DOI Page / Citation link:
https://doi.org/10.11588/diglit.61284#0232
VIGEE-LEBRUN
114
One of her notable sitters at this period was the Earl of Bristol, Bishop
of Derry. This handsome prelate was as well known in Italy for his love
of the arts as he was for the generosity and tolerance with which he fulfilled
his episcopal functions. At his country seat in County Londonderry he
kept a great state, and in Dublin his big carriage, drawn by four horses,
was a familiar sight in College Green during the sittings of the Irish Parlia"
ment. Towards the end of his life he spent some of his vacations in Paris,
where the splendour of his private house suggested the name of an hotel
which opened in the Place Vendome in those days, and through imitation
of which many another Hotel Bristol has puzzled the curious as to why
Bristol, more than any other English port, should have caught the fancy
of hotel-builders.
Not only did Madame Lebrun paint several portraits of the Bishop of
Derry in Italy, but she also copied for him—with some variations—her
portrait of herself that she gave to the Uffizi Gallery at Florence.
After a long visit to Naples, Vigee-Lebrun, still of course accom-
panied by Julie and the governess, went on by way of Siena and Mantua
to Venice, where the artist-diplomatist Denon did all he could to make
her stay enjoyable. Among other things, he exhibited her “ Sibyl ” in
his studio, and thereby brought her much acceptable praise and attention.
She saw the spectacle of the Doge throwing the ring into the sea, and the
splendid Bucentaur galley that comes out of dock on those occasions ; as
for pictures, she spent many happy hours in contemplating the master-
pieces of Tintoretto, Veronese, and Titian. Of her own work done in
Venice, the most notable example is the portrait of the handsome Greek
woman, Isabella Marini, afterwards Comtesse Albrizzi.
One of the familiar sights of Venice at that time was the ancient
burial-ground, adjoining the “ English ” Cemetery, and containing the
tombs of some of the earliest Venetians. Madame Lebrun, being anxious
to see it, went there in a gondola one moonlight night with a friend of
M. Denon. As they might have expected, they found the gate locked.
However, by mounting on some stones fallen from a breach in the top
of the wall, they got inside through that breach. When they wished to
return, it was “ nearly an hour ” before they could find this place of entry.
Having got outside, they met with two sentinels, who let them pass
without any questions. “ They no doubt took us for a pair of lovers,”
says Madame, “ people who are always highly respected in Italy.” One
only of her memories of Venice was really very unpleasant—she lost there
114
One of her notable sitters at this period was the Earl of Bristol, Bishop
of Derry. This handsome prelate was as well known in Italy for his love
of the arts as he was for the generosity and tolerance with which he fulfilled
his episcopal functions. At his country seat in County Londonderry he
kept a great state, and in Dublin his big carriage, drawn by four horses,
was a familiar sight in College Green during the sittings of the Irish Parlia"
ment. Towards the end of his life he spent some of his vacations in Paris,
where the splendour of his private house suggested the name of an hotel
which opened in the Place Vendome in those days, and through imitation
of which many another Hotel Bristol has puzzled the curious as to why
Bristol, more than any other English port, should have caught the fancy
of hotel-builders.
Not only did Madame Lebrun paint several portraits of the Bishop of
Derry in Italy, but she also copied for him—with some variations—her
portrait of herself that she gave to the Uffizi Gallery at Florence.
After a long visit to Naples, Vigee-Lebrun, still of course accom-
panied by Julie and the governess, went on by way of Siena and Mantua
to Venice, where the artist-diplomatist Denon did all he could to make
her stay enjoyable. Among other things, he exhibited her “ Sibyl ” in
his studio, and thereby brought her much acceptable praise and attention.
She saw the spectacle of the Doge throwing the ring into the sea, and the
splendid Bucentaur galley that comes out of dock on those occasions ; as
for pictures, she spent many happy hours in contemplating the master-
pieces of Tintoretto, Veronese, and Titian. Of her own work done in
Venice, the most notable example is the portrait of the handsome Greek
woman, Isabella Marini, afterwards Comtesse Albrizzi.
One of the familiar sights of Venice at that time was the ancient
burial-ground, adjoining the “ English ” Cemetery, and containing the
tombs of some of the earliest Venetians. Madame Lebrun, being anxious
to see it, went there in a gondola one moonlight night with a friend of
M. Denon. As they might have expected, they found the gate locked.
However, by mounting on some stones fallen from a breach in the top
of the wall, they got inside through that breach. When they wished to
return, it was “ nearly an hour ” before they could find this place of entry.
Having got outside, they met with two sentinels, who let them pass
without any questions. “ They no doubt took us for a pair of lovers,”
says Madame, “ people who are always highly respected in Italy.” One
only of her memories of Venice was really very unpleasant—she lost there