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Plate
THE BEGINNINGS
In Paris, in the Rue Coquilli?re, Louis the Fifteenth being King of France--or rather the Pompadour holding sway thereover--there lived a witty, amiable fellow who plied the art of painting portraits in oils and pastels after the mediocre fashion that is called "pleasing." This Louis Vig?e and his wife, Jeanne Maissin, moved in the genial enthusiastic circle of the lesser artists, passing through their sober day without undue excitement; for fame and wealth and the prizes of life were not for them. Boucher was lord of art; and La Tour and Greuze and Chardin were at the height of their genius; but honest Louis Vig?e could but plod on at his pleasing portraits, and sigh that the gods had not borne to him the immortal flame.
Yet he was to come near to the glory of it--nearer than he thought. 'Twas a pity that he was robbed of the splendour of basking in the reflected radiance, and by a fish's bone.
It was to have its beginning in that year after the indolent but obstinate king, having fallen foul of his Parliaments in his game of facing-both-ways in the bitter strife 'twixt Church and people, patched up a peace with the Parliament men.
In Vig?e Le Brun's portrait of herself and her child we see in full career the Greek ideals that were come upon France--a France weary of light trifling with life, and of mere butterfly flitting from flower to flower.
Our worthy mediocre Vig?e could remember the banished Parliament re-entering Paris in triumph on that fourth day of September in 1754 amidst the exultant shouts of the people; the clergy looking on with a scowl the while. On that same day was born to the Dauphin a son--the little fellow called the Duke de Berry--whom we shall soon see ascending the throne as the ill-starred Louis the Sixteenth, for the Dauphin was to be taken before the old king died.
Honest waggish Vig?e, painting industriously at his pleasing portraits, would recall it well; since, early in the following year, there was that to happen under his own modest roof which was to bring fame to his name, though he should not live to bask in its full glow.
Like Fran?ois Boucher, the great painter to the king, Elizabeth Vig?e came to the pretty business with the advantage of being an artist's child; like him, she received her first lessons at an early age from her father; and, like him, she moved from earliest childhood in an atmosphere of art and artists.
From her father she inherited a talent and taste for art, an amiable temper, a gift of wit; from her mother, a very handsome woman, she was dowered with a beauty for which she was as remarkable, and to which her many portraits of herself bear abundant witness. From very childhood she began to display the proofs of her inheritance--that happy disposition and that charm of manner that were to make her one of the most winsome personalities of her time. At the convent to which her parents sent her in her tenth year she fell to drawing on the margins of her books, filling them with little portrait-heads--an incessant habit that set her teachers grumbling at her lack of respect towards grammar and history. But to her delighted father the grumbles were matter for laughter; in him she found an ally who was hugely proud to discover in his girl an inheritor of his gifts. It is told of the fond father that the girl having taken to him one day a drawing, Vig?e cried out exultantly: "You will be a painter, my girl, or there never was one!"
Brought up, as the child was, in the world of artists, with the aims and ambitions and enthusiasms of artists for her very breath, she could not fail to find in such a world, besides the encouragement which was prodigally bestowed upon so young and promising a talent, the teaching needful to develop her powers. Amongst the artists who were on friendly terms with the girl's father, and of whom Doyen was the most intimate, was Davesne, a member and deputy professor of the Academy of St. Luke--he who afterwards claimed to have taught the little Elizabeth the elements of painting. Davesne's lessons were at best but few, and seem to have been limited to showing the eager child how to set a palette. The girl was in fact picking up the crumbs that fell from many tables; at any rate she showed astoundingly precocious industry and gifts, and was soon making quite a stir amongst the painter-folk, and becoming a source of pride to her father.
Vig?e, however, was only destined to guide and encourage the child towards the path; he died on the 9th of May 1768 from swallowing a fish bone. Little Elizabeth was but thirteen years old when this first great grief fell upon her.
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