Maquette (ou projet d’architecture) repr\u00e9sentant un quadrige dont le char est conduit par la Victoire distribuant des couronnes, elle est accompagn\u00e9e de deux putti.\u00a0Composition de bois et de pl\u00e2tre peints dor\u00e9s \u00e0 la feuille d’or, reposant sur un socle \u00e9galement dor\u00e9 \u00e0 la feuille. Le tout encastr\u00e9 dans un coffrage de pr\u00e9sentation en acajou.<\/p>\n
Cette maquette fait probablement partie des projets de composition destin\u00e9s \u00e0 couronner l\u2019Arc de Triomphe du Carrousel du Louvre.<\/p>\n
En 1806, Fran\u00e7ois Fr\u00e9d\u00e9ric Lemot, un sculpteur n\u00e9oclassique tr\u00e8s appr\u00e9ci\u00e9 de l\u2019Empereur, est associ\u00e9 \u00e0 la construction de l’Arc de Triomphe du Carrousel destin\u00e9 \u00e0 supporter un quadrige. Fontaine et Percier en ont r\u00e9alis\u00e9s les dessins et le tout fut r\u00e9alis\u00e9 sous la direction de Denon. Les chevaux devaient en constituer le principal ornement.\u00a0<\/p>\n
En effet, au terme de la campagne d\u2019Italie en 1798, Bonaparte fait ramener les c\u00e9l\u00e9brissimes statues des chevaux de Constantin. Le nouvel Arc de Triomphe du Carrousel, qui pastichait les arcs romains antiques, formait donc le socle parfait pour recevoir ces \u0153uvres d\u2019art exceptionnelles. Arriv\u00e9es \u00e0 Paris, les statues ont fait sensation, les gazettes en ont abondamment fait mention et des mod\u00e8les en r\u00e9duction ont sans doute \u00e9t\u00e9 r\u00e9alis\u00e9s \u00e0 cette \u00e9poque.<\/p>\n
Pour accompagner les chevaux, il est pr\u00e9vu qu\u2019un char conduit par la Victoire et la Paix accueille une statue de l’Empereur. Cette derni\u00e8re fut plac\u00e9e dans le char \u00e0 l\u2019insu de Napol\u00e9on qui la fit retirer : \u00ab Ce n\u2019est pas \u00e0 moi de me faire des statues. Que les Victoires et le char soient achev\u00e9s, mais que ce dernier reste vide \u00bb.<\/p>\n
N\u00e9anmoins, lorsque la France rend les chevaux \u00e0 l\u2019Italie en 1815, le char et les deux figures furent enlev\u00e9s et d\u00e9truits. C\u2019est en 1828 que le baron Fran\u00e7ois-Joseph Bosio r\u00e9alise un nouveau quadrige qui est conduit par l\u2019all\u00e9gorie de la Restauration, il s\u2019agit du mod\u00e8le qui est toujours en place aujourd\u2019hui.<\/p>\n
Cette figure de la Victoire distribuant des couronnes appara\u00eet sur deux monuments parisiens de la m\u00eame \u00e9poque que la premi\u00e8re version du quadrige :<\/p>\n
La premi\u00e8re surmonte la fontaine place du Palmier \u00e0 Chatelet, elle est d\u00e9cor\u00e9e de plusieurs sculptures par Louis-Simon Boizot, et a \u00e9t\u00e9 \u00e9lev\u00e9e exactement en 1808.<\/p>\n
La seconde est un bas-relief situ\u00e9 sur la fa\u00e7ade orientale du Palais du Louvre, il a \u00e9t\u00e9 r\u00e9alis\u00e9 par Pierre Cartellier en 1807. Il s’agit l\u00e0 d’une version similaire \u00e0 notre maquette, puisque que la Victoire distribuant les couronnes est accompagn\u00e9e de putti \u00e0 l’avant du char.<\/p>\n
Notre mod\u00e8le reprend celui des chevaux de Saint-Marc avec la m\u00eame teinte et une \u00e9chelle inf\u00e9rieure \u00e0 celle du char afin de pr\u00e9server les effets de perspective puisque la sculpture culmine \u00e0 15 m\u00e8tres de haut et a \u00e9t\u00e9 r\u00e9alis\u00e9e afin d\u2019\u00eatre vue en contre-plong\u00e9e.<\/p>\n
Le fait que la maquette soit install\u00e9e dans un coffrage et d\u00e9cor\u00e9e avec une dorure et une patine laisse penser qu\u2019elle a pu \u00eatre expos\u00e9e ou pr\u00e9sent\u00e9e. Il est donc possible que la r\u00e9alisation du quadrige ait fait l\u2019objet d\u2019un concours, comme il en \u00e9tait l\u2019usage pour ce genre de commandes prestigieuses. Notre mod\u00e8le pourrait \u00eatre une des maquettes qui n\u2019ont pas \u00e9t\u00e9 retenues. Il pourrait s\u2019agir d\u2019un mod\u00e8le donn\u00e9 par Louis-Simon Boizot ou Pierre Cartellier, qui ont ensuite r\u00e9utilis\u00e9 l\u2019image de la Victoire pour les autres projets que nous avons cit\u00e9s pr\u00e9c\u00e9demment.<\/p>\n
