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‘A better way to read great works’: lithographs by Delacroix, Roqueplan, Boulanger, and the Devéria brothers in Gaugain's suite of Scott subjects (1829–1830)

2010; Taylor & Francis; Volume: 26; Issue: 4 Linguagem: Francês

10.1080/02666280903532728

1943-2178

Beth S. Wright,

Historical Art and Culture Studies

Click to increase image sizeClick to decrease image size Notes 1 – ‘Je désirais contribuer à apprendre à mieux lire dans les beaux ouvrages’, Eugène Delacroix, Journal, ed. Michèle Hannoosh, 2 Vols. (Paris: José Corti, 2009), Vol. 1, p. 1099. This new edition is the essential source to consult. Not only does she bring in an immense amount of new material, she reconstructs Delacroix's own cross-references to earlier passages and corrects mistranscriptions in earlier editions. 2 – Eugène Delacroix, The Journal of Eugène Delacroix, trans. Walter Pach [1937] (New York: Viking Press, May 7, 1850), pp. 220–1. He recopied this passage on January 21, 1857 (ed. Michèle Hannoosh, Vol. 1, p. 1083). 3 – On Delacroix's fiction (Alfred and Les Dangers de la cour) and theatre (Victoria), see Jean Marchand, ‘ED homme de lettres d'après trois œuvres de jeunesse inédites’, Le livre et l'estampe, 19, no. 3 (1959), pp. 173–84. Alfred and Les Dangers de la cour are discussed in Beth S. Wright, Painting and History during the French Restoration: Abandoned by the Past (New York: Cambridge University Press, 1997), pp. 128–31. 4 – ‘Il faut classer, diviser, suivre les développements et ne pas les pousser trop loin. Comment faire un livre … surtout quand on n'a pas pris l'habitude d'embrasser un ensemble en même temps que les parties séparées, de les coordonner avec des liaisons assez bien ménagées pour mettre en saillie tout ce qui est important et doit fixer l'attention du lecteur?’ Eugène Delacroix, ‘Littérateurs et littérature’, in Œuvres Littéraires, ed. Elie Faure, 2 Vols. (Paris: G. Crès & Cie, 1923), Vol. 1, pp. 91–101, p. 93, p. 91. 5 – ‘On a dit que les rivières sont des chemins qui marchent. On pourrait dire que les livres sont des portions de tableaux en mouvement dont l'un succède à l'autre sans qu'il soit possible de les embrasser à la fois. Pour saisir le lien qui les unit, il faut dans le lecteur presque autant d'intelligence que dans l'auteur. Si c'est un ouvrage de fantaisie, qui ne s'adresse qu’à l'imagination, cette attention peut devenir un plaisir'. Delacroix, Journal (January 21, 1857) Michèle Hannoosh, Vol. 1, pp. 1082–3. 6 – In his journal entry of October 8, 1822 he compares creating a beautiful painting to ‘writing a thought’: ‘Quand j'ai fait un beau tableau, je n'ai pas écrit une pensée. C'est ce qu'ils disent. Qu'ils sont simples! Ils ôtent à la peinture tous ses avantages’. (ed. Hannoosh, Vol. 1, p. 90.) On January 25, 1857 he described painting as ‘a bridge spanning the space between the mind of the painter and that of the spectator’: ‘un pont jeté entre l'esprit du peintre et celui du spectateur’. (Vol. 1, p. 1093) 7 – ‘The constant movement of the imagination thus makes special demands upon the image: … it must take account of this “imperfection” in the viewing subject, and incorporate a temporality by which its own properties— instantaneity, simultaneity, concentration of effect, assured interest — may be fully realized. The pictorial must be reconsidered, reconceived in terms of the natural instability, the “literary” temporality, of the imagination’. Michele Hannoosh, Painting and the Journal of Eugène Delacroix (Princeton, NJ: Princeton University Press, 1995), p. 53. See her discussion pp. 45–51 of Delacroix's disagreement with Lessing on limits of the arts. 8 .