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When I am dead and your Jesuit of a Chardin fled, the trial must collapse. The face of our Adeline, made so happy by you, makes death easy to me. Now you need not send the two hundred thousand francs. Good-bye. "This letter will be delivered by a prisoner for a short term whom I can trust, I believe. "I beg your pardon," said Marshal Hulot to the Prince de Wissembourg with pathetic pride.
Chardin, the elder Mebuhr, Le Brun, Ouseley, Ker Porter, exerted themselves with the most praiseworthy zeal to represent fully and faithfully the marvels of the Chehl Minar; and these persevering efforts were followed within no very lengthy period by the splendid and exhaustive works of the Baron Texier and of MM. Flandin and Coste.
"So, madame," said the old woman. "So Idamore, his name is Idamore, leastways that is what he calls himself, for his real name is Chardin Idamore fancied that your uncle had a deal more money than he owned to, and he managed to send his sister Elodie and that was a stage name he gave her to send her to be a workwoman at our place, without my daughter's knowing who she was; and, gracious goodness! but that girl turned the whole place topsy-turvy; she got all those poor girls into mischief impossible to whitewash them, saving your presence
The old traveller Chardin, in describing the Persians, says their "blood is now highly refined by frequent intermixtures with the Georgians and Circassians, two nations which surpass all the world in personal beauty. There is hardly a man of rank in Persia who is not born of a Georgian or Circassian mother."
This was a happy marriage; Madame Chardin, a sensible, good-tempered bourgeoise, regulated the household accounts, and brought order and peace into the life of the lonely artist. Hereafter he painted without interruptions.
Chardin supposed them to be unfit for food; but a later observer declares that, though of no great delicacy, they are "perfectly sweet and wholesome." Of reptiles, the most common are snakes, lizards, and tortoises.
The Bible is the bone and sinew of nations with the will to live. A man must fight, and he must hate." "I hate hatred," said Olivier. "I only wish you did!" retorted Christophe. "You're right. I'm too weak even for that. What would you? I can't help seeing the arguments in favor of my enemies. And I say to myself over and over again, like Chardin: 'Gentleness! Gentleness!...."
Like most movements, it was left to other than the accredited innovators for its completion and perfection. That is why we find Cézanne working incessantly to create an art which would achieve a union of impressionism and an art like the Louvre, as he is said to have characterized it for himself. We know now how much Cézanne cared for Chardin as well as for Courbet, and Greco.
Another merchant, Jean Chardin, the son of a rich Parisian jeweller, jealous of the successes of Tavernier, desired, like him, to make his fortune by trading in diamonds.
Chardin, on the other hand, is the one distinguished exception to the general character of French art in the artificial and intellectual eighteenth century. He is as natural as a Dutchman, and as modern as Vollon. As you walk through the French galleries of the Louvre, of all the canvases antedating our own era his are those toward which one feels the most sympathetic attraction, I think. You note at once his individuality, his independence of schools and traditions, his personal point of view, his preoccupation with the object as he perceives it. Nothing is more noteworthy in the history of French art, in the current of which the subordination of the individual genius to the general consensus is so much the rule, than the occasional exception now of a single man, now of a group of men, destined to become in its turn a school the occasional accent or interruption of the smooth course of slow development on the lines of academic precedent. Tyrannical as academic precedent is (and nowhere has it been more tyrannical than in French painting) the general interest in æsthetic subjects which a general subscription to academic precedent implies is certainly to be credited with the force and genuineness of the occasional protestant against the very system that has been powerful enough to popularize indefinitely the subject both of subscription and of revolt. Without some such systematic propagandism of the æsthetic cultus as from the first the French Institute has been characterized by, it is very doubtful if, in the complexity of modern society, the interest in æsthetics can ever be made wide enough, universal enough, to spread beyond those immediately and professionally concerned with it. The immense impetus given to this interest by a central organ of authority, that dignifies the subject with which it occupies itself and draws attention to its value and its importance, has,
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