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Model (or architectural project) representing a quadriga whose chariot is led by the Victory distributing crowns accompanied by two putti.\u00a0Composition of wood and plaster painted with gold leaf, resting on a base also gilded with gold leaf. The whole is embedded in a mahogany presentation box.<\/p>\n
This model is probably part of the composition projects intended to crown the Arc de Triomphe of the Carrousel du Louvre.<\/p>\n
In 1806, Fran\u00e7ois Fr\u00e9d\u00e9ric Lemot, a neoclassical sculptor much appreciated by the Emperor, was associated with the construction of the Arc de Triomphe du Carrousel intended to support a quadriga. Fontaine and Percier made the drawings and the whole was realized under the direction of Denon. The horses were meant to be the main ornament.\u00a0<\/p>\n
Indeed, at the end of the Italian campaign in 1798, Bonaparte brought back the famous statues of the horses of Constantine. The new Arc de Triomphe du Carrousel, which was a pastiche of the ancient Roman arches, was the perfect base to receive these exceptional works of art. When they arrived in Paris, the statues caused a sensation, the gazettes made abundant mention of them and scale models were made at that time.<\/p>\n
With the horses, it was planned that a chariot driven by Victory and Peace would carry a statue of the Emperor. The latter was placed in the chariot without Napoleon’s knowledge, and he had it removed: \u00ab It is not for me to make statues. Let the Victories and the chariot be completed, but let the latter remain empty.\u00bb<\/p>\n
Nevertheless, when France returned the horses to Italy in 1815, the chariot and the two figures were removed and destroyed. In 1828, Baron Fran\u00e7ois-Joseph Bosio made a new quadriga which was driven by the allegory of the Restoration, this is the one that is still in place today.<\/p>\n
This figure of Victory distributing crowns appears on two Parisian monuments of the same period as the first version of the quadriga:<\/p>\n
The first one surmounts the fountain at Place du Palmier in Chatelet, it is decorated with several sculptures by Louis-Simon Boizot, and was erected in 1808.<\/p>\n
The second is a bas-relief located on the eastern facade of the Louvre Palace, it was made by Pierre Cartellier in 1807. It is a similar version to our model, since the Victory distributing the crowns is accompanied by putti at the front of the chariot.<\/p>\n
Our model is based on that of the horses of Saint Mark’s, with the same color and a smaller scale than that of the chariot, in order to preserve the effects of perspective, since the sculpture reaches a height of 15 meters and was made to be seen from a low angle.<\/p>\n
The fact that the model is installed in a box and decorated with gilding and patina suggests that it may have been exhibited or presented. It is therefore possible that the realization of the quadriga was the subject of a competition, as was customary for this type of prestigious commission. Our model could be one of the models that were not selected. It could be a model given by Louis-Simon Boizot or Pierre Cartellier, who then reused the image of the Victory for the other projects that we have mentioned above.<\/p>\n
<\/p>\n
<\/p>\n","protected":false},"excerpt":{"rendered":"
La maquette du quadrige du Louvre.\u00a0 ________________________<\/p>\n
<\/span><\/font>Pl\u00e2tre et bois patin\u00e9s et dor\u00e9s \u00e0 la feuille.\u00a0
<\/span><\/font>Epoque Empire.\u00a0\u00a0<\/span><\/font><\/p>\n
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