DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.61284#0223
CHAPTER XVII
THE TOUR IN ITALY, 1789-92
Vigee-Lebrun. in Italy—The sights of Florence—Rome and its art treasures—Michelangelo and
Raphael—A visit to Angelica Kauffmann—Search for a quiet lodging—Varieties of nightly
disturbances—Noisy worms in the rafters—Vigee-Lebrun’s work in Rome—Some of her
sitters—A prima donna with a chest like a pair of bellows—The passions of the Duchesse
de Fleury—Napoleon’s question and its answer—The Comtesse de Boigne’s view of Madame
Lebrun—Sir William and Lady Hamilton at Naples—Madame Lebrun’s unfortunate choice
of a bank for her savings—Disappointed of returning to France, she sets out for Vienna
IT is now time to rejoin the artist in Italy. From Turin she journeyed,
by way of Parma and Bologna, to Florence. The first thing she
did there, after having taken possession of her rooms at the hotel
that had been recommended to her, was to go with her child and friendly
M. de Lespigniere for a walk on the hills in the environs, whence such
beautiful views of Florence can be enjoyed. Julie, looking at a group
of cypresses, said, “ Those trees invite us to be silent.” Such a remark
from a little girl of seven surprised even her own mother, who never
forgot it.
Vigee-Lebrun visited the Medici Gallery, where the Venus, the Niobe,
and the pictures of Salvator Rosa impressed her greatly ; and the Pitti
Palace, where she was specially attracted by works of Guido and Rembrandt,
as well as by a picture “ at once very fine and very strong, by Carlo Dolci, a
Holy Family by Ludovico Carachi, and the ‘ Vision of Ezekiel,’ an admirable
little picture by Raphael. I also saw there the portrait of a woman dressed
in crimson satin, painted by Titian with as much of vigour as of truth.”
She saw, in fact, most that there was to see of pictures and palaces in
Florence—including, of course, the Uffizzi Gallery, which, by its collection
of portraits of painters of all nations, from their own hands, provides so
valuable a record of the personal side of art during several centuries. She
too was asked to contribute to that famous gallery, and she naturally felt
honoured by the request. She was on the point of leaving for Rome,
108
THE TOUR IN ITALY, 1789-92
Vigee-Lebrun. in Italy—The sights of Florence—Rome and its art treasures—Michelangelo and
Raphael—A visit to Angelica Kauffmann—Search for a quiet lodging—Varieties of nightly
disturbances—Noisy worms in the rafters—Vigee-Lebrun’s work in Rome—Some of her
sitters—A prima donna with a chest like a pair of bellows—The passions of the Duchesse
de Fleury—Napoleon’s question and its answer—The Comtesse de Boigne’s view of Madame
Lebrun—Sir William and Lady Hamilton at Naples—Madame Lebrun’s unfortunate choice
of a bank for her savings—Disappointed of returning to France, she sets out for Vienna
IT is now time to rejoin the artist in Italy. From Turin she journeyed,
by way of Parma and Bologna, to Florence. The first thing she
did there, after having taken possession of her rooms at the hotel
that had been recommended to her, was to go with her child and friendly
M. de Lespigniere for a walk on the hills in the environs, whence such
beautiful views of Florence can be enjoyed. Julie, looking at a group
of cypresses, said, “ Those trees invite us to be silent.” Such a remark
from a little girl of seven surprised even her own mother, who never
forgot it.
Vigee-Lebrun visited the Medici Gallery, where the Venus, the Niobe,
and the pictures of Salvator Rosa impressed her greatly ; and the Pitti
Palace, where she was specially attracted by works of Guido and Rembrandt,
as well as by a picture “ at once very fine and very strong, by Carlo Dolci, a
Holy Family by Ludovico Carachi, and the ‘ Vision of Ezekiel,’ an admirable
little picture by Raphael. I also saw there the portrait of a woman dressed
in crimson satin, painted by Titian with as much of vigour as of truth.”
She saw, in fact, most that there was to see of pictures and palaces in
Florence—including, of course, the Uffizzi Gallery, which, by its collection
of portraits of painters of all nations, from their own hands, provides so
valuable a record of the personal side of art during several centuries. She
too was asked to contribute to that famous gallery, and she naturally felt
honoured by the request. She was on the point of leaving for Rome,
108