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Dear Sir, Madam,
Two hundred years today go took place Napoleon's coronation. This bicentenary is perfect justification (if justication were needed) for that fact that the weekly news bulletin conseacrated to this event (which exists on both a real and legendary level) should come to you on a Thursday instead of Friday and in a special coronation colour.
In the complete absence of an official commemoration, the Fondation Napoléon, I believe, has done, its duty: talk and concert (18 May), exhibition of the Treasures of the Fondation Napoléon at the Musée Jacquemart-André since the end of September), publication of the first volume of the Correspondance générale de Napoléon (20 October) and, this evening, at the Madeleine church, a concert with the mass for the coronation by Paisiello, with motets by Lesueur, Abbé Roze (box office full, only those with invitations will be allowed to enter).
But the commemorations of the proclamation of the Empire are not over by any means. This weekend is to be held the First Empire Salon, and the Palais des Congrès in Paris. Thousands of visitors are expected at this meeting of institutions, associations, book-, antique- and napoleonic-souvenir dealers. The Fondation Napoléon will be present. We look forward to meeting you there.
Wishing you an excellent Napoleonic bicentenary weekend!
Baron Gourgaud
President of the Fondation Napoléon
THIS MONTH'S PAINTING
The consecration or coronation, by Jacques-Louis David
Commissioned by Napoleon, without specific destination, in October 1804, the "Sacre de Napoléon" (Louvre Museum) was supposed to illustrate the ceremony to be held on 2 December at Notre-Dame. Of the three paintings planned, only one, The Distribution of the Aigles, was to be executed (Versailles). Here is the preparatory drawing showing the complete scene.
200 YEARS AGO
Napoleon's coronation, primidi 11 Frimaire, An XIII (2 December, 1804)
The processions to Notre-Dame
During the night of 1/2 December, 1804, there was some light snowfall, and workmen hurried to brush it away from the surroundings of the Tuileries Palace and the procession routes, covering the bare with salt.
At 6am, the first of those with invitations began to try to get into Notre-Dame. Unfortunately they had to be turned away as carpenters were still putting the last touches to the cathedral's decorations.
At about 7am, the five hundred instrumentalists and singers were in place on the temporary grandstands placed at either end of the crossing.
At 9am, the Diplomatic corps arrived at the cathedral. Only the the Comte Cobenzl, chancellor of Austria, was absent as part of an attempt to mark the diplomatic disagreements between his country and France.
Circa 9am, the pontifical procession, accompanied by 108 dragoons, set out from the Tuileries Palace. Pius VII rode in the second carriage, one of Josephine's carriages decorated specially for the ceremony. The procession was led by the nuncio Speroni riding an ass and carrying the cross. This piece of pontifical protocol greatly amused bystanders.
After 10am, the imperial procession, comprising 25 carriages, drawn by 150 hundred and escorted by six regiments of cavalry, cuirassiers, mounted chasseurs and mounted grenadiers, left the Tuileries Palace.
The cortège followed the route Rue Saint-Honoré, Rue du Roule, crossed the Pont Neuf, ran along the Quai des orfèvres, leading into the Rue Saint-Louis, the Rue du Marché Neuf and finally the Rue du parvis Notre-Dame.
At 10-30am, the pontifical cortège reached Notre-Dame. At the entrance to the archbishop's palace (over which had been erected a reception tent for the carriages), the pope was met by the Archbishop of Paris, the Cardinal du Belloy. After donning the ceremonial robes and his celebrated tiara, the pope entered the cathedral to the sound of Le Sueur's motet, Tu es Petrus, and took his seat on the throne set aside for him on the left-hand side of the choir near the high altar.
After 11am, the carriages bearing the imperial couple entered the tent/vestibule at the entrance to the archbishop's palace. There they removed their 'petit habillement', or undress costume, for the coronation, to put on their 'Grand habillement', or formal robes.
