A rough sketch of modern Paris : $b or, Letters on society, manners, public curiosities, and amusements, in that capitalLemaistre, J. G. (John Gustavus)
History
A rough sketch of modern Paris : $b or, Letters on society, manners, public curiosities, and amusements, in that capital
Lemaistre, J. G. (John Gustavus)
Paris (France) -- Description and travel
By a report made to the _national institute_ by _Morveau_, _Vincent_, and
_Taunay_, it appears, that the celebrated picture of Raphael, called “la
Vierge au Donataire,” or the Virgin with the Donor, found at Foligno, was
in such a state of decay from the dampness of the place, where it had
long been deposited, that the persons employed by the french government,
much doubted the possibility of conveying it to Paris. After having taken
every precaution, which their experience could suggest, to prevent the
danger which they apprehended, they ordered the removal; but they felt,
at the same time, that they could not exhibit this masterpiece in France,
till they had shifted the ground from the wood on which it was originally
painted, and which had become entirely rotten.
“Le Martyre de St. Pierre le Dominican,” or the Martyrdom of St.
Peter the Dominican, esteemed one of the _chefs-d’œuvre_ of the art
of painting, and the finest work which ever came from the pencil of
Titian, was also, when found in the church of St. John and St. Paul,
at Venice, painted on wood, and the pannel uncommonly thick. Its great
dimensions obliged the commissioners to order it to be transported by sea
to Marseilles. As the frigate, “la Favourite,” on board of which it was
embarked, met with a storm during the passage, the case which contained
it was exposed to the wet, and the humidity found its way to the picture.
It was no longer possible to discover its beauties; and the only means
left of saving the picture, was, by removing it from the wood, and
placing it on cloth. This operation, as well as the former one, rendered,
in the latter case, still more difficult, by the extraordinary size of
the picture, was performed by C. Hacquin, with wonderful skill, great
talent, and singular success. The process, which was superintended by a
committee of the _national institute_, is given in the catalogue.
Both these superior specimens of painting are now restored to all their
brilliancy, and to all their original perfection; and the principles on
which this transposition has been effected, are so simple, that there is
no longer any thing to dread from similar accidents.
Public-domain text, read in full here on John Shaqi.
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