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The artist's careful application to his monumental task may be estimated by the fact that 146 preliminary drawings for this series are preserved in the Louvre. Lesueur's modesty and high purpose went almost unheeded amid the exultant prosperity of the fashionable courtier-artists of his day. We retrace our steps, pass through Room XIII., turn R., and enter the spacious
The monk again prostrated himself before the King, overwhelming him with blessings, and these royal commands were in due course executed. So it came about that Lesueur's frescos led to startling revelations, and enabled the Carthusians to keep their splendid property intact, ungainly though this was and out of place. Journey to Poitou. The Mayor and the Sheriffs of Orleans. The Marquise's Modesty.
The King was anxious that his idea should be carried out, but whenever he mentioned it to M. Mansard and the other architects, they declared that it was a great pity to lose Lesueur's admirable frescos in the cloisters, which would have to be destroyed if the King's vast scheme were executed.
It was so like highwaymen to wish to be arrested! In addition to these representations, Peron was accorded an interview with the Minister of Marine, Decres, when, supported by Fleurieu and other members of the Institute, he explained what the expedition had done, and exhibited specimens of his collections and of Lesueur's drawings.
The monk again prostrated himself before the King, overwhelming him with blessings, and these royal commands were in due course executed. So it came about that Lesueur's frescos led to startling revelations, and enabled the Carthusians to keep their splendid property intact, ungainly though this was and out of place. Journey to Poitou. The Mayor and the Sheriffs of Orleans. The Marquise's Modesty.
The monk again prostrated himself before the King, overwhelming him with blessings, and these royal commands were in due course executed. So it came about that Lesueur's frescos led to startling revelations, and enabled the Carthusians to keep their splendid property intact, ungainly though this was and out of place. Journey to Poitou. The Mayor and the Sheriffs of Orleans. The Marquise's Modesty.
With more sapience and less sensitiveness, Bouguereau is Lesueur's true successor, to say which is certainly not to affirm a very salient originality of the older painter.
The King was anxious that his idea should be carried out, but whenever he mentioned it to M. Mansard and the other architects, they declared that it was a great pity to lose Lesueur's admirable frescos in the cloisters, which would have to be destroyed if the King's vast scheme were executed.
Every one of Lesueur's church-pictures is worth examining and admiring; they are full of "unction" and pious mystical grace. "Saint Scholastica" is divine; and the "Taking down from the Cross" as noble a composition as ever was seen; I care not by whom the other may be. I hate those simpering Madonnas. I declare that the "Jardiniere" is a puking, smirking miss, with nothing heavenly about her.
My paper is filled to the brim, and there is no time to speak of Lesueur's "Crucifixion," which is odiously colored, to be sure; but earnest, tender, simple, holy. But such things are most difficult to translate into words; one lays down the pen, and thinks and thinks.
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