Part 5

The picture was placed in the gallery of the Palais Royal, and those who visit it readily enter into its spirit, seeing there depicted the end of a grand epoch in the history of France.

[Illustration: A SOLDIER AT WATERLOO.]

A FIELD HOSPITAL.

The devotion shown to the memory of Napoleon, by the spirited painter of the original picture from which this is copied, has been profitable to that talented artist. Few of his contemporaries have succeeded better than M. Bellangé, in depicting subjects which illustrate the “Imperial Epoch.”

This picture is well conceived, free and natural. It is a scene which occurred repeatedly on the battle-field in Napoleon’s campaigns. “_Vive l’Empereur_,” let the wound be slight or mortal; “_Vive l’Empereur!_” was the wounded soldier’s cry, though scarcely able to see his Captain as he passed. With such devotion as this, what had not the ‘_Grand Homme_’ to hope for! These were not the soldiers to abandon him. Honor, rank, riches, were not able to corrupt them. And if they had not been so patriotic; if they had not been models of military discipline;--what would they not have undertaken for love of their General, for him who had led them to victory and glory. Poor fellows! humble laborers in the vast plain of a great architect, you assisted in raising the great monument; your task should not have been without recompense.

[Illustration: A FIELD HOSPITAL.]

ARC DE TRIOMPHE DE L’ETOILE.

This monumental arch stands in a circular area without the _barrière_ of that name, at the end of the avenues in the _Champs Elysées_, and in front of the Palace of the Tuileries. It is of greater size than anything of the kind hitherto erected, being 133 feet in height, including the cornice and attic. The fronts are 134 feet in breadth, and the sides 67. The principal arch is 92 feet in height, and 44 in breadth: the transverse arch 56 feet by 55½. The first stone of this edifice, which was begun by the city of Paris to commemorate Napoleon’s triumph over Russia, and his alliance with the Emperor Alexander at Tilsit, was laid on the 15th of August, 1806, under the direction of Chalgrin. From the beginning of this undertaking, the work was suspended and renewed at intervals until its completion in 1830.

[Illustration: ARC DE TRIOMPHE DE L’ETOILE.]

DEATH-BED OF NAPOLEON.

From the 15th to the 25th of April, Napoleon occupied himself with drawing up his last will, in which he bequeathed his orders, and a specimen of every article in his wardrobe, to his son. On the 18th, he gave directions for opening his body after death, expressing a special desire that his stomach should be examined and its appearance communicated to his son. “The symptoms,” he said, “seem to show that of all my organs the stomach is the most diseased. I am inclined to believe it is attacked with the disorder that killed my father--the physicians of Montpellier prophesied it would be hereditary in our family.”

On the third of May, it became evident that the scene was near its close. The attendants would fain have called in more medical men; but they durst not, knowing his feelings on this head: “even had he been speechless,” said one of them, “we could not have brooked his eye.” The last sacraments of the church were now administered by Vignali. He lingered on thenceforth in a stupor. On the 4th, the island was swept by a tremendous storm, which tore up almost all the trees about Longwood by the roots. The 5th was another day of tempests; and about six in the evening, Napoleon having pronounced the words “_tête d’armée_,” passed forever from the dreams of battle.

[Illustration: DEATH-BED OF NAPOLEON.]

NAPOLEON AS LIEUTENANT COLONEL.

[Illustration: NAPOLEON AS LIEUTENANT COLONEL.]

THE TRIUMPHAL COLUMN.

The _Fontaine de la Victoire_, built upon the _Place du Châtelet_, in front of the _Pont au Change_, was one of the first established in the French Capital.

It was also one of the first monuments raised to record the glory of the French arms. The architect Brasle superintended its erection, as well as that of others of the same nature, placed in different parts of Paris, as much for utility as for ornament.

The conception of this is simple, and its execution leaves nothing to be desired. The glorious deeds of the live years were there recorded as so many talismans. How many times have we feared that the lever, or the petard, would be applied to its destruction. But the charm of the French eagle, and of victory distributing her crowns, were safeguards, and served to awe the vandal conqueror. When the famous names of _Rivoli!_ _Lodi!_ _Arcole!_ _Mont-Thabor!_ _Pyramids!_ _Marengo!_ _Austerlitz!_ _Ulm!_ _Eylau!_ _Friedland!_ and _Dantzic!_ were inscribed upon the column, who dare lay their sacrilegious hands upon it?

[Illustration: THE TRIUMPHAL COLUMN.]

STATUE OF NAPOLEON, BY CHAUDET.

Napoleon was anxious to place his name on the list of those Emperors of old, whose names are rendered immortal, not so much by their own heroic or noble deeds as by the flattering notices of them in the deathless writings of poets and historians. On the occasion of his statue being first required for the Column which now stands in the Place Vendome, he directed that it should be attired as a senator of ancient Rome, and Chaudet produced the statue, of which the accompanying engraving is a faithful representation. It has since been replaced by one in military uniform.

[Illustration: STATUE OF NAPOLEON BY CHAUDET.]

APOTHEOSIS.

The conclusion of Napoleon’s remarkable history is here well conceived. The mound of earth surmounted by his cap and sword, points out the last earthly tenement of the ex-Emperor; the group upon that point of the rock which juts into the sea adds considerably to the interest of the scene; few have forgotten the faithful companions of Napoleon when prisoner at St Helena. The artist, Horace Vernet, has called poetry to his aid and introduced the shades of several of the departed comrades of Napoleon, who assisted him in gaining that fame which will ever attach to his character in the future history of European nations. Two aged minstrels placed on the right of the engraving, are supposed to be recounting the history of his various exploits.

[Illustration: APOTHEOSIS.]

NAPOLEON, EMPEROR.

[Illustration: NAPOLEON, EMPEROR.]

THE DEATH MASK OF NAPOLEON.

[Illustration: THE DEATH-MASK OF NAPOLEON.]

THE FUNERAL PROCESSION AT THE ARC DE TRIOMPHE.

[Illustration: THE FUNERAL PROCESSION AT THE ARC DE TRIOMPHE.]

ESPLANADE OF THE HOTEL DES INVALIDES.

[Illustration: ESPLANADE OF THE HOTEL DES INVALIDES.]

THE CATAFALQUE, DÔME DES INVALIDES.

[Illustration: THE CATAFALQUE, DÔME DES INVALIDES.]

THE FUNERAL CAR.

[Illustration: THE FUNERAL CAR.]

OPENING THE CASKET.

[Illustration: OPENING THE CASKET.]

ROYAL COURT OF THE HOTEL DES INVALIDES.

[Illustration: ROYAL COURT OF THE HOTEL DES INVALIDES.]