La Venus Anadyomene Est en pelisse a capuchon: Flore, que la brise malmene, Plonge ses mains dans son manchon. Et pour la saison, les bergeres De Coysevox et de Coustou, Trouvant leures echarpes legeres Ont des boas autour du cou. Of course, poetic pictures can be painted Gautier has painted them but the standard for each art is set by what it can do uniquely well.
The number of these is now small; in the time of Napoleon I., when the institution was called the "Temple of Mars," it was enormous. On the terrace in front of the building are a number of cannon, trophies taken in different campaigns. Standing before the hotel is the statue of Prince Eugene. On either side of the entrance are statues of Mars and Minerva by Coustou the younger.
Coysevox is chiefly Puget exaggerated, and his pupil, Coustou, who comes down to nearly the middle of the eighteenth century, contributed nothing to French sculptural tradition. But Clodion is a distinct break. He is as different from Coysevox and Coustou as Watteau is from Lebrun. He is the essence of what we mean by Louis Quinze. His work is clever beyond characterization.
Others declare that he turned again to the solace of religion, and was attended on his death-bed by the Abbé Coustou. Joseph, prostrated by grief, was taken into Mme. Permon's house and received the tenderest consolation. Failure as the ambitious father had been, he had nevertheless been so far the support of his family in their hopes of advancement.
It has three entrances: the principal, on the quay, leads into a large rectangular court, which is covered with a cupola of cast-iron; opposite to the entrance of this court, is placed against the wall the fine bas-relief, which ornamented the front of the old custom-house, a very handsome piece of workmanship by Coustou, a statuary of the XVIIIth century; it represents Mercury with the different attributes of commerce.
Brilliant of face, delicate of profile, with eyes of a deep blue, heavy lids, feet arched and small, wrists and ankles admirably formed, a white skin which, here and there allowed the azure branching of the veins to be seen, joy, a cheek that was young and fresh, the robust throat of the Juno of AEgina, a strong and supple nape of the neck, shoulders modelled as though by Coustou, with a voluptuous dimple in the middle, visible through the muslin; a gayety cooled by dreaminess; sculptural and exquisite such was Fantine; and beneath these feminine adornments and these ribbons one could divine a statue, and in that statue a soul.
“No; what room?” “Room for improvement, ya!” Two centuries and four revolutions have swept away all trace of this kingly caprice and the art treasures it contained. Alone, the marble horses of Coustou, transported later to the Champs Elysées, remain to attest the splendor of the past.
But the grand object of interest is a large sepulchral group in the centre of the choir, to the memory of the Dauphin and his consort, the parents of Louis XVI. The grace and classical contour of this monument, which is executed by the well-known Nicholas Coustou, would excite admiration even in the studio of Canova, while the deep tone of genuine feeling displayed, particularly in the figure of Hymen quenching his torch, is worthy of the chisel of our own Chantry.