Graham Robb

‘The day of the Lord so cometh as a thief in the night’ (I Thessalonians 5.2). In 19th-century France, it came in the shape of the abbé Jacques-Paul Migne. Between 1840 and 1870, with the help of several hundred poorly-paid workers and the latest in steam-powered printing, Migne undid the effects of the French Revolution, reversed the Reformation, created ‘the two most beautiful historical monuments to be found anywhere in the world’ and directed ‘the greatest publishing enterprise since the invention of printing’.

The role of Thérèse Humbert and her family in the life of Henri Matisse was one of the revelations of the first volume of Hilary Spurling’s pioneering biography: The Unknown Matisse. For more than twenty years, the Humberts were a major force in the social and political life of the Third Republic, until, in 1902, their legendary wealth was exposed as a hoax. The famous Humbert strongbox, which was supposed to contain a hundred million francs in bearer bonds, was found to be almost empty. Thousands of creditors and investors lost everything. The Humberts’ innocent steward, Armand Parayre, was arrested, along with the disgraced family. His son-in-law, ‘a dashing but penniless young artist’, was widely considered guilty by association, and ‘from 1905 onwards, Matisse’s work was regularly dismissed by the critics as an attempt to pull a fast one on the public’‘

Trying to define Romanticism has always been a typically Romantic activity, especially in France. The word romantisme first appeared in the year of Napoleon’s coronation (1804) and soon began to acquire a large retinue of definitions. Mme de Staël associated it with the misty, melancholy North and declared Romanticism to be primarily an effect of climate. Victor Hugo and his...