– On the relationship between Romanticism, illustration, and the development of a newly literate, actively engaged mass audience see Beth S. Wright, ‘“That Other Historian, the Illustrator”: Voices and Vignettes in Mid-Nineteenth Century France’, Oxford Art Journal, 23, no. 1 (2000), pp. 113–36. 9 – One contemporary example is a suite of six works by Hippolyte Lecomte on themes from Scott's novels, lithographed by Delaunois (Paris: Chaillou and Dero-Becker, 1831). 10 – Ludovic Vitet, ‘De la Vignette’ (1828) in Fragments et Mélanges. Etudes sur les Beaux-Arts, 2 Vols. (Paris: Charpentier, 1846), Vol. 1, pp. 395–401. First published as ‘Vignettes pour les Chansons de Béranger’ (signed L. V.) in Le Globe tome 7, no. 49 (May 20, 1829) according to Jean-Jacques Goblot, Le Globe 1824–1830. Documents pour servir à l'histoire de la presse littéraire (Paris: Champion, 1993), p. 144. 11 –‘… tout art qui en suit un autre à la trace abdique sa propre vertu et devient impuissant… . Toute imitation littérale d'un art par un autre art ce se fait qu'aux dépens de l'imitateur… . En tête des tragédies et des comédies on vit assez souvent paraître une estampe représentant presque exactement une scène de la pièce telle qu'elle se passait sur le théâtre. Ce genre de vignettes que nous appelons littérales, a donc duré, tous faux qu'il est, près de deux siècles’. Vitet, ‘De la Vignette’ in Fragments et Mélanges, 1 (1828), pp. 396–7, p. 399. 12 – ‘no. 109 ILLUSTRATIONS DE WALTER SCOTT, par A. DEVERIA, C. ROQUEPLAN et BOULANGER. Le nom seul de cet auteur européen suffirait pour attirer l'attention sur des reproductions de ses pensées les plus intéressantes et les plus vraies, si celui des artistes qui les exécutent n’était un sûr garant du mérite de cet ouvrage'. Catalogue du fonds d'Estampes de E. Ardit, successeur de Henri Gaugain et Cie, Imprimeur-lithographe, éditeur, commissionnaire. Magasins et ateliers, Rue Vivienne, n. 2 et Galerie Colbert, n. 7. (Paris: Tastu, 1830). 13 – Roland Barthes, Le Plaisir du texte (Paris: Seuil, 1973), trans. Richard Miller, The Pleasure of the Text (London: Cape, 1975); reprinted in A Critical and Cultural Theory Reader, eds Antony Easthope and Kate McGowan (Toronto: University of Toronto Press, 1992), pp. 96–9, p. 97. 14 – This suite of lithographs was first discussed by Paul Joannides in his dissertation English Literary Subjects in French Painting, 1800–1863 (Cambridge: University of Cambridge, 1974), Chapter 5, pp. 168–72. I would like to express my appreciation to Paul Joannides, who discovered illustration #13 by Eugène Devéria and graciously provided me with a photograph of it, as well as recently sharing with me the section from his unpublished PhD thesis which dealt with this suite. See also Beth S. Wright, ‘Walter Scott et la gravure française. A propos de la collection des estampes “scottesques” conservée au Département des estampes, Paris’, Nouvelles de l'estampe, 93 (July 1987), pp. 6–18; Beth S. Wright, ‘Henri Gaugain et le Musée Colbert: l'entreprise d'un directeur de galerie et d'un éditeur d'art à l’époque romantique’, Nouvelles de l'estampe, 114 (December 1990), pp. 24–30. 15 – See Martyn Lyons, ‘In Search of the Bestsellers of Nineteenth-Century France, 1815–1850’, Reading Culture and Writing Practices in Nineteenth-Century France (Toronto, Buffalo, London: University of Toronto Press, 2008), pp. 15–42. According to Lyons' chart of French bestsellers 1826–1830 (Tables 2–4, pp. 22–3), Scott provided four of 30 titles: Ivanhoe (10 editions), L'Antiquaire (10 editions), L'Abbé (10 editions) and Quentin Durward (10 editions). See also Maurice Samuels, The Spectacular Past. Popular History and the Novel in Nineteenth-Century France (Ithaca, NY: Cornell University Press, 2004), Chapter 4 ‘Scott Comes to France’, pp. 162–86. 