The Printed Book: Its History, Illustration and Adornment: From the Days of Gutenberg to the Present TimeBouchot, Henri
History
The Printed Book: Its History, Illustration and Adornment: From the Days of Gutenberg to the Present Time
Bouchot, Henri
Bookbinding -- History; Books; Books -- History; Illustration of books; Printing -- History
Cornelis de la Haye was a painter who executed nearly the same work as
Francis Clouet in Paris, portraits on panel, in a clear and harmonious
tone, then much the fashion. During a journey of the King, he had, if
Brantôme may be credited, portrayed the entire court, keeping the
sketches for himself. Ten or fifteen years after, Catherine de Medicis,
passing through Lyons, saw these portraits and highly praised them,
recognising the old costumes, astonished at the courtiers of the day,
whom she had never seen in such dress. This artist is now known, thanks
to various works that have been found, among others two portraits of the
sons of Francis I., preserved by Gaignières, who attributed them
resolutely to Cornelis, doubtless on the faith of inscriptions that have
disappeared. Both of them were engraved on wood at Lyons and published
in Roville's book the _Promptuaire des Médailles_, mentioned above,
with small differences of detail altogether insignificant. It is not
impossible then that Cornelis designed these portraits, and that they
were drawn on wood after the cabinet models spoken of by Brantôme. The
delicate figures of the _Promptuaire_ are the work of a master; and the
differences mentioned are those of the artist, not of the copyist, who
would not be permitted to change anything. It is the first time, we
believe, that these comparisons have been made; they will perhaps help
the learned Lyonnais to pierce the mystery, but in any case our
suppositions are more honourable to Cornelis de la Haye than the fancies
of Robert Dumesnil (_Peintre-graveur Français_, tome vi., p. 343). To
judge by the four little medallions here reproduced, the art of
engraving on wood was rarely more skilful than in these portraits. It
would not be astonishing if a man like Cornelis had designed the figures
of the _Entrée de Henri II._ In any case, why should we choose John
Cousin instead of Petit-Bernard? At this time, we know, the kings
carried in their suite their ordinary painters; but we do not know that
John Cousin followed the court to Lyons in 1549. He did not hold an
official position, like Clouet.
Public-domain text, read in full here on John Shaqi.
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