COLOR INTO LIFE

HITTORFF'S LAVES ÉMAILLÉES, 1834 -1841

MICHAEL KIENE AND DAVID VAN ZANTEN

COLOGNE 2018 Table of contents

Table of contents

Acknowledgements...... 10 Indications for readers...... 11 Abbreviations...... 11

DAVID VAN ZANTEN Hittorff and lave émaillée...... 13 Furnishing ...... 15 Entering Paris...... 17 Paris as a permanent exposition universelle...... 18 Notes...... 19

MICHAEL KIENE Painted with fire: Bee-eaters, butterflies and Eros on the table...... 23 "Art industriel"...... 25 Inventors and invention of painted and glazed pumice slabs...... 27 The decision-makers of enameled lava in Paris...... 28 Lave émaillée and politics...... 32 Color in classical and modern art...... 33 National connotations...... 33 Promotion and patronage patterns...... 36 Social life and music lovers...... 38 Modern sumptuousness, private splendor and the fine arts...... 39 Notes...... 42

INVENTORY The Hittorff estate...... 49 The watermarks...... 50 The paper...... 51 Altar frontals...... 51 Mosaics...... 60 Clocks...... 64 Tabletops...... 68 Eros tables...... 71 The table of the famous women of France or "Gothic Table"...... 76 Four Seasons Table...... 84 Table with ornaments...... 94 Tables of ancient and modern monuments...... 96 Table with birds and butterflies...... 98 Panels...... 102 Pompeian style...... 104 Gift to the manufactory in Sèvres...... 112 Heating devices...... 114 Chimneys...... 114 Cockle stoves...... 126 Notes...... 135

DOCUMENTS...... 140 WORKS CITED...... 152 SUMMARIES...... 158 INDEX...... 164

7 INVENTORY MICHAEL KIENE The Hittorff estate

The Hittorff estate

ittorff carefully kept a log file on his time to receive one of its most prestigious Hbusiness with enameled lava (herein donations ever, the LH. denoted hlf), a journal similar to those The account books passed from one side he set up for his construction sites. The of the building, which housed the library, hlf was in the collection of the collapsed to the other, which held the archive. Municipal Archive of Cologne (the A first complete revision took place when forthcoming “citizen’s archive”; herein the three hundred thousand books of cited Hittorff 1834-1841). division I of the municipal library reached Hittorff arranged his notes chronologically, the University. This is why the USB bears and added a register of persons mentioned the name „University and City Library”, a at the end. As usual with all his manifold separate City Library exists—no citizens volumes of correspondence, it received a needs a permit for access to the University business-style book-cover, not a lavishly Library. decorated leather binding like the books The LH was relocated to the main in the LH. However, the second half of the University Building, leaving the volume is empty, because Hittorff stepped manuscripts in the archive. This time, the out of the business in 1841. original arrangement of the books in the Anyway, a lot of his commissions is not LH was definitively dissolved, replacing even mentioned in the hlf. There is no the structure of Hittorff, for the sake of the consistent way to explain these loopholes. Prussian library classification. Some additional information on more lava Shortly before the end of WWII, happily commissions than mentioned in the hlf enough, the library was moved to is in log files for other buildings for which shelters outside the city. The university Hittorff ordered laves émaillée works. was bombed thereafter and the library The commissions of the Royal family facilities were destroyed. The new USB in Stuttgart as well as those of the building opened in 1968. The archive in early industrialists of Wurttemberg are turn removed in 1971 to another new, exclusively documented in the Municipal celebrated, state-of-the-art concrete Archive of Stuttgart in the letters of Louis building on Severinstrasse. Although the de Zanth (as he called himself in France— manuscripts including the letters were he was born as Karl Ludwig Wilhelm not destroyed in WWII, they fell with Zadig/Zadik, then Zanth, then von Zanth, the collapse of the archive building into a and lived 1796–1857). subway construction site in 2009. The legacy of Jacques-Ignace Hittorff Of the archive holdings, the security arrived in Cologne in 1898. Hittorff’s microfilms produced during the Cold library was set up in the new purpose- War are accessible. The Municipal built neo-Gothic building for the Historical Archive Cologne, one of the archive and the municipal library at the richest in Europe, is currently of limited ­Gereonskloster. This got ready just in accessibility. Selected restored items and