16 – M.G. Devonshire, The English Novel in France, 1830–1870 [1929] (New York: Octagon, 1967), p. 6. 17 – ‘homme que je regard comme le plus grand maître qu'il y ait jamais eu en fait de divination historique’. [italics in original] Thierry in Henri Blaze de Bury, Mes études et mes souvenirs. Alexandre Dumas: Sa Vie, Son Temps, Son Oeuvre (Paris: Calmann-Lévy, 1885), p. 21, cited by Eric Partridge in The French Romantics' Knowledge of English Literature (1820–1848) according to contemporary French memoirs, letters, and periodicals (Paris: Revue de Littérature Comparée, 1924), pp. 294–5. 18 – ‘… chose singulière, mais qui ne surprendra point ceux qui ont lu ses précédents ouvrages, c'est dans un roman qu'il a entrepris d’éclairer ce grand point d'histoire … Walter Scott, entrant profondément dans l'examen des faits, nous montre des masses d'hommes, des intérêts, des existences distinctes, deux peuples, un langage double, des mœurs qui se repoussent et se combattent …' Augustin Thierry, ‘Sur la Conquête de l'Angleterre par les Normands. A propos du roman Ivanhoe’, Censeur Européen (May 20, 1820), reprinted in Dix Ans d'Etudes historiques (Paris: Just Tessier, 1834), pp. 131–40, pp. 131–34. 19 – On Scott's impact on French art, see Beth S. Wright, ‘Scott's Historical Novels and French Historical Painting 1815–1855’, Art Bulletin, 63 (June 1981), pp. 268–87; Beth S. Wright and Paul Joannides, ‘Les romans historiques de Sir Walter Scott et la peinture française, 1822–1863 (première partie)’, Bulletin de la Société de l'Histoire de l'Art Français, année 1982 (1984), pp. 119–32; Beth S. Wright and Paul Joannides, ‘Les romans historiques de Sir Walter Scott et la peinture française, 1822–1863 (deuxième partie)’, Bulletin de la Société de l'Histoire de l'Art Français, année 1983 (1985), 95–115; Beth S. Wright, ‘“Seeing with the Painter's Eye”: Sir Walter Scott's Challenge to Nineteenth-Century Art’, in The Reception of Scott in Europe, ed. Murray G. Pittock (London and New York: Continuum, 2007), pp. 293–312. 20 – ‘Outre ces caractères qui dérivent de l’état politique du pays, l'auteur d'Ivanhoe n'a pas manqué d'en introduire d'autres qui dérivent des opinions du siècle. Il peint … le templier fanatique … le prêtre hypocrite et sensuel; le juif, humble, souple et patient, entouré du mépris et de périls'. Thierry, ‘Sur la Conquête de l'Angleterre par les Normands’, reprinted in Dix Ans d'Etudes historiques, p. 138. 21 – Delacroix, Journal (December 31, 1860) ed. Hannoosh, Vol. 2, pp. 1374–5. 22 – See Lee Johnson, The Paintings of Eugène Delacroix: A Critical Catalogue, 6 Vols. (Oxford: Clarendon Press, 1981–1989), L 94, Vol. 1 (1981), p. 203; Vol. 3 (1986), p. 316; Lee Johnson, ‘A new Delacroix: “Rebecca and the Wounded Ivanhoe” ’, Burlington Magazine, 126, no. 974 (May 1984), pp. 280–1; Véronique Moreau, ‘Delacroix lecteur de Walter Scott’, pp. 145–84 in Delacroix en Touraine (exhibition catalog by Philippe Le Leyzour; Musée des Beaux-Arts de Tours, 1998), S. 9 Rébecca et Ivanhoé blessé, p. 153. Signed and dated 1823, it passed into the hands of the dealer Coutan in December 1823 and was sold by Coutan on March 9, 1829. Delacroix painted the subject again in 1858; see Johnson, Paintings of Delacroix, J 329, Vol. 3 (1986), pp. 146–7 and supplement, Vol. 6 (1989), p. 204. 23 – See Loys Delteil, Le Peintre-graveur illustré, III. Ingres-Delacroix (Paris, 1908; 1969). Rev. and trans. by Susan Strauber as Eugène Delacroix. The Graphic Work. A Catalogue Raisonné (San Francisco: Alan Wofsy Fine Arts, 1997), no. 85, pp. 216–7; Margret Stuffmann, Eugène Delacroix. Themen und Variationen. Arbeiten auf Papier (exhibition catalog; Frankfurt-am-Main: Städelschen Kunstinstitut, 1987), G 1, pp. 103–5; Barthélémy Jobert et al., Delacroix. Le trait romantique (exhibition catalog; Paris: Bibliothèque Nationale de France, 1998), no. 94, p. 99; Véronique Moreau, S. 15 Front-de-Bœuf et le Juif, pp. 152–4; Barthélémy Jobert, ‘Delacroix et l'estampe: chronologie, techniques, collaborations’, Revue de l'art, 127 (2000–2001), pp. 43–61, especially pp. 57–58. 