The Soul of Napoleon
tfVOlSlOf THE SOUL OF NAPOLEON . .:'r .• -1/ A'<. //<//•., J A. THE REAL NAPOLEON Front an eiigrmiiig by Vigiieiix THE SOUL OF NAPOLEON BY HAMIL GRANT AUTHOR OF " SPIES AND SECRET SERVICE"; EDITOR OF "THE LAST DAYS OF THE ARCHDUKE RUDOLPH" PHILADELPHIA GEORGE W. JACOBS & CO. PUBLISHERS PRINTED IN GREAT BRITAIN BV THE RIVERSIDE PRESS LIMITED EDINBURGH NOTE ON THE GABRIELLI PORTRAIT OF NAPOLEON We invite the reader's attention to the so-called. Gdbrielli portrait ofNapoleon, executed by Vigneucc, and here presented as a frontispiece. This portrait was emphatically declared by the relatives of the Corsican—including the Emperor's mother, his sisters, and his uncle, Cardinal Fesch—to have been the only one which bore anything like a truthful resemblance to their august kinsman. Prince Gabrielli, its original owner, and a distinguished contemporary and visitor of Napoleon, attached great value to the work on this account. As will be seen, it bears small resemblance to accepted portraits of the Emperor. The majority of the artists who have transmitted to us the traditional face of the Conqueror—ascetic, severe and somewhat scowling—sought, it would seem, to flatter Napoleon, regarding whose early Classical obsession they were fully informed, by giving to portraits of their illustrious sitter those attributes of feature and expression with which sculptors represent Romans of the heroic age. The portrait by Vigneux datesfrom 1807, ivhen Napoleon had well outgrown his worship of Antiquity. Genius, we may be certain, in any case, has no specific facial type. H. G. "Le plus bel eloge de cet homme extraordinaire c'est que chacun veut en parler, et que tous ceux qui en parlent, n'importe comment, croient de s'agrandir." Pozzo DI BORGO.
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