49 INVENTORY

the digitized microfilms are on view in to the original arrangement in the home arrangement: Hittorff organized the hlf the new Digital or forthcoming „Citizen’s of the artist. A learned and bibliophile chronologically. Archive” and at its time presumably on artist like Hittorff used to compare the The chefs modèles in the USB are in a the internet. folders and his books continuously. portfolio with three folders. One of them Hittorff’s collection of letters and account The first entry of Hittorff in his journal on bears the inscription “laves emaillees“. manuscripts are unique sources for many enameled lava bears the date December At the upper right of the cover appears aspects of art and culture of France in the 18, 1833, the last February 9, 1841. The the USB call no. K5/293. 200 years after early nineteenth century. The archives of the page counts differ: Hittorff counted their creation, the lava drawings are no the city of Paris were destroyed when the 86 folios, the archivist 44 pages. A third longer in the original but in a random Hôtel de Ville burned down in 1870. The handwriting added another numbering. order. Inscriptions document previous drawings and microfilmed documents In order to avoid confusion, we sort the attempts to reconstruct the sequence. This in the hlf on laves émaillées will be documents by date. inventory sorts by various commissions whenever possible “reunited” according This is in harmony with the original for the sake of clarity.

The watermarks

Three watermarks (Blauw, Canson Canberra, ACT, where the countermark is city, inventors, directors, owners, and Montgolfier and Whatman) as well as a completely legible as “The heirs of Blauw” their heirs appear in the name of this few papers without or with unidentified (“De Erven de Blauw”). watermark. Hittorff selected it for its filigrees can be met with the drawings Hittorff was one of the earliest unsurpassed quality — this paper is very for laves émaillées. Drawings without documented users of this 19th century thin, transparent (easy to duplicate), and watermark in the collection of laves French Blauw countermark. Few more spotless white. (The paper watermarked émaillées may indeed be part of larger samples of this mark in his albums in the “Canson” today, including a subsidiary in sheets cut to pieces (and consequently the USB demonstrate that he favored white NYC, continues 450 years of tradition.) filigree cut off or somehow mutilated). paper for his loveliest drafts (see USB, The Whatman papers: Although the The Blauw papers: Paper made in Holland inv. 2, p. 17 and no. L18; inv. 3, no. 13; inv. majority of the papers used by Hittorff was unrivaled for its quality and the most 4, no. 140). He intended a precision of 2 came from paper mills in France an expensive at its time. The name of this millimeters. important group in his portfolio of watermark in the USB collection is of the The Montgolfier papers: The name of this enameled lava in the USB is composed of paper mill of Dirk Blauw (?–1782) and his watermark is derived from the paper mill wove (unribbed) paper from the Turkey son Cornelis (?–1762) in the Netherlands; in the city of Vidalon-lès-Annonay, where Mill near Maidstone in Kent owned by that said, an afterlife of this watermark a Paper Museum (Musée des Papeteries the brothers Thomas, Robert, and Finch took place in France in the early 19th Canson et Montgolfier) unveils the Hollingworth (this applies also to USB, century, presumably by descendants of intricate history of the Royal manufactory, inv. 1, nos. 14-35, 67, 68, 70, 92, 96). These this family. run by the Montgolfier brothers (Joseph- sheets bear the watermark “J Whatman The few published specimen this Michel, 1740–1816, and Jacques-Étienne, Turkey Mill,” a paper mill existing from watermark in other collections are dated 1745–1799). (Both enjoy celebrity for 1700 until 1899; in 1859, the copyright of ca. 1822. A rather late one of 1861 is the hot air balloon, the Montgolfière.) the watermark was sold. There are only the intaglio print of The Forge by James The son-in-law of Jacques-Étienne few instances of the mentioned Whatman McNeill Whistler (1834-1903) who Montgolfier, Barthélémy Barou de la paper among the drawings for laves participated in the artistic ferment of Lombardière de Canson (1774–1859) émaillées, perhaps for mere availability in Paris. One of the prints of Whistler is continued the factory. the mid-1830s. in the National Gallery of Australia in Elements of all these cited “ingredients”,