24 – Walter Scott, Ivanhoe (New York: Bantam Books Classic Edition, 1988), Chapter 24, pp. 202–12, p. 206. 25 – See Delteil, no. 83, pp. 212–3; Stuffmann, G 4, pp. 106–8; Véronique Moreau, S. 3 La fiancée de Lammermoor, pp. 150–1. 26 – Walter Scott, The Bride of Lammermoor (London: Dent and New York: Dutton, Everyman edition, 1973), Chapter 5, pp. 53–67, pp. 56–7. 27 – Scott, Bride of Lammermoor, Chapter 20, pp. 195–205, pp. 196–201. 28 – Scott, Bride of Lammermoor, Chapter 29, pp. 284–90, pp. 89–90. 29 – Delacroix had already produced a watercolor (Art Gallery of Ontario, Toronto, ca. 1824) of the insane, blood-spattered, gibbering Lucy. 30 – Martin Kemp, ‘Scott and Delacroix, with some Assistance from Hugo and Bonington’, Scott Bicentenary Essays, ed. Alan Bell (Edinburgh and London: Scottish Academic Press, 1973), pp. 213–27, p. 223, n. 39. Kemp mistakenly stated that the correct textual citation was Chapter 19 instead of Chapter 20, which Strauber corrected (p. 212, n. 219). 31 – ‘It was clearly the most important Scott series undertaken in France, including book illustration, but editorially, with a large number of incorrect references, deplorably slapdash’. Joannides, English Literary Subjects in French Painting, pp. 170–1. 32 – See Archives Nationales: F18* VI. t. 10 (1829); juin 13/ #367 Gaugain/Gaugain. Illustrations de Walter Scott. Sujets lithographiés tirés de ses romans par Devéria et Roqueplan pl 4,8,9, et 25; juillet 22/ #462 Gaugain/Gaugain. […] nos 5,6,7, et 8; septembre 5/ #640 h. Gaugain/h. Gaugain… . [no numbers given]; septembre 5, 1829/#648 Gaugain… . [no numbers given]. This information is repeated virtually verbatim in the Bibliothèque Nationale de France: Cabinet des Estampes Ye. 79 ‘dépôt légal des estampes et planches gravées’ for the same dates. The Bibliographie de la France ou Journal Général de l'Imprimerie et de la Librairie t.XVIII (Paris, 1829) notes the publication of four plates on June 20, 1829; four more on August 1, 1829; and four more on September 12, 1829, without plate numbers. The title page and numbers 10, 12, 13, 17, 18, 19 and 21 were simultaneously published in Paris and London, by Engelmann, Graff and Coindet. 33 – Le Mentor's admiring review of the first two livraisons (four plates each) included a promise to write again about ‘cette jolie publication qui aura huit livraisons’. ‘Variétés’, Le Mentor (8 août 1829), issue 2021, p. 4. 34 – Armand-Pierre-Henri Gaugain (b. 1799) left his legal studies to work in the publishing firm of Lambert and Noël. In 1826 he went into business for himself at 2 Rue Vivienne (the shop) and 34 Rue Vaugirard (the studio). The contract with Bioche de Misery, entered into June 23, 1827 (Archives de Paris D31 U3 no. 757), was dissolved in November 1829, resulting in a lawsuit for 25,000 francs and Gaugain's bankruptcy in 1831 (acte sous seing privé July 31, 1831, Archives de Paris DQ7 no. 9164). On Gaugain's career, see Linda Whiteley, ‘Art et commerce d'art en France avant l’époque impressioniste', Romantisme, 4 (1983), pp. 63–75; Wright, ‘Henri Gaugain et le Musée Colbert’. 35 – On the career of Jean-Marie-Etienne Ardit (b. 1801), see Archives Nationales F18 1727, ‘Brevet d'imprimeurs’; report of May 6, 1828. Ardit's 1831 dossier of bankruptcy in the Archives de Paris D12 U3 no. 7047 carton 90 was lost with the other 1831 dossiers. 36 – Although illustrations 1–9 and 11 have no date printed on them, the information in the Archives Nationales and the Cabinet des Estampes allow us to date to June and July 1829 illustrations 4, 5, 6, 7, 8, and 9. 