Napoleon's 'Grand habillement' comprised: "white silk pantaloons and stockings; white slippers with gold embroidery; a white silk tunic, bordered and embroidered with gold crepine at the base; a cloak attached at the shoulders, made of purple velvet spotted with golden bees, embroidered around the edges and lined with ermine; white gold-embroidered gloves, a lace cravate; open crown of gold, formed into bay leaves formée; gold sceptre and hand of justice; sword with gold handle, encrusted with diamonds, attached to a white sash worn around the waist and decorated with gold crepine" (imperial decree, 29 Messidor, An XII).
Josephine's 'Grand habillement' comprised: a long-sleeved dress in silver brocade; a bodice with diamonds and lace gold-embroidered shoulder/collar piece; a velvet cloak spotted with golden bees, lined with ermine and decorated with olive-branch and oak-leaf embroidery surrounding the letter N. It is fastened at the shoulder and at the waist on the left-hand side. The crown for the ceremony is decorated with black pearls and shuold be attached by clips to the diadem worn with the 'Petit habillement' (imperial decree, 29 Messidor, An XII).
Circa midday, Cardinal du Belloy greeted Napoleon and Josephine at the entrance to Notre-Dame and sprinkled them with holy water. They then entered the church to the sound of Le Sueur's Coronation march. The cardinals Cambacérès and du Belloy preceded them and led them to their 'petits trônes' (low thrones) situated in front of the high altar in the centre of the choir, opposite the papal throne.
The ceremony
Napoleon prayed briefly and then gave the regalia he was carrying (hand of justice, sceptre, crown, necklace of the Légion d'honneur, sword) to the Grands dignitaires, during which the choir sang the Veni creator spiritus.
At the end of this plainsong, the pope received Napoleon's religious oath. Pius VII then blessed the kneeling imperial couple with the triple benediction taken from the coronation rite of Rheims.
The imperial couple then moved towards the high altar where they received the sacred coronation unction, on the forehead and on both hands.
During this the choirs sang Le Sueur's motet, Unxerunt Salomonem.
The mass proper then began, the choir singing the introit, the Kyrie, and the Gloria from the Coronation mass written by Giovanni Paisiello.
After the Alleluia, the ornaments were blessed, namely, the sword, the cloak, the r
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BIOGRAPHIES
Biography of Louis-Philippe de Ségur, Grand-officier du palais de l'Empereur, organiser of the ceremonies for the Coronation.
ICONOGRAPHY
The coronation, by David
Napoleon on the imperial throne in his coronation robes, by Ingres
Napoleon in his coronation robes, by Gérard
Golden leaf from the coronation crown, by Biennais
Dress and train worn on the day of Napoleon's coronation
The symbols on the imperial coat of arms
TIMELINE
From Life Consulship to the hereditary Empire (1802-1804)
The day of Napoleon's coronation, 11 Frimaire, An XIII (2 December, 1804)
For our complementary dossier on the proclamaition of empire, click here.
WHAT'S ON
Exhibition: The Coronation of Napoleon painted by David
Exhibition: Images of the coronation of the Emperor Napoleon
Music for the Coronation of Napoleon I
This disk is a special re-edition (not available in the shops) of the out-of-print recording made in 1995 at the Abbatiale de La Chaise-Dieu. It includes the march and motets by Le Sueur; the Vivat by Abbé Roze; and the mass and Te Deum by Paisiello.
Available from 6 December, 2004, from the offices of the Festival de La Chaise-Dieu - 10 rue Jules Vallès - B.P 150 - 43004 Le Puy-en-Velay Cedex - Tel.: +33 (0)4 71 09 48 28.
For a biography of the composer Le Sueur, click here.
The monthly titles
- This month's book: Wellington's Navy: Sea Power and the Pensinsular War 1807-1814, by C. D. Hall
- This month's painting: Fair by a river, by Jean-Louis Demarne
- This month's article: Beethoven, Byron, and Bonaparte - part 2, by John Clubbe
- In the Collectors Corner, Revolutionary period skeleton clock
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