50 The paper & Altar frontals

The paper

In the nineteenth century, paper continued to pieces on opening or when turning why I ask for oil-control paper; I ruin to be expensive, and when artists got hold the sheets. This is a major problem of the myself with vegetal paper, the only one of (re-) usable papers, they “recycled” preservation of books printed in the 19th available.”3 The papers bought in Paris them. In particular, fine, spotless white century1. entailed spectacular results. Drawings paper for drawing was the preferential for When in Italy in 1823-4, Hittorff ordered on them produced so extraordinary artists like Hittorff. A disadvantage of this continuously deliveries of paper for results that Zanth dared to ask the French cherished whiteness is its preservation: drawing, mailed exclusively from Paris. A Minister on official visit to Stuttgart to The aging of the chemicals turned the very few local papers were integrated into take them “back” to Paris. In Paris, Zanth original impeccable white into a spectrum his albums. Louis de Zanth faced similar participated from time to time in the from light yellowish to dark brownish. problems when drafting in the Kingdom annual show of the artists in the Salon Sometimes it was responsible for color of Wurttemberg in the 1830s and 1840s. e.g. in 1840 and 1845. Hittorff presented migrations onto the mount. He frequently requested Hittorff to mail other drawings of Zanth to the French For unknown reasons this was no various papers, stacks of hundreds, or Free Society of Fine Arts. The admiration problem for the papers Hittorff selected notebooks for drafting, and papers either produced another success: the meeting for the drawings of enameled lava, for intaglio or lithographic prints or for of this association of artists praised the whereas this type of aging of the paper is blotting. beauty of the drawings, its colors, and frequently observed in other albums, esp. In “Stoutgard” Zanth pointed out: admired the artisanship of Zanth, who with transparent paper. It disintegrates “imagine, I am here in a kind of Liberia2, served as their corresponding member4. almost into a kind of powder; it breaks where you get nothing you need. That’s

Altar frontals for the Roman Catholic parish church Notre-Dame-de-Lorette (1834), Paris, 18bis Rue de Châteaudun, 9th arr.

In 1821, plans sprang up to rebuild wall decoration in the interior was painted king, calling the new neighborhood a former chapel dedicated to Notre- directly on the wall. In this it followed the programmatically La Nouvelle France Dame-de-L­orette in 54 Rue Lamartine. model of the mosaics of Basilica Santa (in Paris!) and assembling its principal Hittorff submitted a project for the new Maria Maggiore in Rome (where Hittorff buildings around Place Charles X. parish church for the present site. He was sketched a couple of details of these The art policy of Louis-Philippe (r. 1830- about to leave for a sabbatical in Italy. mosaicked walls, cf. USB, inv. 3, nos. 141- 1848) gave a significant turn to the whole After his return in early summer 1824, 143). project. Since the French Revolution, he lived close-by, behind the sanctuary Three different kings, from the Bourbon churches were state-owned. The building of the church5, further down at 40 Rue Restoration to the constitutional July of Notre-Dame-de-Lorette continued Coquenard, now 40 Rue Lamartine. Monarchy, were involved in Notre- while the industrial development of the Louis-Hippolyte Lebas (1782-1867) was Dame-de-Lorette. It started almost at country flourished. Consequently, a selected as sole architect. He shaped the the end of the reign of King Louis XVIII. parish church could demonstrate hitherto church on the model of early Christian (r. 1814-1824). It is the artistic legacy of unknown technologies of national Roman churches. The building started in his government, the first of the Bourbon interest—and it could be the flagship of La 1823 (when Hittorff was in Sicily). Lebas Restoration after the French Revolution Nouvelle France industrielle. The origins of integrated elements derived from ancient and the Napoleonic troubles. lava painting represented a kind of sacred art into the façade, which resembles a King Charles X (r. 1824-1830), another industrial art! temple front with a portico. eminent patron of Hittorff, continued the New features introduced thanks to Inside, Notre-Dame-de-Lorette was commission. The urban development of Hittorff, came directly from Greek art, decidedly inspired by Italian art, e.g. the Paris was fostered under this last Bourbon he had investigated in Greek Sicily. This