37 – Catalogue des tableaux et objets d'art exposés dans le Musée Colbert (November 1829) #77: Eugène Devéria, Les Nains (sujet tiré de WALTER SCOTT, Le Talisman) Les Nains, dirigeant alors la lumière de leur lampe sur le chevalier l'examinèrent à leur tour avec attention, et, se tournant l'un vers l'autre, ils le saluèrent d'un éclat de rire sauvage qui retentit à ses oreilles. (Le Talisman, WALTER SCOTT) 38 – Catalogue du fonds d'Estampes de E. Ardit, successeur de Henri Gaugain et Cie, Imprimeur-lithographe, éditeur, commissionnaire. Magasins et ateliers, Rue Vivienne, n.2 et Galerie Colbert, n.7. contenant en outre divers tarifs d'impressions, articles relatifs à l'impression, pierres lithographiques, cadres, verres, etc. Expédie tous les articles relatifs à la gravure, à la lithographie, à la peinture (Paris, Tastu, 1830). 39 – The most likely date is September 1829, since both illustrations #12 and #13 carry that date on the print and the Ardit brochure provides chapter location for #12 (Achille Devéria's The Abbot, Chapter 4) but only novel and theme (‘les deux nains’) for #13 (Achille Devéria's The Talisman, Chapter 5). Since the Ardit brochure does not include chapter numbers for half of the suite, its information, though helpful, is not always conclusive. For example, the entry for Delacroix's La Fiancée de Lammermoor (‘rendez-vous à la fontaine’) refers to both Chapters 5 and 20. 40 – Wright, ‘Henri Gaugain et le Musée Colbert’, especially pp. 24–5. The Devéria brothers (who shared a studio with Boulanger) lived on rue Notre-Dame-des-Champs near Hugo. Madame Tastu dedicated a poem to Achille Devéria in 1825. Achille Devéria began courting Celeste Motte in 1827, marrying her in 1829. See Maximilien Gauthier, La Vie et l'Art romantique. Achille et Eugène Devéria (Paris: Floury, 1925), pp. 72–3; Stephen Bann, Parallel Lines. Printmakers, Painters and Photographers in Nineteenth-Century France (New Haven and London: Yale University Press, 2001); DeCourcy E. McIntosh, ‘The origins of the Maison Goupil in the age of Romanticism’, The British Art Journal, 5, no. 1 (2004), pp. 64–76. Marie-Hélène Girard described the relationships between the artists and writers in Nodier's circle at the Arsenal as well as Hugo's Petit Cénacle in ‘Un de ces nobles noms rayonnonant d'espérance’ in Eugène Devéria 1805–1865 (essays to accompany exhibitions at the Musée national du château de Pau and the Musée des Beaux-arts de Pau, 2005), pp. 25–46; Paul Mironneau emphasized the close connection which both Devéria brothers had with publishers as well as authors in ‘L'histoire au goût d'un romantique’, ibid., pp. 109–31. 41 – Jobert, ‘Delacroix et l'estampe’, pp. 57, 58. This Richard et Wamba-Sancho, previously in Tb. Mat 1 Don Quichotte, is now attributed to Delacroix (Dc 183 rés). The other two Sancho plates, which Jobert described as of ‘très faible qualité’ (p. 58), remained anonymous. I attribute them to Louis Boulanger (see below). Jobert suggested that Delacroix had prepared Richard et Wamba for Gaugain's suite in 1829, and that Gaugain, for ‘raisons indéterminées’, had not published the print but sold the lithographic stone at a later date to Chardot. (p. 58). As we have seen, bankruptcies disrupted Gaugain's and Ardit's publishing program. On Delacroix's Richard et Wamba, see Delteil 84; Véronique Moreau, S. 21 Richard et Wamba, pp. 152–5. 42 – Jobert, ‘Delacroix et l'estampe’, p. 61, n. 61. Jobert did not address the question whether Chardot had titled the prints ‘Sancho’ by mistake or deliberately, in order to appeal to a wider audience. By 1835 Scott's novels were less popular than they had been in 1829. We know that Delacroix's La Soeur de Duguesclin (Delteil 81) and Duguesclin (Delteil 82) from Mme Amable Tastu's Chroniques de France (Paris: Gaugain, 1829) when they were republished in state iii/state iv had artist, author, and text changed to C. Roqueplan, Ligny et Duplaix, and ‘La Tour de Nesle’ or ‘Entrée du Duc de Bourgogne’ from Scènes de la Fronde. 