ar, even posterity.

That statuaries and sculptors consider him also as a generous patron, the
numerous productions of their chisels in France, Italy, and Germany,
having him for their object, seem to evince. Ten sculptors have already
represented his passage over the Mount St. Bernard, eighteen his passage
over Pont de Lodi, and twenty-two that over Pont d' Arcole. At Rome,
Milan, Turin, Lyons, and Paris are statues of him representing his
natural size; and our ten thousand municipalities have each one of his
busts; without mentioning the thousands of busts all over Europe, not
excepting even your own country. When Bonaparte sees under the windows
of the Tuileries the statue of Caesar placed in the garden of that
palace, he cannot help saying to himself: "Marble lives longer than man."
Have you any doubt that his ambition and vanity extend beyond the grave?

The only artist I ever heard of who was disappointed and unrewarded for
his labour in attempting to eternize the memory of Napoleon Bonaparte,
was a German of the name of Schumacher. It is, indeed, allowed that he
was more industrious, able, and well-meaning than ingenious or
considerate. He did not consider that it would be no compliment to give
the immortal hero a hint of being a mortal man. Schumacher had employed
near three years in planning and executing in marble the prettiest model
of a sepulchral monument I have ever seen, read or heard of. He had
inscribed it: "The Future Tomb of Bonaparte the Great." Under the
patronage of Count von Beast, he arrived here; and I saw the model in the
house of this Minister of the German Elector Arch--Chancellor, where also
many French artists went to inspect it. Count von Beast asked De Segur,
the grand master of the ceremonies, to request the Emperor to grant
Schumacher the honour of showing him his performance. De Segur advised
him to address himself to Duroc, who referred him to Devon, who, after
looking at it, could not help paying a just tribute to the execution and
to the talents of the artist, though he disapproved of the subject, and
declined mentioning it to the Emperor. After three months' attendance in
this capital, and all petitions and memorials to our great folks
remaining unanswered, Schumacher obtained an audience of Fouche, in which
he asked permission to exhibit his model of Bonaparte's tomb to the
public for money, so as to be enabled to return to his country.

"Where is it now?" asked Fouch