Trouvaille: Mlle Chevigny

There is woeful little information, though had a rather long career (especially if compared with the tragic end of young Mlle Chameroy), but maybe that is the reason why she was less celebrated later in life than Mlle Chameroy was in death? 

Contemporary reviews are very favourable though, as much as the poem what opens this post is flattering, though apart from two costume sketches I couldn't find any other picture of the celebrated dancer turned actress. The poem refers of her return, apparently she was absent from the stage due to illness, and returned two years later, of a slightly fuller figure, what removed her from the dancers limelight towards acting.

Costume sketches of the ballet the Le Retour d'Ulysse, (Return of Ulysses) in 1807 (You can read a review in English here). The last figure on the first picture is Eurydée, the wet nurse of Penelope who recognises Ulysses, the role performed by Mlle Chevigny, for what she earned much praise.

On the right, Mlle Chevigny in the role of Eurydée

Just because Berthélémy's drawings are so nice, a second one. Not picturing Mlle Chevigny

Details & source: 

Titre :  

[Le retour d'Ulysse : trois pl. de costumes / par Jean-Simon Berthélémy] 

Auteur :  

Berthélémy, Jean-Simon (1743-1811). Dessinateur 

Date d'édition :  

1807 

Identifiant :  

ark:/12148/btv1b84543867 

Source :  

Bibliothèque nationale de France, département Bibliothèque-musée de l'opéra, D216-2 (4-6) 

Relation :  

Le retour d'Ulysse : ballet héroïque en trois actes / chorégraphie et argument de Louis Milon. - Paris : Théâtre de l'Opéra-Montansier, 27-02-1807 

Relation : 

http://catalogue.bnf.fr/ark:/12148/cb40916541n

Provenance :  

Bibliothèque nationale de France 

And of L'enfant prodigue, (the prodigal son) the second figure from the left

The second from the left, in yellow tunic

Titre :  

[L'enfant prodigue : trois pl. de costumes / par François-Guillaume Ménageot] 

Auteur :  

Ménageot, François-Guillaume (1744-1816). Dessinateur 

Date d'édition :  

1812 

Identifiant :  

ark:/12148/btv1b8454389g 

Source :  

Bibliothèque nationale de France, département Bibliothèque-musée de l'opéra, D216-3 (10-12) 

Relation :  

L'enfant prodigue : ballet-pantomime en trois actes / décors de Jean-Baptiste Isabey. - Paris : Théâtre de l'Opéra-Montansier, 28-04-1812 

Relation : 

http://catalogue.bnf.fr/ark:/12148/cb409159974

Provenance :  

Bibliothèque nationale de France 

Trouvaille: The Velletri Pallas, the Blockbuster in December 1803

Just imagine, how wonderful it would be if you are meeting in 'Good Society'*, and the topic of choice isn't the weather, but art. And even better, ancient Roman art!

One cannot present oneself in good society* these days without saying something about the Pallas of Velletri, and without reciting some passages from Valérie, the latest fashionable novel.

We've already read a little bit about Valérie in a recent post, but what is so special about the Pallas Velletris?  

I am sure that you have seen pictures of the Velletri Athena, even without knowing her name: 

Source: https://fr.m.wikipedia.org/wiki/Fichier:Athena_type_Velletri.jpg

C Wikimedia Commons

A print from 1810, at the V&A 

http://collections.vam.ac.uk/item/O1157692/pallas-de-velletri-print-bouillon-pierre/

© The V&A  

She was discovered near Velletri in Lazio in 1797, and entered the collection of the Musée Napoléon** in December 1803. This translates that this wonder if the antique world made her appearance just days before this issue of the Journal des Dames was published. If you have ever stood in front of this imposing goddess (or a copy of it), who appears serene, beautiful, knowing, offering shelter, you understand how she became the talk of society. She was the embodiment of this new era, of a period when the spirit of consular Rome was considered to be the guiding light.

Monsieur being spellbound by a copy of her a couple of years back. The plaster copy's home is in the collection of the University of Bern, Switzerland.
© A. Reeves

More modern information can be found on the Louvre's website: 

http://www.louvre.fr/en/oeuvre-notices/athena-known-pallas-velletri

* the 'Bonne Société was defined by Helmina de Chezy, a contemporary observer and society correspondent as members of former court circles, of good society, but actively excluding Nouveaux Riches who obtained their fortuned by speculation during the revolution. 