51 INVENTORY

refers to the altar frontals painted on insisting repeatedly on the absolute he was born. Hittorff wrote to Chabrol lava slabs, similar to the cheerful marble novelty and uniqueness of his approach. for support (he was that annoyed by the incrustations of Italy, but in a material In a first letter of September 22, 1834, he lackadaisical attitude of the accounting): previously not known and not applied to discussed the traditional earlier concept “As we have had the honor to say in sacred buildings. This way, Hittorff tried (working with a procedure derived our letter addressed to the Prefect, we to revive the model of classical art on a likewise from classical art, the encaustic will produce such a design which the more sophisticated level of understanding. painting). However, for the altar frontals architect [Lebas] would like to give us, Notre-Dame-de-Lorette is important Hittorff suggested a “first monumental may it be symbolical arabesques or simple for the influence of archaeology on the application” of enameled lava. He claimed ornaments imitating the most varied creative process in contemporary art, a promotional prices in order to obtain the mosaics and the most precious marbles”7. kind of osmosis of both. commission. Compare: HLF, to Lebas (November 11, Alexander von Humboldt (1769-1859), A couple of letters to Lebas (November 11, 1834, April 29, 1836, and May 26, 1836); to the naturalist and explorer, served the 1834, April 29, 1836, and May 26, 1836) Jussieu October 14, 1834; to Zanth in sas, Prussian King as influential proponent in sought to convince the architect of the A3687 (Feb. 14, 1836). Institut de France, architectural matters. He inquired for the church, and report on the transformation ms. 4486 (Correspondance et papiers de king the prices for building and outfitting of the design into lava painting, quality Ludovic Halévy, Collection d’autographes, of Notre-Dame-de-Lorette in letters6. check meetings and the progress of their VII, H-Lleg), pièce 1818. Obviously, von Humboldt wrote every production. Literature: Choix 1823-1836, I, 5; couple of days to Hittorff, happily enough A further set of letters, dated January 27 Péquénot 1844, 107; Chennevières 1888, a few series of these are preserved in the and February 7, 1838, was addressed to II, 379; Moisy 1956, 90; Middleton and collection of the Société de Géographie in Gilbert-Joseph-Gaspard de Chabrol de Watkin 1977, 217; Van Zanten 1977, 310; the BnF. They show how much attention Volvic (1773-1843) in person; Chabrol was Catalog Paris 1986, nos. 401-404; Catalog the artworks in Paris attracted. appointed prefect of the Seine in 1812 by Cologne 1987, nos. 366-368; USB, inv. 1, Hittorff mentions the lava works for Napoleon. He stayed in office until 1833 no. 37-40, 45; Kiene 2011, 30-32, cat. no Notre-Dame-de-Lorette in the hlf, and promoted the lava from Volvic, where 59, ill. 29-31 and ill. 145-147.

Finished antependium. Source: Jean-Michel Drouet/Duplidart, Paris.

52 Altar frontals

1 Antependium of the altar of Saint Hippolytus

Inscriptions upper center “eglise notre dame de lorette / devanture d’autel de la The chapel of Saint-Hippolyte was the first at Notre-Dame-de-Lorette with chapelle de st hippolyte / manufacture hachette et comp. a paris / dir. par Hittorff lave émaillée, it is located in the second chapel to the right upon entering. / echelle de 0,10’ pour metre”, bottom left “lebas arch.” and in graphite in upper right corner “2”. Monochrome wooden panels conceal the walls of the chapel. They stunned visitors with colored frontals of the altars. The enameled lava Pen, watercolor, compass. The surface was scored with regular, shallow frontal is truly an eye-catcher. incised lines to prepare it for the application of watercolor. Like other altars with painted lava frontals in Notre-Dame-de-Lorette, 49.8 × 32.3 cm. Watermark: “bla”. the design suggests a Greek cross in the center, nicely varied on some of the altar fronts for this parish; on both sides of the centerpiece appears Literature: Gourlier and Biet 1825, I, 5; Péquénot 1844, Chennevières the monogram of the saint venerated in the chapels, hence “S” and “H” 1888, I, 379; Catalog Paris 1986, no. 403-404; Catalog Cologne 1987, for Saint Hippolytus. no. 367-368.

53 INVENTORY

54 Altar frontals

2 Antependium for the chapel of the virgin

Inscriptions upper center “eglise notre dame de lorette / devanture d’autel de la chapelle de la vierge / manufacture hachette et comp. a paris / dir. par Hittorff / echelle de 0,10’ pour metre”, bottom left “lebas arch.” and in graphite in upper right corner “3”.

Pen, watercolor, compass, scoring with regular, shallow incised lines.

50.2 × 32.7 cm.

Literature: Catalog Paris 1986, no. 404; USB, inv. 1, no. 38; Kiene 2011, ill. 30.

3 Antependium for the chapel of the communion

Inscriptions upper center “eglise notre dame de lorette / devanture d’autel de la chapelle de la communion. / manufacture hachette et comp. a paris / dir. par Hittorff / echelle de 0,10’ pour metre”, bottom left “lebas arch.” ; in the roundel “in nomine patris et filii et spiritvs sancti”.

Pen, watercolor, compass, scoring with regular, shallow incised lines.

50.2 × 32.7 cm.

Literature: Catalog Paris 1986, no. 401; Catalog Cologne 1987, no. 366; USB, inv. 1, no. 39; Kiene 2011, ill. 31.

The finished frontal. Source: Jean-Michel Drouet/Duplidart, Paris.

