the
past, so do we anticipate the future. To love what our forefathers have
done in arts, in arms, or in learning, is to lay the surest foundation for
a proper respect for our own memories in after ages. But with Millin, I
fear, the study of Archaeology will sleep soundly, if not expire, among the
Parisians. VISCONTI has doubtless left a splendid name behind him here; but
Visconti was an Italian. No; my friend--the ARTS have recently taken an
exclusive turn for the admiration, even to adoration, of portrait and
historical painters: No LYSONSES, no BLORES, no MACKENZIES are patronised
either at Paris or in the other great cities of France. I must however make
an honourable exception in favour of the direction given to the splendid
talents of MADAME JAQUOTOT. And I cannot, in common justice, omit, on this
occasion, paying a very sincere tribute of respect to the PRESENT
KING[193]--who has really been instrumental to this direction. I have
lately paid this clever lady a morning visit, with a letter of introduction
from our common friend M. Langles. As I was very courteously received, I
begged that I might only see such specimens of her art as would give her
the least possible trouble, and afford me at the same time an opportunity
of judging of her talents.

Madame Jaquotot was as liberal in the display of her productions, as she
was agreeable and polite in her conversation. I saw all her performances.
Her copies of Leonardo da Vinci and Guido, in black crayons, are beautiful
of their kind; but her enamel copies, upon porcelaine, of the _Portraits of
the more celebrated Characters of France_--executed at the desire and
expense of his Majesty--perfectly delighted me. The plan is as excellent as
its execution is perfect. But such performances have not been accomplished
without a heavy previous expense, on the score of experiments. I was told
that the artist had sunk a sum little short of five or six hundred pounds
sterling, in the different processes for trying and fixing her colours. But
she seems now to walk upon firm ground, and has nothing but an abundant
harvest to look forward to. Indeed, for every portrait, square, or oval,
(although scarcely more than _three inches_ in height) she receives a
hundred louis d'or. This is a truly princely remuneration: but I do not
consider it overpaid. Some of the earlier portraits are taken from
illuminated manuscripts; and, among them, I quickly recognised that of my
old friend _Anne