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Félibien records that according to Callot's own account, when he found himself in such wicked company, "he lifted his heart to God and prayed for grace not to join in the disgusting debauchery that went on under his eyes."
Ordinances of Bishop Gilbert, 1116, and Stephen, 1124, transcribed by Félibien, make this clear. So disturbed were the canons by the numbers of students in the cloister, that externes were to be no longer admitted, nor other schools allowed on the north side where the canons lodged. The growing importance of the new schools, which tended to the advantage of the abbey of St.
Fifteen years later, Montgomery was captured fighting with the Huguenots, and beheaded on the Place de Grève while Catherine de' Medici looked on "pour goûter," says Félibien quaintly, "le plaisir de se voir vangée de la mort de son mary."
In 1620, according to Felibien, the Jesuits celebrated the canonization of the founder of their order, Ignatius Loyola and St. Francis Xavier, on which occasion they determined to display a series of pictures by the first artists in Paris, representing the miracles performed by their patron saints.
Many of his works were sent to Paris, where they were valued next to the productions of Raffaelle. He was plain and unassuming in his manners, very frugal in his living, yet so liberal and generous that at his death he left an estate of only 60,000 livres about $12,000. Felibien relates an anecdote which pleasingly illustrates his simple and unostentatious mode of life.
According to Felibien, Domenichino, who then resided at Rome, in a very delicate state of health, having heard that a young Frenchman was making a careful study of his picture, caused himself to be conveyed in his chair to the church, where he conversed some time with Poussin, without making himself known; charmed with his talents and highly cultivated mind, he invited him to his house, and from that time Poussin enjoyed his friendship and profited by his advice, till that illustrious painter went to Naples, to paint the chapel of St.
Each of these elusive personalities, whose Flemish ancestry is evident, was known as Maître Jehanet, and much confusion has thus arisen. Cousin was a versatile craftsman, and some stained glass by him still exists at S. Gervais and in the chapel at Vincennes. André Félibien.
"As many as 6000 patients," says Félibien, writing in 1725, "have been counted there at one time, five or six in one bed." No limitations of age or sex or station or religion or country were set. Everybody was received, and in Félibien's time the upkeep amounted to 500,000 livres per annum.
Shortly afterwards he wrote the following letter to M. Felibien: "I could not answer the letter which your brother, M. le Prieur de St. Clementin, forwarded to me, a few days after his arrival in this city, sooner, my usual infirmities being increased by a very troublesome cold, which continues and annoys me very much.
which contains a series of most interesting historical portraits. Among the sixteenth-century painters cited by Félibien, the Vasari of French painting, most of whom are but names to us, we may distinguish the Clouet family of four generations. The senior Jehan, born in Flanders in 1420, came to France in 1460 as painter to the Duke of Burgundy.
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