English Caricature and Satire on Napoleon I. John Ashton
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esprit.’ He was always meeting her in society, especially at Barras’s house; and this intimacy, ripening into affection, brought about their marriage. The following series of eight plates, illustrating her life, were drawn by Woodward.
A PLANTER’S DAUGHTER.
A FRENCH COUNTESS.
Josephine (Marie Josephine Rose de la Pagerie) was born at Martinique, according to De Bourrienne, on June 23, 1763, but others say it was the same day of the month, only four years later. She was the daughter of a planter in that island, and was a Creole, i.e. one born in a French West Indian settlement. She was fourteen years old when she was brought to France by her father, and being very graceful and pretty, it was not long before she was married, which was to the Vicomte de Beauharnais, on December 13, 1779. The union was not at first a happy one. She went to Martinique, to see her mother, and stayed there about fifteen months. Her husband was a general in the army of the Rhine, but was singled out by Robespierre as a victim of his tyranny, was imprisoned and beheaded. Josephine was also imprisoned, and it was at La Force that she met with Madame Tallien—‘Nôtre Dame de Thermidor,’ as Arsène Houssaye calls her—who was also in prison. Here, uncertain as to their fate, the female prisoners played at mock trials and executions (for the trials always ended in condemnation), and day by day their numbers grew less, as they were taken away to the real tragedy which they had rehearsed. Scandal (French before it became English) says that Barras, smitten by her charms, had her released on condition that she became his mistress. Here is one French account:25 ‘A cette époque, la jeune veuve du malheureux vicomte de Beauharnais, mort sur l’échafaud, languissait aux Magdelonettes, où, depuis longtems, elle était détenue comme suspecte. Intimement liée avec Hoche, elle le pria de parler pour elle à Barras, alors tout-puissant. Celui-ci ne connaissait la vicomtesse que de réputation; il voulut la voir, et lui rendit visite dans sa prison. … Barras, séduit par la conversation et les charmes personnels de la jeune veuve, devint, à la première visite, et son protecteur, et son ami. Deux jours après, elle fut rendue à la liberté.’
A WIDOW.
A PRISONER.
A LOOSE FISH.
BARRAS’ MISTRESS.
That Josephine gave rise to this scandal, is probably owing to her intimacy with Madame Tallien and Barras. Barras, she was bound to be grateful to, for by his means, a part of her husband’s property was restored to her; but it was Tallien who, at his wife’s entreaty, obtained the liberty, both of Josephine and Duchesse d’Aiguillon. Madame Tallien’s receptions were the most brilliant in Paris, where the prettiest and wittiest women met the men most distinguished in any way, and common gratitude, at least, would have led Josephine to the assemblies of her dear friend, who had shared her imprisonment, and obtained her release.
CHAPTER VI.
JOSEPHINE’S DRESS AND PERSONAL APPEARANCE—HER REPUTED CONNECTION WITH BARRAS—MARRIAGE WITH NAPOLEON—HER TASTES AND DISPOSITION.
Let us for a moment, as an antidote to the caricaturist’s pictures, see what was Josephine’s dress at this period.26 ‘Here is Madame de Beauharnais, that excellent Josephine, whose heart is not made for coquetry, but who throws a childish joy into her dress. With an air less dramatic and superb than her rivals,27 the joyous and kindly creole is, perhaps, the most French of the three, Madame Tallien is the most Greek, and Madame Viconti the most Roman. Josephine wears a wavy dress, rose and white from top to bottom, with a train trimmed at the bottom with black bugles, a bodice six fingers deep, and wearing no fichu; short sleeves of black gauze, long gloves covering the elbow of noisette colour, which suits this beautiful violet so well; shoes of yellow morocco; white stockings with green clocks. If her hair is dressed after the Etruscan manner, ornamented with cherry-coloured ribbons, I am sure it is impossible to approach nearer to the antique. To tempt the fashion is the sole ambition of the pretty Josephine, but it happens that the celebrated Madame de Beauharnais sets it.’
It is impossible to quit this subject without some contemporary quotations, as they help us to realise the truth, or falsehood, of the caricaturist.28 ‘Madame Tallien was kind and obliging, but such is the effect on the multitude of a name that bears a stain, that her cause was never separated from that of her husband. The following is a proof of this. Junot was the bearer of the second flags, which were sent from the army of Italy to the Directory. He was received with all the pomp which attended the reception of Marmont, who was the bearer of the first colours. Madame Bonaparte, who had not yet set out to join Napoleon, wished to witness the ceremony; and, on the day appointed for the reception of Junot she repaired to the Directory, accompanied by Madame Tallien. They lived at that time in great intimacy; the latter was a fraction of the Directorial royalty with which Josephine, when Madame Beauharnais, and, indeed, after she became Madame Bonaparte, was in some degree invested. Madame Bonaparte was still a fine woman; her teeth, it is true, were already frightfully decayed, but when her mouth was closed she looked, especially at a little distance, both young and pretty. As to Madame Tallien, she was then in the full bloom of her beauty. Both were dressed in the antique style, which was then the prevailing fashion, and with as much of richness and ornament as were suitable to morning costume. When the reception was ended, and they were about to leave the Directory, it may be presumed that Junot was not a little proud to offer to escort these two charming women. Junot was then a handsome young man of five and twenty, and he had the military look and style for which, indeed, he was always remarkable. A splendid uniform of a colonel of huzzars set off his fine figure to the utmost advantage. When the ceremony was ended, he offered one arm to Madame Bonaparte, who as his general’s wife was entitled to the first honour, especially on that solemn day; and offering his other arm to Madame Tallien, he conducted them down the staircase of the Luxembourg. The crowd stepped forward to see them as they passed along. “That is the general’s wife,” said one. “That is his aide de camp,” said another. “He is very young.” “She is very pretty.—Vive le General Bonaparte!—Vive la Citoyenne Bonaparte! She is a good friend to the poor.” “Ah!” exclaimed a great fat market woman, “She is Notre Dame des Victoires!” “You are right,” said another, “and see who is on the other side of the officer; that is Notre Dame de Septembre!” This was severe and it was also unjust.’
We must not trust to the caricaturist’s portrait of Josephine. She was good looking and graceful then, but, afterwards, she did become very stout. We must never forget in looking over the folios of caricatures of this period, that the idea of caricaturing then was to exaggerate everything, and make it grotesque; it is only of modern years that the refinement of a Leech, Tenniel, or Proctor, gives us caricature without vulgarity.
After seeing Josephine as she really was, it will be worth while to compare the satirist’s idea of her, and her marriage with Napoleon.
Nap changed on entering Society,
Obscurity for notoriety;
He to Barras only inferior,
Commands the army of th’ interior.
As pride in office is essential,
His manners now were consequential;
Conducting all affairs of weight,
The little man was very great;
And by this sudden