Citizen Emperor (151 page)
Authors: Philip Dwyer
| 70 . | Antoine Schnapper, David, témoin de son temps (Paris, 1980), p. 231. |
| 71 . | Hauterive, La police secrète du premier Empire , iv. pp. 35, 54 and 194 (29 January, 11 February and 24 May 1808); Bernard Chevallier and Christophe Pincemaille, L’impératrice Joséphine (Paris, 1996), pp. 332–3. |
| 72 . | Arlequin, au Muséum, ou critique en Vaudeville des Tableaux du Salon (Paris, 1808). |
| 73 . | Cited in Annie Jourdan, ‘Napoleon and his Artists’, in Howard Brown and Judith Miller (eds), Taking Liberties: Problems of a New Order from the French Revolution to Napoleon (Manchester, 2002), p. 194. |
| 74 . | Burke, Eyewitnessing , pp. 28–9. |
| 75 . | Burke, Eyewitnessing , p. 73. |
| 76 . | On this painting see Susan Siegfried, ‘The Politics of Criticism at the Salon of 1806: Ingres’s Napoleon Enthroned ’, Proceedings of the Consortium on Revolutionary Europe (Athens, Georgia, 1980), pp. 69–81; Porterfield and Siegfried, Staging Empire , pp. 38–60. |
| 77 . | See Telesko, Napoleon Bonaparte , pp. 50–1. |
| 78 . | Porterfield and Siegfried, Staging Empire , p. 50, argue that Ingres had attempted to reinvent the divine body of the king. |
| 79 . | Porterfield and Siegfried, Staging Empire , p. 88. |
| 80 . | Susan Siegfried suggests that the Legislative Corps was thus attempting to modify its own image as a republican institution by purposefully adopting a particular kind of imperial image (Porterfield and Siegfried, Staging Empire , pp. 73–4). |
| 81 . | Henriette Bessis, ‘Ingres et le portrait de l’Empereur’, Archives de l’art français , 24 (1969), 89–90. |
| 82 . | According to Pierre-Nolasque Bergeret, Lettres d’un artiste sur l’état des arts en France (Paris, 1848), pp. 72–3. |
| 83 . | Telesko, Napoleon Bonaparte , p. 45. |
| 84 . | Cited in Porterfield and Siegfried, Staging Empire , p. 92. |
| 85 . | Cited in Telesko, Napoleon Bonaparte , p. 45. |
| 86 . | Susan Siegfried, ‘The Politicisation of Art Criticism in the Post-Revolutionary Press’, in Michael R. Orwicz (ed.), Art Criticism and its Institutions in Nineteenth-Century France (Manchester, 1994), pp. 9–28; Adrian Rifkin, ‘History, Time and the Morphology of Critical Language, or Publicola’s Choice’, in ibid., pp. 29–42; Wrigley, The Origins of French Art Criticism , pp. 165–349. |
| 87 . | See the critique by Jean-Baptiste Boutard, ‘Salon de l’art 1806’, Journal de l’Empire , 4 October 1806. |
| 88 . | Pierre Jean-Baptiste Chaussard, Le pausanias français (Paris, 1808); Porterfield and Siegfried, Staging Empire , pp. 98, 100. |
| 89 . | Porterfield and Siegfried, Staging Empire , p. 7. |
| 90 . | Fontaine, Journal , i. p. 92 (5 December 1804). |
| 91 . | Porterfield and Siegfried, Staging Empire , pp. 45–6. |
| 92 . | Corr. ix. n. 7876 (27 July 1804). Also Hughes, ‘Vive la République, Vive l’Empereur!’, p. 56. |
| 93 . | See, for example, Marcel Baldet, La vie quotidienne dans les armées de Napoléon (Paris, 1965), p. 132; Maurice Choury, Les Grognards et Napoléon (Paris, 1968), pp. 165–6; Lynn, ‘Toward an Army of Honor’, 165–6; O’Brien, After the Revolution , p. 126. |
| 94 . | Louis-François Lejeune, Mémoires du général Lejeune, 1792–1813 (Paris, 2001), p. 160. |
| 95 . | Moniteur universel , 26–27 messidor an IX (14–15 July 1801); Hughes, ‘Vive la République, Vive l’Empereur!’, p. 41. |
| 96 . | Fontaine, Journal , i. p. 93 (5 December 1804); Boulart, Mémoires militaires , pp. 125–6; Masson, Le sacre et le couronnement de Napoléon , pp. 220–2. |
| 97 . | Marrinan, ‘Literal/Literary/“Lexie”’, 191. |
| 98 . | Valérie Bajou, ‘Painting and Politics under the Empire: David’s Distribution of the Eagles ’, in Ledbury (ed.), David after David , pp. 55–71. |
| 99 . | Johnson, Jacques-Louis David , p. 207. |
100
. Johnson,
Jacques-Louis David
, pp. 214–16.
101
. Bigarré,
Mémoires
, p. 160.
102
. Klemens Wenzel von Metternich,
Mémoires: documents et écrits divers
, 8 vols (Paris, 1881–4), i. p. 283.
103
. Katia Malaussena, ‘The Birth of Modern Commemoration in France: The Tree and the Text’,
French History
, 18 (2004), 154–72, here 159.
104
. Bluche,
Le Bonapartisme
, p. 27; Brian Jenkins,
Nationalism in France: Class and Nation since 1789
(Savage, Md, 1990), p. 36.
105
. Cited in Keith Michael Baker,
Inventing the French Revolution
(Cambridge, 1990), p. 225.
106
. Chanteranne,
Le sacre de Napoléon
, pp. 209, 211. More than 75,000 silver medallions were distributed along the boulevards by heralds in arm during the coronation procession.
107
. J.C.,
Précis historique-chronologique du voyage du saint-père le pape Pie VII en France
(Brussels, 1804), p. 46; Aulard,
Paris sous le Premier Empire
, i. p. 397 (20 November 1804).
108
. Bernard Chevallier, ‘Préparatifs des fêtes données par la ville de Paris à l’occasion du sacre’, in
Napoléon le sacre
, p. 83.
109
.
Corr.
x. n. 8781 (24 May 1805).
110
. Chevallier, ‘Préparatifs des fêtes’, p. 86. Abby Zanger,
Scenes from the Marriage of Louis XIV: Nuptial Fictions and the Making of Absolutist Power
(Stanford, Calif., 1997), pp. 100–12, is, as far as I am aware, the only person to have studied ‘the role of fireworks in organizing political culture’ in any depth.
111
. Dusaulchoy de Bergemont,
Histoire du couronnement
, pp. 282–3.
112
. Accounts of the festivities can be found in Pierre-Maurice Saunier,
Tableau historique des cérémonies du sacre et du couronnement de S.M. Napoléon Ier
(Paris, an VIII); Lanzac de Laborie,
Paris sous Napoléon
, iii. pp. 43–4. For a broader discussion of Napoleonic festivities, including the participation of women, see Denise Z. Davidson, ‘Women at Napoleonic Festivals: Gender and the Public Sphere during the First Empire’,
French History
, 16 (2002), 299–322.
Other books
Devlin's Dare by York, Sabrina
Power on Her Own by Judith Cutler
Ax to Grind by Amelia Morgan
Losing Me, Finding You by C.M. Stunich
The Uninvited by Cat Winters
Dead Politician Society by Robin Spano
Sins Out of School by Jeanne M. Dams
The Time Hunters and the Box of Eternity by Carl Ashmore
Immediate Fiction by Jerry Cleaver
The Invisible Bridge by Julie Orringer