Evening star. [volume] (Washington, D.C.) 1854-1972, 1895-02-19
NAPOLEON ON CANVAS
Mr.. Gardiner e. Hubbard's Talk on the Con-
queror and His Portraits.
The Story of the Emperor's Life az
Told by the Painters-An Interest,"
Ing Collection Exhibited.

Mr.. Gardiner G. Hubbard delivered an
interesting lecture yesterday afternoon In
the lecture hall Of the Columbian Univer-
sity. beginning at 4:3O o'clock, his subject
being Napoleon and His Portraits" The
lecture was illustrated by a large number
Of stereopticon views, cast upon a screen,
showing Napoleon in all the stages Of his
wonderful career. Beginning with de-
scription of the Island Of Corsica, with a
beautiful view of the town in which Ma
poleon was born, the lecturer traced the
various outlines of the family connec-
tions, showing portraits of the parents Of
the Little Corporal. and then passing on
to give an excellent notion Of the appear
ance of the young man at that period of his
life One of the portraits, he said, has been
seriously disputed, 1t being argued that at
the time at which 1t was supposed to have
been painted Napoleon had not the means
to pay for the work, nor was he of suf-
ficient prominence or Importance to war
rant a painter making his portrait gratis.
Mr. Hubbard went on to say that he had
written to the present owner of this por-
trait, which is a singularly fine one. to
ask for the history of the canvas Of which
he showed an engraving.
Faith In Napoleon.
This inquiry developed the statement
that the portrait was painted by the order
of a woman who had great faith In the
future Of the young man. to whose daugh-
ter he was then paying attention. She
favored the match, but her husband
frowned upon it. and the engagement was
broken off. The painting was preserved Dy
the young lady, and passed through one or
two hands before it reached those of Las
Casas, one of Napoleon's companions in
exile at Elba. 1t Is now in the possession
of one of his descendants. Mr.. Hubbard
Thought IA this settled havOnd OleS-
ton all doubts as to the authenticity OF the
portrait. 1t represents Napoleon In
handsome uniform, and without that nag
gard, drawn appearance of face or Wild
ness of hair that the later portraits of him.
taken during hts earlier campaigns in Italy,
always present.
One of the most interesting paintings Of
Napoleon, which was reproduced on the
screen. was that representing him as he
passed through the mosque touching the
plague-stricken people. He did this while
he was In Egypt with his army, Tor the
purpose of reassuring the soldiers, and,
upon his return home. he gave orders TO q
painter who desired to make a portrait to
paint him in that situation.
Crossing the Alps.
Mr.. Hubbard told many other interesting
stories about the portraits of the great
general, including that of how David wish
ed to paint him in the act Of crossing the
Alps mounted on an ass. Napoleon de-
INJURED, declaring that he would not go
down to posterity crossing the Alps In such
a manner. So he was painted mounted on
his white steed, Rainbow. AS a companion
piece Mr. Hubbard showed a picture of
how Napoleon really crossed the Alps, in
which the humble ass truthfully appears,
and all the fire and ardor and bravado that
are depicted in the famous painting are
lacking. A portrait Of this horse, Rain
bow, was also shown, standing in a fiery
position on a desolate plain. Mr.. Hubbard
told how the bones Of this animal. which
Napoleon rode throughout his military
career, are now buried under the painting
itself. and the hoof is nightly passed
around as a snuff box after dinner by the
members of the queens guards, in London.
Meanwhile. the story of the general. the
first consul, the emperor and the exile, was
being told with forceful language, and the
pictures were flashing on the screen with
rapidity, giving an excellent view Of the
life of the conqueror of Europe. Portraits
of all who surrounded him at that time
were given, and Illustrations were shown
to indicate the gorgeous apparel OF the
court during the days of the empire. Pass
ing quickly along through the Russian
campaign, the scenes of the abdication
We're shown. the landing after the exile at
Elba, the battle of Waterloo, the voyage on
the Bellerophon to st. Helena, the death
bed scene, the tomb on the island, the mag
nificent cortege when the remains of Ma
poleon were removed to Paris, and finally,
an allegorical picture painted by a French
man. showing Napoleon reviewing his
armies after his death. The lecture hall
was crowded by a brilliant audience.