43 – Delacroix, Journal ed. Hannoosh, Vol. 2, p. 1375. 44 – Scott, Ivanhoe, Chapter 40, p. 373. 45 – Delteil 86; Stuffmann G2; Jobert, ‘Delacroix, et l'estampe’, p. 57; Paul Joannides, ‘Delacroix and Modern Literature’, in The Cambridge Companion to Delacroix, ed. Beth S. Wright (Cambridge: Cambridge University Press, 2001), pp. 130–53, pp. 139–40. 46 – Scott, Ivanhoe, Chapter 30, pp. 266–74, p. 272. 47 – Delacroix, Journal, ed. Hannoosh, Vol. 2, p. 1375: ‘Frondebœuf brûlant dans son lit’. See Véronique Moreau, S. 19 Front-de-Bœuf et la sorcière ou Boisuilbert sur son lit maudit par la sorcière, pp. 152–4. Scott makes it clear that smoke is already entering the room and that we are witnessing the early stage of the ‘parricide's death bed’. 48 – Joannides, ‘Delacroix and Modern Literature’, pp. 139–40. See Delteil 88; Véronique Moreau, S 39 Steenie, 1829–1841, p. 159. Citing Robaut no. 300, she describes the plate as having been initiated in 1829, set aside, and taken up once again in 1841. 49 – Sir Walter Scott, Redgauntlet (London: J.M. Dent & Sons Ltd; New York: Dutton, Everyman's Library edition, 1970 reprint), Letter XI ‘The Same to the Same’ [Darsie Latimer to Alan Fairford], pp. 110–30, including ‘Wandering Willie's Tale’, pp. 112–29. 50 – In 1829 Delacroix exhibited a similar subject at the Galerie Lebrun: Tam O'Shanter pursued by witches, a subject which he painted twice in this period (ca. 1825 and ca. 1829) as well as a third time in 1849. Like Steenie, Tam was drunk when he encountered the supernatural. See Joannides, ‘Delacroix and literature’, p. 217, n. 21 J. 109 (1:94–5), ca. 1825, Nottingham, Castle Museum; J. 139 (1:136–7), ca. 1829, private collection; J. 296a (6:204), 1849, Basel, Kunstmuseum. 51 – Purchased from Prouté and donated to the Cabinet des Estampes in 1987. ‘Walter Scott, Rob Roy. Chapter XI et XVII. Planches XV et XVIII des Illustrations de Walter Scott. — 2 lith. petit in-4°. Paris, Gaugain. Planches médiocres. Nous ne connaissons pas d'autres sujets de cette suite’, Aristide Marie, Le Peintre-Poète Louis Boulanger (Paris, 1912), p. 122. Marie did not mention Boulanger's contribution of the fantastic figures to the print illustrating The Antiquary Chapter 18, although his name is listed with Achille Devéria's on the print; dated October 1829, it is number 20 on the print but described as illustration #10 in the Ardit brochure. 52 – Sir Walter Scott, Rob Roy (London: J.M. Dent & Sons, Ltd. and New York: Dutton; Everyman's Library Edition, 1973) Chapter 17, pp. 151–60, p. 159. 53 – Scott, Rob Roy, Chapter 39, pp. 372–83, pp. 380–81. 54 – This is not the first time that these subjects were confused. As Paul Joannides has noted, Camille Roqueplan's watercolor of the same subject (ca. 1825–1830, in the collection of Mr. and Mrs. Deane F. Johnson) was misidentified as Don Quixote at Home after His Second Sally although Noon recognized that it diverged from the text. See Patrick Noon, Richard Parkes Bonington ‘On the Pleasure of Painting’ (New Haven and London: Yale University Press, 1991), no. 117, p. 237. 55 – Musée Colbert (May 1832) #32 Boulanger, La jolie fille de Perth. I would like to thank the anonymous reader of this essay for the suggestion that the female figure here resembles Odette de Champdivers in Delacroix's Charles VI and Odette de Champdivers (ca. 1825, private collection); see Johnson J 110, Vol. 1, pp. 96–7. In addition Catherine's angular elbows and costume resemble those of Delacroix's Marguerite in ‘Faust cherchant à séduire Marguerite’ (Delteil 65). Boulanger's figures often resemble Delacroix's in this period. Paul Joannides has discussed Delacroix's influence on Boulanger, particularly that of the Faust series; see Joannides, ‘Delacroix and Modern Literature’, in Wright, Cambridge Companion to Delacroix, p. 151. 