Nothing is too trivial to narrate concerning great men; for posterity shows itself eager to learn even the most insignificant details concerning their manner of life, their tastes, their slightest peculiarities. When I attended the theater, whether in my short intervals of leisure or in the suite of his Majesty, I remarked how keenly the spectators enjoyed the presentation on the stage, of some grand historic personage; whose costume, gestures, bearing, even his infirmities and faults, were delineated exactly as they have been transmitted to us by contemporaries. I myself always took the greatest pleasure in seeing these living portraits of celebrated men, and well remember that on no occasion did I ever so thoroughly enjoy the stage as when I saw for the first time the charming piece of The Two Pages.
Fleury in the role of Frederick the Great reproduced so perfectly the slow walk, the dry tones, the sudden movements, and even the short-
sightedness of this monarch, that as soon as he appeared on the stage the whole house burst into applause. It was, in the opinion of persons sufficiently well informed to judge, a most perfect and faithful presentation; and though for my own part, I was not able to say whether the resemblance was perfect or not, I felt that it must be. Michelot, whom I have since seen in the same role, gave me no less pleasure than his predecessor; and it is evident that both these talented actors must have studied the subject deeply, to have learned so thoroughly and depicted so faithfully the characteristics of their model.
I must confess a feeling of pride in the thought that these memoirs may perhaps excite in my readers some of the same pleasurable emotions which I have here attempted to describe; and that perhaps in a future, which will inevitably come, though far distant now perhaps, the artist who will attempt to restore to life, and hold up to the view of the world, the greatest man of this age, will be compelled, in order to give a faithful delineation, to take for his model the portrait which I, better than any one else, have been able to draw from fife. I think that no one has done this as yet; certainly not so much in detail.
On his return from Egypt the Emperor was very thin and sallow, his skin was copper-colored, his eyes sunken, and his figure, though perfect, also very thin. The likeness is excellent in the portrait which Horace Vernet drew in. his picture called "A Review of the First Consul on the Place du Carrousel." His forehead was very high, and bare; his hair thin, especially on the temples, but very fine and soft, and a rich brown color; his eyes deep blue, expressing in an almost incredible manner the various emotions by which he was affected, sometimes extremely gentle and caressing, sometimes severe, and even inflexible. His mouth was very fine, his lips straight and rather firmly closed, particularly when irritated. His teeth, without being very regular, were very white and sound, and he never suffered from them. His nose of Grecian shape, was well formed, and his sense of smell perfect. His whole frame was handsomely proportioned, though at this time his extreme leanness prevented the beauty of his features being especially noticed, and had an injurious effect on his whole physiognomy.
It would be necessary to describe his features separately, one by one, in order to form a correct idea of the whole, and comprehend the perfect regularity and beauty of each. His head was very large, being twenty-two inches in circumference; it way a little longer than broad, consequently a little flattened on the temples; it was so extremely sensitive, that I
had his hats padded, and took the trouble to wear them several days in my room to break them. His ears were small, perfectly formed, and well set.
The Emperor's feet were also very tender; and I had his shoes broken by a boy of the wardrobe, called Joseph, who wore exactly the same size as the Emperor.
His height was five feet, two inches, three lines. He had a rather short neck, sloping shoulders, broad chest, almost free from hairs, well shaped leg and thigh, a small foot, and well formed fingers, entirely free from enlargements or abrasions; his arms were finely molded, and well hung to his body; his hands were beautiful, and the nails did not detract from their beauty. He took the greatest care of them, as in fact of his whole person, without foppishness, however. He often bit his nails slightly, which was a sign of impatience or preoccupation.
Later on he grew much stouter, but without losing any of the beauty of his figure; on the contrary, he was handsomer under the Empire than under the Consulate; his skin had become very white, and his expression animated.
The Emperor, during his moments, or rather his long hours, of labor and of meditation, was subject to a peculiar spasmodic movement, which seemed to be a nervous affection, and which clung to him all his life. It consisted in raising his right shoulder frequently and rapidly; and persons who were not acquainted with this habit sometimes interpreted this as a gesture of disapprobation and dissatisfaction, and inquired with anxiety in what way they could have offended him. He, however, was not at all affected by it, and repeated the same movement again and again without being conscious of it.
One most remarkable peculiarity was that the Emperor never felt his heart beat. He mentioned this often to M. Corvisart, as well as to me; and more than once he made us pass our hands over his breast, in order to prove this singular exception. Never did we feel the slightest pulsation.--[Another peculiarity was that his pulse was only forty to the minute.]--
The Emperor ate very fast, and hardly spent a dozen minutes at the table.
When he had finished he arose, and passed into the family saloon; but the Empress Josephine remained, and made a sign to the guests to do the same.
