File:French architects and sculptors of the XVIIIth century (1900) (14577987960).jpg

Identifier: frencharchitects00dilk (find matches)
Title: French architects and sculptors of the XVIIIth century
Year: 1900 (1900s)
Authors: Dilke, Emilia Francis Strong, Lady, 1840-1904
Subjects: Architects Sculpture, French Sculptors
Publisher: London, G. Bell and sons
Contributing Library: Getty Research Institute
Digitizing Sponsor: Getty Research Institute

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ould speak were it not that the rules of hisorder enjoin silence—and the famous Ecorche, 4 a figurewhich with its companion, executed after his return to Paris, ispart of the necessary furniture of every school of art. On this figure decorche quil a faite avec toute letude dont il est capable,Houdon was agree by the Academy on the 30th September, 1769,and he added to the value of the work which he presented bygiving a plaster cast of the Ecorche to the school for the use ofstudents. So much importance did he attach to these studies that,twenty years later,5 in spite of the enormous mass of work which hewas producing, he yet found time to continue his scientific studies,and called on the Academy to select one of two more ecorches, 1 1741-1828. R., 26 July, 1777 ; Adjt. a Prof., 1792.3 P. V., 29 August, 1761. 3 In the Carthusian Church of Sta. Maria dei Angeli, Rome.* At the Ecole des Beaux Arts. P. V., 10 April, 1790. 130 Diana. By Houdon.(Head of the marble statue in the Hermitage )
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which he was exhibiting in their rooms. In 1792,1 having been Theappointed adjoint a Professeur, he marked his entry on his new pjg^^jduties by the present of another figure de lEcorche, quil a jean-execute en seconde afin davoir lEcorche dans difFerens mouve- ^nt<^nements. Yet again he writes to Bachelier saying (20 vendemiaire andan 3) that he had dedicated his life to lanatomie et lart de Claudefondre, and adds, quoique pere de famille je fondis mon Ecorche j^^ioaen 1792. 2 Houdons model for the graceful statuette of Morpheus, hisdiploma work, now in the Louvre, was exhibited in 1771,3 and onthis success Houdon at once received the usual tribute of ordersfrom Russia.4 Catharine II. had then begun to tire of her incom-parable Falconnet, and commissioned Houdon to execute her bust,which appeared at the Salon of 1773, together with monumentsfor two Princes Galitzin 5 and portraits of princes and princesses ofthe reigning house of Saxe Gotha. These last gave so much satis-faction th

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