55 INDEX A Belloni, Francesco 60 C Berlin Académie Beuth-Schinkel-Museum 137 Calonne, Alphonse Bernard de 17 Architecture 28 Library of the Technical University Caminade, Alexandre-François 90, 142 Beaux-Arts / Academy of Fine Arts 13, Museum of Architecture Capobianco, Valeria 44 14, 27, 45, 135 inv. 7144 93 Carlton Hobbs LLC 29, 34, 35, 84, 92 Inscriptions et Belles Lettres 18 Oberpfarr- und Domkirche 136 Carnavalet - Histoire de Paris, Museum Agnès Sorel 83 Old National Gallery 137 103 Agrigento State Library, Slg. Darmst. D 1850 44 Cassas, Louis-François 23 Ruins of 21 Berlioz, Louis-Hector 39 Catania 62 Temple of Theron 18 Berry, Duc de 14 Catherine, Marie 28 Alise-Sainte-Reine (Côte-d’Or) 43 Berry, Duchesse Princess Marie-Caroline Caumont, Arcisse de 17 Alphand, Adolphe 20 de 144 Cavalie, Hélène 138 Anne de Beaujeu 81 Beuth, Christian Peter Wilhelm Friedrich Chabrol, Count Gilbert Joseph Gaspard Archeological Institute, Cologne, inv. 71, 90, 136 de Volvic 27, 43, 46, 52, 99, 126, 141, AI 476a-c 62 Bibliothèque de France 142, 143, 148 AI 477 61 deposit of the Société de Géographie Charles X, King of France 14, 19, 51, 77, AI 478 62 carton 572 135 144 AI 480a-f 106 Bindesbøll, Gottlieb 15 Chicago Architecture antique de la Sicile 14, 97 Blanche, Alfred 39, 45 Art Institute, inv. 1971.452 141 Architecture moderne de la Sicile 17, 97 Blouin, Daniel 43 Chopin, Frederick 39 Architecture polychrôme chez les Grecs Boccaccio, Giovanni 76 Chromolithography 13 14 Boisserée, Sulpiz 135 Chrysler Museum of Art (Norfolk, Va) Archives Nationales, série 04 138 Bongartz, Dieter 37 99, 100 Arenberg, Louis d’ 69 Bothorel, Viscount Marie de 103, 137 Claremont House, Royal Palace 68 Athenaeum of the Arts (Athénée des Bowie, Karen 19 Clotilde de Surville 83 arts, sciences et belles-lettres et Brinkmann, Vincenz 19 Cockerell, Charles Robert 109 industrie de Paris) 137 Brion (Puy-de-Dôme) 33 Cologne, Archeological Institute, see Auersperg, Count Anton Alexander von Archeological Institute 136 Department of Greek and Roman Compiègne Augustus, Roman Emperor 36 Antiquities, no. 1772.0320.681 73 Bibliothèque municipale, VDC 164 138 Elgin Marbles 20, 114, 136 Château 97 Kylix of the “Stoke-on-Trent Painter” 70 Conway Brochard, Madame 144, 151 Governor of Ostend John 136 B Brongniart, Alexandre 32, 44, 45, 112, 144, Viscount Edward 69, 136 145 Cooper-Hewitt Smithsonian Design Bad Cannstadt (Stuttgart), Villa Brosson Museum 42 Wilhelma 77, 135 brothers 29 Cotta Baldus, Édouard 18 François 43, 141 Johann Friedrich 77, 138 Ballu, Théodore 66 Michel 43 Johann Georg von Cottendorf 77, 116 Bareste, Eugène 17, 20 Mrs 136 Barré, Jean-Jacques 37 Cousin, Victor 20 Bartholdy, Félix Mendelssohn 39 Bauchal, Joseph Charles 20 Baudot, Anatole de 21 Bélanger, François-Joseph 13, 23 Belhoste, François 44

