Lot Essay
The present drawing is an allegorical composition celebrating the birth of the Emperor Napoleon's only child, the King of Rome. The child, naked save for a sash, is seated in an elaborate cradle in the shape of a boat- the emblem of Paris- supported on one side by the imperial eagles and protected on the other, by the allegorical figure of Paris holding a crown above it. On the left of the cradle stands the imperial throne. In the background, beyond the ledge of a balcony stand in silhouette the Imperial additions to the architecture of Paris: the triumphal arches, the copy of Trajan's Column in the Place Vendôme and the Hotel de Ville with a rainbow in the sky. The cradle is surrounded by putti, one of which stands by the coat-of-arms of Paris, while another holds a plaque inscribed with a dedication to the 'prefet de la Seine'.
This drawing is related to the gift from the City of Paris to the child in 1812, of a cradle that was commissioned from Prud'hon, Thomyre and Odiot by the prefet de la Seine, the Comte Nicolas-Thér©ese Benoit Frochot (1757-1821). The drawing probably represents a first idea for this piece of furniture. The finished cradle is of a slightly different shape, although it follows the same allegorical program. It is now in the Imperial Palace in Vienna where the Empress Marie-Louise took it after the fall of Napoleon.
Comte Frochot was a friend and protector of Prud'hon. Both came from Dijon and owed their successful careers to the Revolution. A loyal supporter of Mirabeau, Frochot had survivied the Terror to become Governor of Paris in 1800. On several occasions he organized festivities in Paris to celebrate the coronation of the Emperor, the Treaty of Tilsitt, the marriage of the Emperor to the Archduchess of Austria, Marie-Louise, and finally the birth of the King of Rome. This event was the last opportunity that he had to glorify his master. Soon after, a few generals attempted a military coup during the Russian campaign. The coup failed and Frochot, who had involuntarily subscribed to it, was dismissed.
Prud'hon was indebted to Frochot for many commissions. Prud'hon provided for him wall decorations and designs for pieces of furniture. A few of the drawings for these commissions have survived in the Marcille Collection, Paris. Although the present drawing cannot be considered a specific design for the imperial cradle, such a drawing was surely made for presentation to Frochot as an idea for the project, and a way of underlining his central role in the commission
This drawing is related to the gift from the City of Paris to the child in 1812, of a cradle that was commissioned from Prud'hon, Thomyre and Odiot by the prefet de la Seine, the Comte Nicolas-Thér©ese Benoit Frochot (1757-1821). The drawing probably represents a first idea for this piece of furniture. The finished cradle is of a slightly different shape, although it follows the same allegorical program. It is now in the Imperial Palace in Vienna where the Empress Marie-Louise took it after the fall of Napoleon.
Comte Frochot was a friend and protector of Prud'hon. Both came from Dijon and owed their successful careers to the Revolution. A loyal supporter of Mirabeau, Frochot had survivied the Terror to become Governor of Paris in 1800. On several occasions he organized festivities in Paris to celebrate the coronation of the Emperor, the Treaty of Tilsitt, the marriage of the Emperor to the Archduchess of Austria, Marie-Louise, and finally the birth of the King of Rome. This event was the last opportunity that he had to glorify his master. Soon after, a few generals attempted a military coup during the Russian campaign. The coup failed and Frochot, who had involuntarily subscribed to it, was dismissed.
Prud'hon was indebted to Frochot for many commissions. Prud'hon provided for him wall decorations and designs for pieces of furniture. A few of the drawings for these commissions have survived in the Marcille Collection, Paris. Although the present drawing cannot be considered a specific design for the imperial cradle, such a drawing was surely made for presentation to Frochot as an idea for the project, and a way of underlining his central role in the commission