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.
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