A FRENCH SCULPTOR IN WILTSHIRE: HENRI DETRIQUETI ATTEFFONT EVIAS 



43 



material in the Royal Archives and for permission 

 to reproduce photographs of works of art in the 

 Royal Collection. I should like to thank Mrs. J. 

 Kelsey, Deputy Registrar at the Royal Archives, for 

 reading the manuscript and offering suggestions 

 and providing information. I am also grateful for 

 permission to quote from manuscript material held 

 by Library Services, University College London and 

 to the staff of the Strang Print Room and the Rare 

 Books and Manuscripts Department for their 

 assistance. I am indebted to Catherine Bernard, 

 Mrs. J.O. De Salis, Mr. Rodolph De Salis, Mrs. 

 Jean Elrington, Mr. David Foston, Professor 

 William Keatinge, and Mrs. M. McBain, all of 

 whom provided valuable information and advice 

 concerning the De Salis and Mayne families. 



The Marmor Homericum photograph is 

 published courtesy of the Conway Library, 

 Courtauld Institute of Art; the Visitation 

 photograph with permission of the Victoria and 

 Albert Museum; the photograph of The Choir of 

 Angels panel and the church at Teffont Evias by 

 kind permission of Kirby Idris, Tisbury; and the 

 photograph of Boehm's statuette of Emily Fane de 

 Salis is published courtesy of Professor W. Keatinge. 

 I am indebted to Sotheby's Institute of Art for 

 generously funding the photographs for this article. 



Notes 



Documents in the Royal Archives are prefixed by the 

 letters RA and are quoted with the kind permission 

 of Her Majesty Queen Elizabeth II. 



1 Nikolaus Pevsner, revised by Bridget Cherry, The 



Buildings of England Wiltshire (Harmondsworth: 

 Penguin Books, 1981), 518. Sgraffito, a decorative 

 technique used in a variety of materials, involves layers 

 of different colours being applied to a surface. The 

 design is scratched through the top layer to reveal 

 the colour underneath. 



2 Sylvain Bellenger, 'Henri de Triqueti et l'Angleterre', 



A. Gonzales-Palacios (ed.) Antologia di Belle Arti, 

 La Scultura (Turin, 1996), II, 183-200 mentions the 

 Teffont Evias panel as 'Probablement toujours en 

 place dans la chapelle de Teffont Manor'. 



3 For Triqueti see Bellenger 'Henri de Triqueti'; Stanislas 



Lami, Dictionnaire des Sculpteurs de l'Ecole francais, 

 XLX, (Paris, 1914-1921), IV, 318-324; Un age d'or 

 des arts decoratifs, 1814-1848, (Paris: Reunion des 

 musees nationaux, 1991); Henri de Triqueti 1804- 

 1874. Le prince gisant. Histoire et restauration du 

 gisant de Ferdinand d'Orleans (Montargis: Editions 

 du Musee Girodet, 1990). 



4 The process is described in J. and M. Davison The 



Triqueti Marbles in the Albert Memorial Chapel, 

 Windsor: a series of photographs executed by the 

 Misses Davison (London: Chapman & Hall, 1876), 

 ii-iii. 



5 Charles Clement Artistes Anciens et Modernes (Paris, 



1876), 324. 



6 Bellenger, 'Henri de Triqueti', 190-1; M.H. Port (ed.) 



The Houses of Parliament (New Haven and London: 

 Yale University Press, 1976), 268-81. 



7 Leaflet describing the Marmor Homericum, 1865, 



Library Services, University College London , Ms. 

 Add. 332, 94. 



8 This commission is discussed in Francois Legrand ' 



L'echec des "tarsias" aux Invalides', F. Hamon & C. 

 MacCallum (eds.) Louis Visconti 1791-1853 (Paris: 

 Delegation a Taction artistique de la ville de Paris, 

 1991), 181-183 and in Michael Paul Driskel As Befits 

 a Legend Building a Tomb for Napoleon 1840-1861 

 (Kent State University Press, 1993), 146, 150-153. 

 Q Legrand, 'L'echec des "tarsias" ', 183. A surviving 

 drawing for the scheme is reproduced in Legrand, 

 181. As compensation, Triqueti was commissioned 

 for a marble figure of Christ on the Cross for the 

 main altar (Driskel, As Befits a Legend, 150-151). 

 The walls of the peristyle were subsequently decorated 

 with marble bas-reliefs after the designs of Pierre- 

 Charles Simart. 



10 La Visitation [no.4916] and La Paix et la prosperite 



publique [no. 4917], Lami, Dictionnaire, 322. J. and 

 M. Davison, The Triqueti Marbles, ii states that 

 Triqueti was working on these panels in 1845. 



11 The Art Journal, April 1862, 10. Henry Cole records 



seeing Triqueti 's incised marbles on 3 March 1862, 

 and that they were in place in the exhibition building 

 on 12 June 1862. National Art Library, Henry Cole 

 Diaries. 



'- Bellenger, 'Henri de Triqueti', 186-90. 



13 Museum no. 8014-1862. Signed and dated 1847, the 

 panel measures 7 feet 2 inches high by 4 feet 1 1 inches 

 wide. 



La Paix et la prosperite publique panel seems to 

 have remained in Triqueti's possession until after his 

 death in 1874 when it was given to the Girodet 

 Museum at Montargis, probably by his daughter 

 Blanche Lee-Childe (Information kindly supplied by 

 the Museum). Signed and dated 1845, its dimensions 

 (H. 2.330m. by W. 1.440 m.), format and colours 

 correspond to La Visitation panel. It is illustrated in 

 Bellenger, 'Henri de Triqueti', 1 94, where it is referred 

 to as for Napoleon's tomb. 



11 11th Report of the Science and Art Department 

 (London, 1864), 178. 



15 John Physick, The Victoria and Albert Museum The 



History of its Building (London, 1983), pp.62-67. 



16 The original museum description states the panel is 'in 



white and tinted marble, with black outlines on grey 

 ground'. 



17 J. and M. Davison, The Triqueti Marbles, iii, suggested 



