Assuring the Empire of the Future: The 1798 Fete de la Liberte

lis a Venise, Florence, Naples, Turin et
Bologne, Paris, Year 11 (1803); Notice des
tableaux, dont plusieurs ont eti recueillis i
Parma et i Venise, Paris, Year 13 (1805).
46 Notice ... Lombardie, Year 6 (1798) (cited n.
45).
47 Notice de la Galerie des Antiques du Musee
Napoleon. Notice des statues, bustes et bas-
reliefs, de la galerie des antiques du Musee
Napoleon, ouverte pour la premiere fois le 18
brumaire an 9, Paris, Year 11, p. 4. Gould has
quite accurately titled his study of the Louvre
during this period Trophy of Conquest (cited n.
1).
48 Gazette de France, 18 Brumaire Year 9 (No-
vember 7, 1800), p. 191, and Notice ... Galerie
des antiques (cited n. 47), pp. 119-21.
49 Hautecoeur (cited n. 9), p. 82; the suggestion
came from Cambaceres.
50 Gazette de France, 2 Fructidor Year 11 (Au-
gust 20, 1803), p. 1323.
51 Statues, bustes, bas-reliefs, bronzes, et autres
antiquites, peintures, dessins, et objets cu-
rieux, conquis par la Grande Armee, dans les
annees 1806 et 1807, dont l'exposition a eu lieu
le 14 octobre 1807, premier anniversaire de la
bataille d'lIna, Paris, 1807. The Revolutionary
calendar was abolished in 1805.
52 On Napoleon's bust, see: Saunier (cited n. 1),
p. 40; on museum commissions, see: L. Lanzac
de Laborie, Paris sous Napoleon: Spectacles et
musees, Paris, 1913, p. 237; and Blumer,
"Commission" (cited n. 1), p. 249, n. 1; the
works were never completed.
53 Lanzac de Laborie (cited n. 52), p. 287.
54 See: Milizia, De I'art de voir dans les beaux-
arts; Traduit de l'italien de Milizia suivi des
institutions propres a les faire fleurir en
France et d'un etat des objets d'arts dont ses
musees ont ete enrichis par la guerre de la
liberte. Par le General Pommereul, Paris, Year
6. pp. 314-15; A. H. Taillandier, Documents
biographiques sur P.C.F. Daunou, Paris, 1847,
pp. 133-34. Daunou was commissioner in
Rome to oversee confiscation of libraries. On
removal of the frescoes, see: Marie Louise
Blumer, "La Mission de Denon en Italie
(1811)," Revue des etudes Napoleoniennes
(November-December 1934), pp. 237-57.
55 I am grateful to John Stephens Crawford for
his advice on this monument. See: Massi-
miliano Pavan, "The Horses of San Marco in
the Neo-Classical and Romantic Epochs," in
The Horses of San Marco, Venice, exh. cat.,
The Royal Academy, London, 1977-79, pp.
111-15.
56 Notice des tableaux des ecoles primitives de
l'Italie, de l'Allemagne, et de plusieurs autres
tableaux de differentes ecoles, exposes dans le
Grand Salon du Musie Royal, ouvert le 25
juillet 1814, Paris, 1814. Napoleon abdicated
on April 6, Louis XVIII was installed on June
4, so the show actually opened under the
restored monarchy.
57 Most French accounts insist that the 1814-15
recuperation of the plunder was illegal. See:
Eugene Miintz, "Les Invasions de 1814-1815
et la spoliation de nos mus6es," La Nouvelle
Revue, 115 (April 1897), pp. 703-16; 117
(July-August 1897), pp. 193-207, 420-39;
Saunier (cited n. 1), pp. 85-185; Hautecoeur
(cited n. 9), p. 89. For the fate of the Italian
paintings, see: Marie-Louise Blumer, "Cata-
logue des peintures transport6es d'Italie en
France de 1796 a 1814," Bulletin de la Societe
de l'histoire de l'art francais, 1936, pp. 244-
348; for the Belgian, see: Piot (cited n. 5); for
the Spanish, see: Ilse Hempel Lipschutz, Span-
ish Painting and the French Romantics, Cam-
bridge, MA, 1972.
58 In his first official speech he quickly (and
erroneously) announced that France would
keep the art; see: Le Moniteur universel (cited
n. 10); for a discussion of French attempts to
keep the art, see: Miintz, "Invasions" (cited n.
57); Saunier (cited n. 1), pp. 85-95, 168-76.
59 Saunier (cited n. 1), pp. 168-76; Miintz, "Inva-
sions" (cited n. 57), 117 (July-August 1897),
p. 438.
60 Miintz, "Invasions" (cited n. 57), 117 (July-
August 1897), pp. 204-6.
61 Miintz, "Annexations" (cited n. 1), 10 (1896),
p. 502.
62 Saunier (cited n. 1), pp. 151-52; Jean Chate-
lain, Dominique Vivant Denon et le Louvre de
Napoleon, Paris, 1973, p. 249; Lanzac de
Labordie (cited n.52), pp. 426-28; Miintz, "In-
vasions" (cited n. 57), 117 (July-August
1897), pp. 204, 207.
63 Lavallee (who succeeded Denon in the Louvre)
made a chart of returned art, given in Saunier
(cited n. 1), p. 161; it shows Prussia, 119
paintings, 375 works of sculpture; Austria, 323
paintings, 16 sculptures; Spain, 284 paintings;
Netherlands, 210 paintings, etc. Blumer, "Cat-
alogue" (cited n. 57), pp. 347-48, shows that of
506 paintings seized in Italy, only 249 were
returned. Piot (cited n. 5), pp. 16-63, states
that of 271 pictures taken in Belgium, only 100
were returned.
64 Stendhal, Histoire de la peinture en Italie,
Geneva, 1969, vol. 2, pp. 338-39; only 16 of the
100 Tolentino works were paintings. For a
virtually identical modern defense, see: Saunier
(cited n. 1), p. 135; Miintz, "Invasions" (cited
n. 57), 117 (July-August 1897), p. 193; Haute-
coeur (cited n. 9), p. 89.
65"Lord Liverpool to Lord Castlereagh, Fife
House, August 3, 1815," in Correspondence,
Despatches, and Other Papers of Viscount
Castlereagh, Second Marquess of Londonder-
ry, ed. Charles William Vane, Marquess of
Londonderry, 3rd series, vol. 2, p. 453.
66 For an account of the event and the period, see:
William St. Clair, Lord Elgin and the Marbles,
London, 1967.
67 Ibid., pp. 202-7, 228; Miintz, "Invasions"
(cited n. 7), 117 (July-August 1897), p. 438;
Haskell and Penny (cited n. 1), p. 116.
68 For another episode in this rivalry, see: E. A.
Wallis Budge, The Rosetta Stone in the British
Museum, NY, 1976.
69"Lord Liverpool to Lord Castlereagh, Fife
House, August 3, 1815," in Castlereagh (cited
n. 65), vol. 2, p. 453.
70 "Memorial of the Foreign Artists at Rome,
addressed to Lord Castlereagh, Rome, 1815,"
inCastlereagh (cited n. 65), vol. 2, pp. 462-63.
71 Neufchateau (cited n. 32), vol. 1, p.29.
Patricia Mainardi is Professor of Art
History at Brooklyn College and The
Graduate Center of the City University
of New York. She received the 1988
Charles Rufus Morey Awardfrom the
College Art Association for her book,
Art and Politics of the Second Empire:
The Universal Expositions of 1855 and
1867.
Summer 1989 163