165 INDEX

D Universelle (Paris) / Universal H Exhibition Debacq, Joseph-Frédéric 32, 44 1856 39 Hachette 13 Delacroix, Eugène 45 1867 18 company 13, 15, 25, 28, 29, 36, 40, 43, 44, Délécluze, Etienne 14, 19 53, 55, 56, 58, 64, 68, 76, 90, 99, 102, De L’Etang (De Letang, Deletang) 46, 68, 103, 106, 112, 114, 126, 147 69, 102, 126 Pierre 28, 43, 141, 142 Denuelle, Alexandre 106 F Hagia Sophia, Constantinople 137 Detrez, Louise 112 Halévy Dickens, Charles 18 Faÿ de La Tour-Maubourg, De 69 Jacques François Élie Fromental 135 Donaldson, Thomas Leverton 17, 20, 21, Fêtes et Cérémonies of the Maison du Ludovic 52 23, 42 Roi 13 Hamilton, Sir William 71 Drouet, Jean-Michel 24, 28, 46, 52, 55, 57, Fischer, Ferdinand von 135 Hammer, Karl 19 88, 90 Fontaine, Pierre-François-Léonard 20 Hardwick, Phillip 18 Duban, Félix 46, 126 Fould, Achille 39 Hassler, Uta 19, 20 Dubois Four Seasons Table 29, 69, 84, 85, 90, 92, Haussmann, Baron Georges-Eugène 17, Anne-François 28 103, 135, 137 18, 19, 20, 23, 42 brothers 43 Frederick William III, King of Prussia 90, Héloise 80 Mathilde 28 137, 142 Hittorff, Charles-Joseph 97, 106 Dubois-Mortelèque 28, 29, 102, 144 Frederick William IV, King of Prussia 90 Horaist, Père Bruno 43 Duchâtel, Count Tanneguy 151 Fröhlich, Thomas 44 Humboldt, Alexander von / Alexandre Dumas, Jean-Baptiste 144 d'Humboldt 38, 52 Dupin, Baron Charles 29 Dussieux, Louis-Étienne 29 G I Gabriel, Ange-Jacques 20 E Garnaud, Antoine-Martin 20 Ingres, Jean-Auguste-Dominique 17, 37, Garnier, Charles 106 39, 45, 141, 151 Ecole Gau, Franz Christian 15, 109 Institut de France 46, 144 Beaux-Arts (Paris) 13, 23, 36, 135 George IV, King of the United Kingdom Library 15 Elgin Marbles, see British Museum 20 of Great Britain and Ireland and of MS 2285 43 Elisabeth Ludovika, Queen of Bavaria 90, Hanover 37 MS 4486 52 137 Gérard, Baron François-Pascal Simon 38, MS 4643 14, 16, 106 Étex, Antoine 36, 37 60 Institution Eugène Napoléon 15 Exposition Gillet, François 43 Ittar, Sebastiano 27, 42 industrielle (Paris) Gourlier, Charles-Pierre 142 1827 141 Gropius 136 Produits de l’Industrie Française 140, Grün, Anastasius 136 145 J 1819 144 1827 32, 144 Jollivet, Pierre-Jules 13, 17, 19 1834 13, 19, 32, 126, 137, 144, 147 Jones, Owen 15 1839 13, 19 Journal des Artistes 13, 19, 32, 33 Jussieu, Laurent-Pierre de 36, 52, 135

