On the lower semicircle, _en cartouche_, the bride again appears playing a guitar, the remaining space being occupied by subjects of a Chinese character. On the reverse we have a representation of the fêtes in the palace gardens, with scenes from the life of the prince—as pupil of Fénelon, and as lover; miniatures of the prince and princess appear on the panaches. This important fan has been attributed to the pencil of Watteau, but with small grounds, being quite unlike the character of Watteau’s work except in the type of some of the figures represented.
The example which formed part of the royal collection at Windsor Castle is so well known that it scarcely needs description here. It consists of a large number of cartouches of classical and pastoral subjects divided by gold borderings. It formerly belonged to Marie-Antoinette, and was procured for Her Majesty Queen Victoria by the Queen of the Belgians.
The fan representing the ‘Toilette of Madame la Marquise de Montespan,’ and ‘the Promenade,’ in the possession of the Countess Duchâtel, has become historic. It was sent by Madame de Sévigné to her daughter, Madame de Grignan, and is thus referred to in her 149th letter: ‘My fan has then become most useful, doubtless. Do you not think it beautiful? Alas, what a bagatelle! You would not take away from me this small pleasure when occasion presents itself—you would thank me for that pleasure, although it is a mere nothing.’
We are enabled, by the courtesy of Mr. Leopold de Rothschild, to illustrate (facing p. 142) one of the best-preserved examples of this interesting type of fan. The subject represents a company of musicians in a garden, with trellised background and fountain; on the lower cartouche a classical landscape; on the panaches are figures of Harlequin, Pierrot, etc., the ornamental portions being painted with the most minute finish.
Upon the death of the elder Martin in 1749, his widow associated herself with her brother-in-law, Julien Martin, who was acquainted with the secrets of this varnish and method. The studio at the entrance to the Faubourg Saint-Denis, therefore, did not cease to prosper, and production went on until 1758. This at least we learn of the engraver Pasquier, and it seems to us that the most successful varnishes are the earliest in date—those which appear to have been produced 1720-1745.[109]