For most people, Napoleon and his hat are one. No symbol ever so completely represented a historical character. Fully conscious of the force of this symbolism, Bonaparte made it part of his image early on in the Consulate. He chose two military uniforms, one of the Grenadiers à pied and the other of the Chasseurs à cheval of the Garde, but the way he wore his hat was entirely his own. Whilst most of his officers wore their hats “en colonne”, that is, perpendicular to the shoulders, Napoleon wore his “en bataille”, that is, with the corns parallel to shoulders. His simple and sober outfit contrasted strongly with the officers around him, glorious in their plumed hats. It meant that he was immediately recognisable amongst his troops on the battlefield.
One of the oldest known hats is that worn by the First Consul at the Battle of Marengo and today held at the Musée de l’Armée. Up to the end of the Empire, the forms and dimensions varied a little, but the general aspect remained the same. As did his hatmaker. Indeed, so much so that Rostand’s Metternich sees irony in it: “In fact the legend comes from a hatmaker/ The real Napoleon, in the end… is Poupard!”. Poupard’s shop, with its sign, “Temple du goût” (Temple of Taste), was situated in the Palais du Tribunat (Palais-Royal), in the gallery on the side next to Rue de la Loi, at n°32. In 1808, the company became ‘Poupard et Cie’, and then in 1811, ‘Poupard et Delaunay’. Every year, he delivered four ‘French’ hats, in black ‘beaver’, decorated simply with a tricoleur cocarde slipped into a silk sheath with a button.
Napoleon always had with him a set of twelve hats. Only four were taken to St Helena. The one presented here is one of those. On the Emperor’s death, one of them was placed in his coffin. Napoleon and his “little hat” rest together for eternity. (Napoleon.org)作者: ngsunyu 时间: 2022-1-30 00:12 本帖最后由 ngsunyu 于 2022-1-30 00:15 编辑
On the 20 April at noon … Napoleon left his rooms… He descended the flight of steps [above the Cour du Cheval-Blanc, at Fontainebleau Palace] and, passing the row of carriages, he advanced towards the Guard. He made a sign that he wished to speak. Everyone fell silent, and in a most devoted quiet, they listened to his last words.
‘Soldiers of my Old Guard, I bid you farewell. For twenty years you have been my constant companions on the road to honour and glory. In these latter times, as in the days of our prosperity, you have never ceased to be models of courage and fidelity. With men such as you our cause would not have been lost; but the war would have been interminable; it would have been a civil war, and France would only have become unhappier still. I have therefore sacrificed all of our interests to those of la patrie; I shall depart. But you, my friends, continue to serve France. Her happiness was my only thought; it shall continue to be the object of my desires. Do not lament my fate; the only reason I have allowed myself to survive was so that I could further serve our glory. I want to write down the great deeds which we have done together. Adieu, my children! Would that I could press you all to my heart. Let me at least embrace your standard….!’
At these words, General Petit, seized the aigle and stepped forward. Napoleon took the general in his arms and kissed the standard. The silence which this great scene imposed was broken only by the sobs of the soldiers. Napoleon, visibly moved, pulled himself together and began again with a stronger voice:
‘Once again, adieu, my old companions! May this last kiss pass to your hearts!’
Thus he spoke, and bursting out of the group which had formed around him, he threw himself into his carriage…”
Source: Baron Fain, Manuscrit de 1814, Paris: Bossange, 1830, pp. 251-2.
The ‘original’ version of the ‘Adieux de Fontainebleau’, found and quoted by Thierry Lentz in Les vingts jours de Fontainebleau, Paris : Perrin, 2014, pp. 202-3:
“Soldiers of my Old Guard, I bid you farewell.
For twenty years, you have constantly been by my side on the road to honour and glory. You have always behaved with courage and fidelity. Again in these last days, you have given me proof of this.
In your hands, our cause would not have been lost. For three years I could have waged a civil war; but France would only have been more unhappy, there would have been no definitive outcome. The allied powers were presenting all of Europe united against us. One part of the army betrayed me; parties were created to form another government. I have sacrificed all my personal interests for the good of the nation; so I am leaving. You will serve her always with glory and honour; you will be faithful to your new sovereign.
Receive my thanks. I cannot embrace you all, I will embrace your leader, I will also embrace your flag. Come, General, bring forward the flag…” (Napoleon.org)
In 1805, the day after Austerlitz, Vivant Denon, the Director of Museums, proposed that a commemorative column be erected dedicated to the Grande Armée, using the cannons taken from the Austrians. A decree of 1806 confirmed this proposal. Astutely, Denon abandoned the idea of a column dedicated to Charlemagne, deciding rather on a ‘German’ column on which ‘the recent campaign’ was to be ‘set in bronze on an eight hundred and thirty foot bas-relief frieze, representing the memorable campaign of 1805, just as the expedition against the Dacians was carved into Trajan’s Column’.