166 K M Neuwall, Albert de 76, 136 New York, Metropolitan Opera 45 Klenze, Leo von 15, 20 Manufactory / Manufacture Kloeber, August von 136 Royale de Porcelaine, see Sèvres 29 Königsberg/Kaliningrad, New King's gate Royale des Mosaïques 60, 135 136 Maréchal, Charles-Laurent 17 O Kubly, Félix Guillaume 106, 108 Marguérite de Valois 82 Kugler, Franz 15, 20 May Oechslin, Werner 20 Kunstakademiets Bibliotek, Copenhagen ceramist 32, 33, 45 Oppermann, Ingénieur des Ponts et 15 fumiste 114 Chaussées 21 Mazois Orléans, Louise of 69 1829 106 Oudry, Léopold 24, 90 François 15, 106, 137 L widow 137 Menus Plaisirs 23, 138 Labrouste, Henri 46, 90, 126, 138 Mercey, Frédéric Bourgeois de 45 P Laure d’Albret 82 Mercier, Baron Jacques de 39 Laure de Noves 80, 81 Mérimée, Jean-François-Léonor 144 Palissy, Bernard 33 Lebas, Louis-Hippolyte 16, 17, 46, 51, 52, Messina Panofka, Theodor 44 53, 55, 56, 58, 135 Cathedral Paris 109 Leblond, General Inspector of the ceiling 17 23 Furniture Collection 114, 138 Mirault, Claude-François 36, 39, 45, 46, 76, 15, 20, 23 Lecointe, Jean-François-Joseph 14, 19, 114 90, 126, 136, 137, 138, 140, 141, 151 Boulevard de l’Impératrice (now Foch) Lehmann, Henri 39, 45, 64 Monreale (Sicily) 17 15 Lenoir, Alexandre Albert 144 Montalbert 151 Canal Saint-Martin 29 Leopold I, King of Belgium 69, 77, 136 Morey, Prosper 17 Champ de Mars 25 Lepaute, Augustin Michel Adam Henry Morris, William 39 Champs-Elysées 15, 16, 20, 23, 26, 37, 88, 64 Mortelèque, Ferdinand Henri Joseph 28, 90 Lepaute, Henri 64, 65, 67, 148 31, 32, 33, 45, 99, 112, 135, 140, 141, 142, Fountain of the Four Seasons 90 Lepaute, Jean-Baptiste 64 143, 144, 145, 148 City Hall (Hôtel de Ville) 36, 39, 50, 90, Lepère Moscheles, Ignace 39 126, 151 Elisabeth 135 Mount Etna 27 City Hall (Marie du Louvre) 45, 66 Jean-Baptiste 15, 16, 20, 135 Municipal Archive Stuttgart, see Faubourg Saint-Martin 44, 99, 137 Lesueur, Jean-Baptiste 106 Stadtarchiv Stuttgart Gare de l’Est 16 Letronne, Antoine 14 Gare du Nord 15, 16, 17, 18, 23 Linné, Carl von (Carl Linnaeus) 137 Halle aux Blés / Halle au Blé 13, 23, 25 London Hôtel Crillon 20 Euston Arch (Euston Station) 18 N Hôtel de Beauharnais (Prussian Royal Opera House, Covent Garden 45 Legation), see Paris, Rue de Lille Louise, Queen of Wurttemberg 76 Napoleon I, Emperor of France 23, 37, 38, 77 Louis-Philippe, King of the French 32, 34, 51, 52 Musée 35, 36, 37, 44, 45, 51, 64, 68, 69, 77, 114, Napoleon III, Emperor of the French 15, d’Orsay 97 136, 138, 151 18, 43, 64 du Louvre 97 Louis XV, King of France 64 Napoleon, Joseph Charles Paul Bj. 10898 72 Louis XVIII, King of France 37, 51 Bonaparte/Prince Plon-Plon 37 Napoléon 23 Ludwigsburg, Municipal Museum 77 Neufchâteau, Nicolas-Louis François de North Cemetery (du Montmartre) 28 25

167 INDEX

Notre-Dame Count Léon-Amable de 38, 39, 45, 68 Rosenthal, Léon 36 1821 14 family 39, 126 Rothschild Gallery of Kings 77 Petra, Khazne al-Firaun (Jordan) 18 Baron James de 15, 18, 23 Notre-Dame de Lorette 17, 36, 37, 46, 51, Picot, François 17 brothers 76 52, 135 Pigeory, Félix 16 Royal Household (Paris) 114 Passage Dubail 137 Pompei 15, 135 Royal Institute of Applied Arts (Berlin) Place de la Bourse 103 Macellum (food market) 106 135 15, 16, 18, 23, 24, Panthéon-Hospitium, wall painting 106 Royal Institute of British Architects 25, 26, 36, 42, 43, 88, 90, 114, 138, 144, Potsdam (Germany) (London) 23, 90, 136 159, 161 Alexander-Newski-Gedächtniskirche Royal Porcelain Factory (Berlin) 137 Place de l’Etoile 15, 23 136 Place du Louvre 15 Four Seasons Table 93 Place La Fayette (now Franz Liszt) 16, Marble Palace 71, 73 20 Orangery Palace 137 S Porte Saint-Antoine 44 Prince of Prussia 90 Quai de Conti 65 Prussian Legation (Paris), see Paris Hôtel Sageret, P.-F. 29, 44 Quartier Poissonnière 16 Beauharnais 77, 114 Saint-Cloud, Palais 15, 39 Rue Bergère 114 Hall of the Four Seasons 114 Salon Rue Bonaparte 37, 126 Prussia / Prusse 33, 42, 45, 90, 142 1831 14, 19, 20 Rue Coquenard 13, 29, 36, 44, 51, 135, 147, Pujol, Abel de 26, 141 1833 17, 20 159 1836 20 Rue d’Astorg 68 1848 20 Rue de Chabrol 103 1852 20 Rue de Lille (Prussian Legation) 77, 114 Q 1855 20 Rue de Seine 23 1857 20 Rue de Viarmes 23 Quatremère de Quincy, Antoine 1859 20, 97 Rue du Faubourg Poissonnière 137 Chrysostôme 14, 15 Saulcy, Louis-Félicien-Joseph Caignard Rue du Faubourg Saint-Martin 44 de 43 Rue Fénelon 28 Schneider, Donald David 15, 19 Rue Saint-Honoré 65 School of Arts (Stuttgart) 135 Rue Saint-Martin 44 R Selinunte Sainte-Elisabeth-de-Hongrie 141 Temple B / of Empedocles 14, 15, 18 Saint-Merri 67 Rambuteau, Count Claude-Philibert Temple G 94, 97 Saint-Roch 36, 65, 66 Barthelot de 140, 146 Semper, Gottfried 15, 20, 109 Saint-Vincent-de-Paul 13, 15, 16, 19, 20, Raoul-Rochette, Désiré 14, 15 Severati, Filippo 27 29, 40, 43, 109, 151 Raphael, Madonna of Foligno 29, 90, 112, Sèvres Théâtre Royal Italien 64, 114 142 manufactory 28, 29, 32, 33, 36, 37, 43, 44, Pastoret, Count Amédée-David de 141 Reims cathedral 77 45, 112, 135, 140, 143, 145, 151 Paxton, Joseph 18 Revett, Nicholas 14 inv. MNC 1737 31 Péduzzi, Donat 114, 126 Richardson, Henry Hobson 23 inv. MNC 1738 112 Perchet, Dominique 44 Robert Siena, Cathedral, floor 116, 117 Percier, Charles 13, 15, 19, 20, 135 Jules 8 Smithsonian Institution 26, 42 Pericles 36, 37 Léopold 45 Society / Société Persius, Baurath 136 Roche, Monsieur de la 126 Centrale des Architectes 13, 28, 46 Perthuis Rome Encouragement de l’Industrie Nationale Countess Élise (né Elisabeth von Grote) Saint Peter 97 25, 29, 43, 144 38, 39 Santa Maria Maggiore 51

