, p. 83.
 
109
. 
Corr.
x. n. 8781 (24 May 1805).
 
110
. Chevallier, ‘Préparatifs des fêtes’, p. 86. Abby Zanger,
Scenes from the Marriage of Louis XIV: Nuptial Fictions and the Making of Absolutist Power
(Stanford, Calif., 1997), pp. 100–12, is, as far as I am aware, the only person to have studied ‘the role of fireworks in organizing political culture’ in any depth.
 
111
. Dusaulchoy de Bergemont,
Histoire du couronnement
, pp. 282–3.
 
112
. Accounts of the festivities can be found in Pierre-Maurice Saunier,
Tableau historique des cérémonies du sacre et du couronnement de S.M. Napoléon Ier
(Paris, an VIII); Lanzac de Laborie,
Paris sous Napoléon
, iii. pp. 43–4. For a broader discussion of Napoleonic festivities, including the participation of women, see Denise Z. Davidson, ‘Women at Napoleonic Festivals: Gender and the Public Sphere during the First Empire’,
French History
, 16 (2002), 299–322.

Other books

Now You See It by Richard Matheson
Nowhere to Run by Valerie Hansen
The Viscount's Addiction by Scottie Barrett
Storky by D. L. Garfinkle
Rachel Rossano - The Theodoric Saga by The Crown of Anavrea