56 – ‘I have slain — murdered, if you will — my late master, the Duke of Rothsay. The spark of life which your kindness would have fed was easily smothered… . you know the crime, but you know not the provocation. See! This gauntlet is empty. I lost my right hand in his cause; and when I was no longer fit to serve him, I was cast off …’ Sir Walter Scott, The Fair Maid of Perth; or, Saint Valentine's Day (T. Nelson & sons, London, Edinburgh, Dublin, NY [?1880–1920]), Chapter 32, pp. 478–502, pp. 490–1. Ramorny's amputated hand is a persisting motif in the novel. The Duke of Albany compares the removal of the Prince from court (and Ramorny's influence) to a surgical amputation. Scott, Fair Maid of Perth, Chapter 21, pp. 315–30, pp. 318–19. 57 – Scott, Fair Maid of Perth, Chapter 4, pp. 41–51, pp. 45–6. 58 – Scott, Fair Maid of Perth, Chapter 5, pp. 52–64, p. 58. 59 – Edgar Johnson, Sir Walter Scott. The Great Unknown, 2 Vols. (London: Hamish Hamilton Ltd, 1970), Vol. 1, p. 749. 60 – Sir Walter Scott, The Monastery (J.M. Dent & Sons Ltd, Everyman's Library edition, 1969 reprint), Chapter 5, pp. 78–89, pp. 87–8. 61 – Ibid., p. 88. 62 – In 1828 Gaugain published Garnier's lithograph after Roqueplan's 1827 Salon painting of Halbert summoning the White Lady, another theme from Scott's The Monastery (La dame blanche, Salon 1827 (2e supplement #1727)). It is possible that Roqueplan's composition for ‘le bain du sacristain’ was also exhibited in the Salon of 1827, side by side with this painting, pairing themes from The Monastery. The archives of the Salon du Louvre for 1827 (registre 2492) note ‘une marine (ordre verbal)’ for the work exhibited as Sujet tiré du Monastère, de Walter Scott (1827, 2nd supplement 1728). See Wright and Joannides, ‘romans historiques de Sir Walter Scott et la peinture française (deuxième partie)’, p. 105. 63 – Watercolor with lead white on stiff wove paper, 24.4 × 19.1, The Metropolitan Museum of Art, New York; purchase, gift of Mrs. Gardner Cassatt, by exchange, 1998 (1998. 226). See Constable to Delacroix: British Art and the French Romantics 1820–1840 curated by Patrick Noon (London: Tate Publishing, 2003), no. 182, p. 275. A colored lithograph of this scene was published by Charles Motte (Achille Devéria's father-in-law) in a suite of Roqueplan prints entitled Album de douze sujets (Motte: London and Paris, 1831). 64 – Sir Walter Scott, Kenilworth (London: Dent and New York: Dutton, Everyman's Library edition, 1968), Chapter 35, pp. 389–97, pp. 392–3. 65 – Ibid., p. 396. 66 – Joannides, ‘Delacroix and Modern Literature’, p. 140; n. 55, p. 219. Delacroix, Quentin Durward Overhears the Plot of Hayraddin and Lanzknecht Heinrich, ca. 1828, pen and brown ink with grey wash drawing, 27 × 21 cm., Stockholm, Nationalmuseum, NM H 60/1920. See also Maurice Sérullaz, ‘Unpublished Drawings by Eugène Delacroix at the Nationalmuseum, Stockholm’, Master Drawings, 5, no. 4 (1967), pp. 404–6; Per Bjurstrőm, French Drawings. Nineteenth Century (Stockholm, Nationalmuseum, 1986), no. 1500; Véronique Moreau, S. 58 (catalog 25) Quentin Durward surprend le complot (Stockholm, Nationalmuseum, ca. 1828), pp. 172–4. 67 – Sir Walter Scott, Quentin Durward (New York: New American Library [Signet Classic], 1963), Chapter 17 ‘The Espied Spy’, pp. 243–53, p. 245. 68 – Scott, Quentin Durward, Chapter 15 ‘The Guide’ (Hayraddin), pp. 220–9, pp. 228–9. 