Mary Wollstonecraft’s Visit to Deserted Palace of Versailles in 1792

At the moment I am reading Charlotte Gordon’s book “Romantic Outlaws: The Extraordinary Lives of Mary Wollstoncraft and Her Daughter Mary Shelley”. It’s a wonderful, informative and beautifully written dual biography about Mary Wollstonecraft and Mary Shelley; a mother and daughter who never quite got to know one another as Mary Wollstonecraft died in 1797, just one month after her daughter Mary was born. Mary Godwin Shelley grew up without her mother, without even a memory of her, but the idea of her mother haunted her throughout her entire life. Both Marys were passionate and intelligent rule-breakers and so the title “Romantic Outlaws” is more than fitting. I am slowly savouring the book, chapter by chapter, and I love the rhythm of the book; one chapter is about Mary Wollstonecraft and the next about Mary Shelley and that makes the story even more exciting.

Claude-Louis Châtelet (1753-1795), The Temple of Love at Versailles, 18th century

In the chapter eighteen it’s the spring of 1792 and we find the thirty-three year old Mary Wollstonecraft living in the middle of a revolutionary Paris, witnessing the cruelty of the revolution that is taking a darker turn than anyone had anticipated, and yet, in the middle of all the riots, dangers, violence and uncertainty, she falls in love for the first time: with Gilbert Imlay. Mary decides to move to a little cottage in Neuilly, just outside Paris and, in a restless, dreamy and romantic mood Mary starts going on long walks hoping that exercise and walking will distract her mind from constant yearning and pining for her beloved. On one such walk Mary visits the lonely and abandoned palace of Versailles and this passage from the book was very atmospheric and melancholy to me:

“Undeterred, Mary roamed through the nearby fields, even trekking eleven miles to Versailles. She would be one of the last to see the deserted palace before the royal furniture was auctioned off later that summer. It was still very much as it had been when the king and queen lived there, though the halls echoed with emptiness. The “air is chill,” she wrote, “seeming to clog the breath; and the wasting dampness of destruction appears to be stealing into the vast pile on every side.” It was an eerie experience, walking alone through the Hall of Mirrors, the War Salon, the Hercules Room, the queen’s chambers. She felt surrounded by ghosts: the “gigantic” portraits of kings “seem to be sinking into the embraces of death.” Outside, all of the famous grottoes and statues were still there, including Marie Antoinette’s “Temple of Love” and her infamous “farm,” the petit hameau, where she and her ladies had dressed as shepherdesses and milked the prettiest, most gentle cows the servants could find. But now the grass was overgrown and the flowerbeds unweeded. Mary was both shocked and saddened by what she saw, writing, “I weep, O France, over the vestiges of thy former oppression.” Yet while she disapproved of the opulence of Versailles, its glorification of kings and their armies, she was also appalled at the reports she heard about the Jacobins’ abuse of power, killing people “whose only crime is their name.” Hope lay in freedom, she believed, not in tyranny, whether the tyrants were republican leaders or monarchs.”

I wish I could travel back in time and take a walk through a deserted palace and gardens of Versailles, oh I’d love to linger around for a while, pine for the lost times, like a true nostalgic, admire the loveliness of it all, seek for the ghosts in the deepest, darkest corners of the once great salons and halls…. This little passage truly makes it seems like Mary had witnessed an end of an era; the Rococo, with its emphasis on joys, pleasures, fun, flirtations and games, was gone. It seems that no century had such love for the sweetness and pleasures of life as much as the eighteenth century. The Revoution seems like an end of a sweet rosy dream.

Claude-Louis Châtelet, Plan du jardin et château de la Reine, before 1790

In the ninth chapter of the book Mary eloped with Percy Bysshe Shelley and they went to Paris:

“But when they arrived in the capital on August 2, 1814, dusty and tired, fraternité and liberté were nowhere to be found. They checked into the unprepossessing Hôtel de Vienne on the edge of the Marais and roamed through the city streets, disappointed to find most Parisians war-weary and cynical. Napoleon’s defeat earlier that year, a relief to many as it meant the end of the war, was also a blow to French honor. No one was preaching revolution anymore. Many of the people they met were royalists, eager to restore French gloire. Justice and freedom were passé. The martyred revolutionaries Madame Roland and Charlotte Corday, so inspirational to Mary when her friend Isabella had talked about them in Scotland, were long dead. And so, for that matter, was Mary Wollstonecraft.”

It’s funny how in 1792 the revolutionaries were mad for blood and revenge, and in 1814 no one cared anymore about the justice and liberty. How quickly the fires of the revolution die out…

The Straw Manikin – Goya

The Straw Manikin (La Marioneta) by Francisco Goya, 1791-92

From 1775 to 1791 Goya painted, on commission for Charles III of Spain, sixty-three oil-on-canvas paintings which later served as bases for tapestries at the Royal Court in Madrid. At first glance, painting The Straw Manikin seems like a cheerful everyday life scene, which is just what the king wanted. Four young women are dressed in Spanish fashion, they are laughing, their eyes bright and cheeks rosy. Simple outdoor game took on a sinister mood, which shows the way Goya saw world. Take a look at the straw doll. It doesn’t seem very happy, does it? Its glaze look contrasts the cheeks which are bright pink in true Rococo manner. His hands hang limply, his legs lean in different directions. All in all, he is powerless in this cruel female game. If you take a look at the preliminary sketch below, you’ll notice the different position of the straw manikin; he appears to be enjoying his flight, while in this finished version he is being thrown into the air against his will. He doesn’t complain though, he’s passive and resigned. In this scene, Goya shows us what strong minded women can do to weak men.

This painting is a typical example of Goya’s early works; charming and lively with soft colour scheme, but under the surface something wicked emerges. Bright colours can also be interpreted as a sign of Goya’s prosperity, as he was climbing the social ladder at the time. His later works are deprived of the cheerful element, and are much darker, showing all the evils that people are surrounded with.

The Straw Manikin (la Marioneta) by Francisco Goya, 1791, preliminary sketch