The column was designed by Lepère and Gondoin and received many different names – first the ‘Austerlitz Column’, then the ‘Victory Column’ finally becoming the ‘Colonne de la Grande Armée’. Lepère supervised the melting down of the 1200 artillery pieces taken from the Russians and Austrians. The following inscription was engraved on the abacus of the capital: ‘Monument erected to the glory of Napoleon the Great’s Grande Armée, begun on 25 August 1806 and finished 15 August 1810’.
The column comprises a stone core enrobed with 425 bronze plaques fixed to the stone with pins. A 280 metre-long frieze of bas-reliefs, designed from drawings by Bergeret, winds round the column depicting the major events of the campaign – from the camp in Boulogne to the return of the Emperor and his guard in 1806. A team of sculptors (including Boizot, Bosio, Bartolini, Ramey, Rude, Corbet, Clodion and Ruxthiel) was commissioned to execute the frieze.
Forty-two metres tall, the column was crowned with a statue commissioned from Chaudet of The Emperor in Roman dress. The statue was taken down by the Allies in 1814 and replaced during the Restoration by a flag bearing fleurs de lys. Under the July Monarchy this was replaced with a statue by Seurre showing Napoleon as ‘Little Corporal’, a statue today held in the Invalides. During Second Empire, a copy of Chaudet’s initial statue designed by Dumont was hoisted to the top of the column to replace that by Seurre.
Dismantled during the Commune at the instigation of Gustave Courbet, the Vendôme column was restored and re-erected once more in 1873; a court case directed the costs for this to Courbet himself, though he was to die before payment could be made. (Napoleon.org)作者: ngsunyu 时间: 2022-2-20 02:48
在巴黎凱旋門兩面門墩的牆面上，有4組以戰爭為題材的大型浮雕：「出征」、「勝利」、「抵抗」和「和平」。在这些大型浮雕之上是六个浅浮雕，奥斯特里茨战役位于西面。
Above these hauts-reliefs are six bas-reliefs recalling the battle of Austerlitz, the funeral of Marceau, the taking of Alexandria, the battle of Jemmapes, the passage of the pont d'Arcole and the battle of Aboukir.[
La bataille d'Austerlitz (The Battle of Austerlitz), by Théodore Gechter (Western façade).作者: ngsunyu 时间: 2022-2-20 02:50
奥斯特里茨战役浅浮雕位于巴黎凱旋門西面。
Above these hauts-reliefs are six bas-reliefs recalling the battle of Austerlitz, the funeral of Marceau, the taking of Alexandria, the battle of Jemmapes, the passage of the pont d'Arcole and the battle of Aboukir.[
La bataille d'Austerlitz (The Battle of Austerlitz), by Théodore Gechter (Western façade).作者: ngsunyu 时间: 2022-2-27 09:07
在巴黎凱旋門兩面門墩的牆面上，有4組以戰爭為題材的大型浮雕：「出征」、「勝利」、「抵抗」和「和平」。
Le Triomphe de 1810, by Jean-Pierre Cortot celebrates the Treaty of Schönbrunn. This group features Napoleon, crowned by the goddess of Victory. 1833
"Le Triomphe de 1810" celebrates the Treaty of Schönbrunn. This group features Napoleon, crowned by the goddess of Victory. The Arc de triomphe was intended to honour the victory of Napoleon's army at Austerlitz and in fact became a monument celebrating all his achievements. The architects Chalgrin, Joust and Blouet were charged with the monument's design and Cortot, François Rude, Antoine Etex and Pradier were chosen to carry out the sculptural work involved. The Arc de Triomphe has three arches and the main hauts-relief are positioned on its four pillars. François Rude's "le Départ des Volontaires" and Cortot's "Le Triomphe de Napoléon" face the Champs Elysées, and Etex's "La République" and "La Paix" face the Avenue de la Grande Armée. 作者: ngsunyu 时间: 2022-2-27 09:11
在巴黎軍事博物館（法語：Musée de l'Armée）的 Turenne 前食堂，装饰着 拿破仑的骑马像是路易斯-玛丽·莫里斯 (Louis-Marie Morise)的雕作。作者: ngsunyu 时间: 2022-2-27 09:12
在巴黎軍事博物館（法語：Musée de l'Armée）的 Turenne 前食堂，装饰着 拿破仑的骑马像是路易斯-玛丽·莫里斯 (Louis-Marie Morise)的雕作。