69 – Scott, Quentin Durward, Chapter 16 ‘The Vagrant’, pp. 230–4, p. 232. 70 – Ibid., p. 233. 71 – Sir Walter Scott, The Heart of Midlothian (New York: Holt, Rinehart and Winston, Inc., 1961), Chapter 52, pp. 548–56, p. 553. 72 – Ibid. 73 – Ibid., p. 555. Scott stresses his animal nature; having been a ‘sheep designed for the slaughter’ (p. 553) he ‘bounded through the woods like a deer’ after escaping through the window. 74 – Oeuvres Complètes de sir Walter Scott, trans. A.-J.-B. Defauconpret, 84 Vols. (Paris: Gosselin, 1826–1828), with illustrations by Alexandre-Joseph Desenne, Alfred and Tony Johannot, and Eugène Lami, inspired only five of the 19 completed lithographs' themes and/or visual compositions: Gaugain #7 (Berengaria begging Richard's mercy for Kenneth, from The Talisman); Gaugain #9 (Kenneth and the Moorish physician from The Talisman, but from a different moment in the novel); Ardit #17 (the dead bird at Lucy's feet from The Bride of Lammermoor); Ardit #18 (Diana and Frank from Rob Roy); and Ardit #19 (Catherine's St. Valentine's kiss from The Fair Maid of Perth). Four paintings of Berengaria's appeal to Richard had been exhibited in London: H. Fradelle, The Queen and Edith imploring Richard Coeur de Lion to grant the life of Sir Kenneth, B.I. 1827 (31); H. Singleton, The Queen and Edith interceding for the life of the Knight of the Lion, B.I. 1827 (143); H.C. Jones, Berengaria entreating for the life of Sir Kenneth, S.B.A. 1827 (179); J. Stephanoff, Berengaria with Edith and her attendants interceding with Richard Coeur de Lion for the life of Sir Kenneth, W.C.S. 1827 (297). 75 – W.H. Brooke, The Nubian Slave in the Tent of Edith Plantagenet, S.B.A. 1826 (423); re-exhibited R.H.A. 1828 (17). E.E. Kendrick, Edith Plantagenet dropping the rosebud in the chapel of Engaddi, R.A. 1826 (635); re-exhibited S.B.A. 1827 (617); R.S.A. 1828 (304), Edinburgh Royal Institution 1830 (23). H. Fradelle, The Earl of Leicester's Visit to Amy Robsart at Cumnor Place, B.I. 1825 (81). This theme, illustrated by Stothard in 1820, also inspired an oil by Bonington (Amy Robsart and Leicester; Oxford, Ashmoleon Museum, ca. 1827), which appeared as a lithograph ‘Le doux reproche’ in Cahiers de six sujets (1826); see Noon, Bonington ‘On the Pleasure of Painting’, no. 141, p. 270. A. Beaumont, The Duke of Rothsay protecting Louisa, S.B.A. 1829 (190). J.D. Paul, Father Philip preparing to pass the ford, R.A. 1822 (383). Devéria's composition for Ardit #12 The Abbot cites Robert Smirke's Mary Queen of Scots Reproved by Knox; see below. In addition, the grouping of preacher with raised arm, crouching youth, and seated mature figure is similar to the composition in Richard Westall's The Monastery. Warden Reproving Julian Avenel for His Injustice to Catherine (engraved by Charles Heath for Hurst, Robinson & Co., 1821). 76 – Renoux, Frondebœuf menaçant Isaac d'Yorck de la question pour lui faire payer une forte rançon. Sujet tiré d'Ivanhoe, Société des Amis des Arts ‘au profit de la Caisse ouverte pour l'extinction de la mendacité’, Galerie Lebrun, Paris 1829 (200). Marie-Claude Chaudonneret cites reviews of the exhibition appearing in the Journal des artistes as early as April 5, 1829; see L’État & les Artistes. De la Restauration à la monarchie de juillet (1815–1833) (Paris: Flammarion, 1999), p. 236, n. 55 to Chapter 4, p. 111. 77 – Sir Walter Scott, The Antiquary (London: J.M. Dent & Sons, Ltd. and New York: Dutton; Everyman's Library Edition, 1969) Chapter 18, pp. 160–71, p. 166. 78 – Ibid., p. 170. 79 – Ibid., p. 169. 80 – Ibid., p. 170. 81 – Scott, Ivanhoe, Chapter 22, pp. 186–94, p. 188. 82 – Walter Scott, The Talisman (London and Glasgow: Collins, 1954), Chapter 5, pp. 78–82, pp. 78–80. 83 – Scott, The Talisman, Chapter 4, pp. 67–77, p. 70. 84 –