Page:Great Men and Famous Women Volume 8.djvu/119

 MEISSONIER 278 were it small or great, he took infinite pains, never content until he had done everything in his power to show things exactly as they were. Thus, in the pict- ure we have just been describing, we may be sure that we know, from looking at it, exactly how Napoleon was dressed on the day of Friedland, and also how each member of his military staff was dressed ; not a button, nor a strap, nor any smallest detail but has been faithfully copied from the thing itself, while every head in the group is a trustworthy portrait. When it was not possible to get the actual dress worn by the person he was painting, Meissonier spared no pains nor money to obtain an exact copy. How it was in the case of the " Friedland," we do not know, but when he painted the " March to Paris," Meissonier borrowed from the Museum, in Paris, where relics of all the kings of France are kept (the Musce des Souverains), the famous "little gray riding-coat" worn by Napoleon at the battle of the Pyramids and in other engagements. This coat, Meissonier had copied by a tailor, with the minutest accuracy, and it was then worn by the model while he was painting the picture. The same pains were taken with the cuiras- siers who are dashing across the front of the picture in the " Friedland." As will be seen on looking closely, one model served for all the men in the front rank, but- as the uniform was the same it was only necessary to vary the attitude. The uniform and all the accoutrements were carefully reproduced by workmen Irom originals of the time, borrowed by Meissonier for the purpose, and the model was then mounted on a jointed wooden horse and made to take the attitude required : the action of the horse was as carefully studied from that of the living animal. By the time that Meissonier came to paint this picture, he was so famous an art- ist, and had gained such a place in the world, that he could have almost anything he asked for to aid him in his work, So, when, with the same desire for accuracy that he had shown in painting other parts of the picture, he came to paint the trampled grain, the Government, or so we are told, bought the use of a field of ripe grain and lent Meissonier the services of a company of cuirassiers who were set to dashing about in it until they had got it into proper condition s We can see that the cost of all this accuracy would, in the end, amount to a considerable sum, and when we reckon the time of an artist so distinguished as Meissonier, it is not so surprising as it may have appeared at first, that his pict- ure should have brought so much money. Of course, Meissonier did not come all at once to fame and prosperity. The rewards he gained were such as are earned only by hard and constant labor. When he came to Paris about the year 1832, from Lyons, where he was born, he was about nineteen years old. His parents were in humble circumstances, and would seem to have been able to do nothing to advance the lad, who arrived in Paris with little money in his pocket, and with no friends at hand. He had, however, the materials out of which friends and money are made : health, a gen- erous spirit, energy, and a clear purpose, and with these he went to work. We do not hear much about his early life in Paris. When he first appears in sight, he is working in the same studio with Daubigny, the landscape-painter, the two painting pictures for a dollar the square yard, religious pictures probably, and 18