** The Musée Napoléon is known today as The Louvre. But back in 1803 the collection was renamed Musée Napoléon. By the way - did you know you can also search the Louvres Collection database online? 

Mademoiselle Duchesnois and Phèdre

Most of us have heard the name either in relation to Napoléon Bonapartes mistress, or as a concurrence of Mlle Georges, a fellow actress (and another mistress of NB)

I've stumbled over Mlle Cathérine-Josephine Duchesnois in the Journal des Dames (on BNF). She was a celebrated actress, and these two snippets from the same issue illustrate how present she must have been in those days. A real celebrity, somebody who took the scene by surprise, and who was there to stay.

The date of 30 Frimaire An 12 reads as 22 December 1803, a bit over a year after having charmed and bewitched Paris as Phèdre in August 1802, Racine's tragedy what everyone would have heard or seen for the past generations.

The days of comedy have become the tragic days at the Théâtre Français since Molé (Molière) has passed on: Only Tragedy is fashionable these days. One goes and sees Voltaire, one loves Racine (Author of Phèdre), one runs crazily to Corneille; while the actors influence these movements far more than the pieces they perform. It is a good day when Talma performs; even better with Mlle Volnais and Mlle Georges show up; but the most excellent days are those when Mlle Duchesnois gives an appearance.

A painting what is for sale is is currently on show an engravers studio, close to the Café de Foi at Palais du Tribunat, a portrait what greatly resembles Mlle Duchesnois. 

Sadly the journal doesn't give us a precise description of the portrait. Though given her recent success as Phèdre, and the trademark diadem the role brought along, it might have been any portrait with a lady wearing a diadème. 

© http://www.tombes-sepultures.com/crbst_650.html

© BNF
http://catalogue.bnf.fr/ark:/12148/cb395147504

Pictured above is Mlle Duchesnois, once in an engraving by a non-mentioned painter on the source site, once in her title role Phèdre, courtesy of the BNF

I have read Phèdre as a teenager, and considered it to be a 'Greek Tragedy, as bad as Oedipus'. I guess I was simply to young to understand or appreciate the piece. In later years I rediscovered the multi layered personality of Phèdre. The woman of duty, of the woman who loves, who despises herself for this love. The woman who falls prey to madness. And the woman who is willing to atone the wrong she felt she did by the sacrifice of her own life. 

And what an extraordinary actress it would have needed, to present Phèdre in her failings and in her dignity. Mlle Duchesnois was not as beautiful as Mlle Georges, she was described as rather plain, but with a spontaneous delivery, a warm and sensual voice.

Apparently Mlle Cathérine-Joséphine was just such an actress. Aged 25, she convinced the Paris audience of the fate of the tragic queen in 1802, and had immediately a very steady fan base, like Joséphine Bonaparte who orchestrated a second chancer for her in Paris, after a disastrous debut in Versailles; or her colleague, the very esteemed Talma, a legend on the boards, who made her his constant acting partner, crowned her on stage, thus firing up a jealous conflict between her and Mlle Georges. (Both Mlle Duchesnois and Mlle Georges became Members of the Comédie Française in 1804. On the same date, because anything else would have fired up the conflict even more)

Baron Gerard's portrait of Mlle Duchesne
http://museosphere.paris.fr/oeuvres/la-scene-finale-de-rodogune-au-theatre-francais-1810

While we have no possibility to see her perform the role together with Talma, I would like to direct a little attention to this woman. She was an artist, not just merely 'one of Bonapartes mistresses', and apparently an inspired actress, who had her apprentissage not as such, but as a couturière!  

And while you might have read Phèdre in school and considered it dull to no end (as I did), I would love to inspire you to give the small tome another try, it may make you appreciate the craftsmanship what went into personifying such a role.

For my German readers, there is a special treat: Reclams edition of 'Phädra' was translated in 1804 by Friedrich Schiller. (Yes. That Schiller) And while it render Racines verses, Schiller gives us the Spirit of the Classic period in the clear language of beauty, as much treat to read as the original.

Links for further reading:

Wikipedia about Mlle Duchesnois (her real name was Rufin, not Duchesnois, by the way)  

And a bit longer biography, published in relation of her tomb on Cimetière Père Lachaise, the cemetery where Mlle Duchesnois found her last resting place (in French): http://www.tombes-sepultures.com/crbst_650.html