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Updated: May 12, 2025
It is the one misadventure suggestive of erratic tendencies admitted to Callot's story by M. Meaume, although other biographers have thrown over his life in Italy a sufficiently lurid light, hinting at revelries and vagaries and lawless impulses unrestrained.
Some of the artist's historians have made him address this impetuous reply to the king himself, but M. Meaume reminds us that, familiar with courts, he knew too well the civility due to a sovereign to make it probable that he so forgot his dignity. Later the king tried to allure Callot by gifts, honors and pensions, but in vain.
These were the first free inspiration of the incomparable later set called "Les Grandes Misères," "a veritable poem," M. Meaume declares, "a funeral ode describing and deploring the sorrows of Lorraine."
Parigi was enthusiastic and advised his pupil to dedicate the plates to the brother of the Grand Duke. After this all went well and swiftly. Passing over many plates, important and unimportant, we come three years later to the Great Fair of Florence, pronounced by M. Meaume, Callot's masterpiece.
Falling in with the gipsies, he traveled with them for six or eight weeks, receiving impressions of a flexible, wanton, vagabond life that were never entirely to lose their influence upon his talent, although his most temperate and scholarly biographer, M. Meaume, finds little of Bohemianism in his subsequent manner of living.
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