168 Encouragement of Science, Arts and Table of Ancient and Modern Whistler, James McNeill 50 National Industry 114 Monuments 97 Wiegmann, Rudolf 20 French Free Society of Fine Arts 33, 51, Table of Famous French Women / Table William II, King of Prussia 73 76, 90, 159 gothique 69, 76, 77 William I, King of the Netherlands 69, 77 Géographie 52 Table of the Grand Commanders 37 William I, King of Wurttemberg 76 Libre des Beaux-Arts 13, 33, 136, 148 Table with Goddess of Love 73 Winckelmann, Johann Joachim 33 Spekking, Raimond 21, 143, 157 Table with Ornaments 94 Windsor Castle 18 Stadtarchiv Stuttgart 135 Table with snails, shells and a blue Wittenberg, Castle Church, 1851 136 A3631 151 butterfly 30, 31, 135 Wyatt, Matthew Digby 39, 45, 140, 150 A3634 136 Tanneguy Duchâtel, Count Charles Marie A3636 70 143 A3653 135 Terveken, Baron Philippe Antoine Joseph A3663 135 De Prêt de 70 Z A3670 136 Tewkesbury (Gloucestershire, ), A3688 138 Bredon Church 114 Zahn A3692 70 Thénard, Baron Louis Jacques 140, 145 1828a 106 A3693 70 Thiollet, M. (François) 46 and Jahn (1828) 106, 109 A3695 70 Thomas Neuentdeckte Gemälde 109 A3702 70 Eberhard 106, 136 Zanth, Louis de / Ludwig von 23, 49, 51, A3703 135 Renate 106 52, 65, 76, 77, 97, 116, 135, 136, 151 A3707 135 Tyndaris (Tindari) 61, 62 Zurawski, Simone 43 A3708 70 Zurich, Swiss Federal Institute of A3709 70 Technology 19 A3710 70, 76, 136 A3712 70, 76, 136 V A3713 77 A3714 77 Vannier, Fabrice 135, 136 A3731 135 Vattemare, Nicolas Marie Alexandre 42 Stier, Friedrich August Alexander 93 Venice (Italy), St. Mark 97 Stier, Gustav 137 Versailles, Château 64, 65 Stier, Wilhelm 71 Victoria, Queen of the United Kingdom Strickland 138 of Great Britain and Ireland 18 Reverend Thomas Alfred 114 Viollet-le Duc, Eugène Emmanuel 21 Reverend Thomas Arthur 114 Vitet, Ludovic 46, 140, 145, 151 Stuart, James 14 Volvic (Puy-de-Dôme) 27, 33, 37, 43, 45, Stühler, August 136 52, 126, 141, 143 quarries 27

T W Table Eros Table 71 Washington, DC Etruscan Table / Table dite étrusque 69, Arts and Industries Building 26 137 National Gallery of Art Library 40 Mosaicked Table / Table dite en National Institution for the Promotion mosaïque 69 of Science 42

169