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Updated: June 10, 2025
Thus it came that Mignard, Le Bourdon, and other painters of the aristocracy, used to introduce negro boys into all their large portraits. It was a mode, a mania; but so absurd a fashion soon had to disappear after the mishap of which I am about to tell.
Cheverny, with its well wooded park, and its avenue six kilometres in length, is a noble domain; but the outside of the château, although its architecture has been highly praised, did not impress us particularly. This may be because the mansion is situated on a level sweep of lawn, laid out after the English style, instead of crowning a great bluff like Blois, Amboise and Chaumont. The interior of Cheverny leaves nothing to be desired. It is elegant, aristocratic, and yet most delightfully homelike, with its spacious hall, richly decorated royal bedroom, and salon as livable as an English drawing room, with books, magazines and writing materials scattered over the centre table. On the panelled walls are gathered together a goodly and graceful company of noble lords and beautiful ladies, among them a fine full-length portrait of Philippe Hurault, Count de Cheverny, Chancellor of Finance under Henry IV, and opposite him his beautiful and stately wife, Anne de Thou, Dame de Cheverny, in a gown of black velvet garnished with rich lace. This noble lady was related, in some way, to the gallant young De Thou who perished on the scaffold with his friend Cinq Mars. Over the chimney-place is a charming portrait by Mignard of the daughter, or daughter-in-law, of Anne de Thou, Marie Johanne de Saumery, Marquise de Montglat, Countess de Cheverny. The subject of this lovely portrait bears with distinction her long array of cumbersome titles, while the airy grace of the figure and the innocent sweetness of the rounded girlish face are irresistibly attractive. Above the chimney-place, in which this portrait is set in the white wainscot, is the monogram (HV) which one finds all over the château, a proof that this ancient family is légitimiste to the core, and devoutly loyal to whatever is left of the ancient line of the Bourbons. In the salle
Teniers would have lit a clay pipe. Dürer would perhaps have swallowed a pint of Nüremberg beer, and Greuse or Mignard would have resorted to their snuff-boxes. We do not know what Michelangelo or Perugino did under the circumstances, but it is tolerably evident that the man of the nineteenth century cannot think without talking and cannot talk without cigarettes.
Thus it came that Mignard, Le Bourdon, and other painters of the aristocracy, used to introduce negro boys into all their large portraits. It was a mode, a mania; but so absurd a fashion soon had to disappear after the mishap of which I am about to tell.
She took the pose naturally and scarcely breathed during the weary sittings. He recalled the early gossip and sought to evoke her as a professional model. But he gave up in despair. She was hopelessly "ladylike," and to interpret her adequately, only the decorative patterns of earlier men Mignard, Van Loo, Nattier, Largillière would translate her native delicacy.
Mansart was called in and a great gallery intended for fêtes and ceremonies was constructed, and Mignard was given the commission for its decorations. Monsieur died within the walls of the palace to which he had added so many embellishments, as also did his second wife. Three royalties dead of ambition, one might well say, for their lives were neither tranquil nor healthful. They went the pace.
One of these five portraits was that of the King, copied from that great and magnificent picture of Mignard, where he was represented at the age of twenty, in the costume of a Greek hero, in all the lustre of his youth. His Majesty had given me this little commission for more than a year, and I desired, with all my heart, to be able soon to fulfil his expectation.
Thus it came that Mignard, Le Bourdon, and other painters of the aristocracy, used to introduce negro boys into all their large portraits. It was a mode, a mania; but so absurd a fashion soon had to disappear after the mishap of which I am about to tell.
Lebrun had seen such prosperity of tapestry weaving that eight hundred workers had scarcely been enough to supply the tapestries ordered. When Mignard came for his five years of direction, things had mightily changed, and he did nothing to revive or encourage the work. He owed his appointment entirely to Louvois, whose protégé he had long been. The same year, 1691, saw the death of them both.
One of these five portraits was that of the King, copied from that great and magnificent picture of Mignard, where he was represented at the age of twenty, in the costume of a Greek hero, in all the lustre of his youth. His Majesty had given me this little commission for more than a year, and I desired, with all my heart, to be able soon to fulfil his expectation.
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