Abstract
This chapter focuses on Chodowiecki’s illustrations for Rousseau’s bestselling novel Julie, ou la Nouvelle Héloïse (1761), which appeared in the Genealogischer Calender auf das Jahr 1783 (the calendar of the Berlin Academy). These images with their captions provide rich material for analysing the complex relationship between illustration and adaptation at various levels. As is the case for all of the (many) series of eighteenth- and nineteenth-century illustrations for Julie, they visually transpose key moments from the epistolary novel, in a complex intermedial encounter (especially intricate since the novel itself already strongly evokes the tableau and the engraving through the use of textual description). Appearing twenty years after the novel’s first publication, and within a German, rather than French, context, the images produce a strikingly original interpretation of the novel, as critics have noted. However, Chodowiecki’s engravings, produced in tiny format for the almanac, were also unusual because the images and their captions were, in this context, viewed independently from the text of origin, unlike most of the other series of illustrations for the novel (these were usually bound opposite the relevant textual passages). Indeed, perhaps because of their tiny size, Chodowiecki’s illustrations are almost never found within editions of the novel. Furthermore, within the almanac, the images are viewed alongside each other (one after the other) rather than being dispersed through the pages of several volumes, generating a range of possible readings. Here, the images are no longer necessarily viewed as the illustration of specific episodes from the novel, but can also be seen as an independent ‘progress’, or as a series of almost autonomous ‘genre scenes’, in which the anchoring function of the captions tying the images to the novel itself becomes indeterminate. When considering illustration as a form of adaptation, the production and display of images in the almanac context opens up a number of questions about the (shifting) relationship between text and image which I explore in this chapter.
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Notes
- 1.
Examples of parallel illustration include: “literary galleries, collected illustration […], miscellaneous paintings and engravings—each influenced by, but displayed separately from, the text itself” (Dillard 196).
- 2.
I am borrowing Christina Ionescu’s useful formulation here (2020, 165).
- 3.
The critical literature focusing on Gravelot’s authorially directed series is too vast to list in full here, but see the following summaries (Lewis 2009, 247–48 notes 29–32, 46–49; Ionescu 2011, 22–24) referencing the key work of Claude Labrosse, Nathalie Ferrand, Elizabeth Lavezzi, Yannick Séité and Philip Stewart, amongst many others. For surveys of the wider iconographical oeuvre surrounding Rousseau’s novel, see Alexis François (1920), Fernand de Girardin (1910 [1971]), Christophe Martin (2005), Ann Lewis (2009) and Benoît Tane (2014), amongst others.
- 4.
He worked in Berlin throughout his artistic career, but was born in Danzig to a Polish father and a mother of French Huguenot descent (his wife was also a member of the French Huguenot colony at Berlin). He became the director of the Berlin Academy in 1797. On his connections to French culture, see Maria Mrozińska (1982). For a brief summary of his life and career, see Bénézit (957–58) and Griffiths with Carey (50–68).
- 5.
I have transcribed the full titles on the title pages as follows: “ALMANAC Généalogique pour L’Année 1783. Avec l’approbation de L’Académie Royale des Sciences et belles Lettres A. Berlin.” and “Genealogischer CALENDER auf das Jahr 1783. mit Kupfern, gezieret und mit Genehmhaltung der Königl: Academie der Wissenschaften zu Berlin, herausgegeben.”
- 6.
On this point, see amongst others, Lewis (2009), David Marshall, Tane. On the broader significance of “prose pictures” within an adaptation context, see Kamilla Elliott (31–76).
- 7.
Newell notes this as a more structural gap in adaptation studies not confined to the eighteenth century alone (2017a, 477).
- 8.
But see the introduction and various articles in Ionescu and Lewis’s Picturing the Eighteenth-century Novel Through Time for a wider range of approaches in terms of illustration, intermediality and adaptation (2016, 479–87). On the English context, see also Luisa Calè and Leigh Dillard.
- 9.
Much work on almanacs in the French context focuses on the more “popular” type (see Bollème, for example). For lists of different types of almanacs in this period (neither exhaustive, nor always entirely accurate), see, amongst others, Grand-Carteret; Champier; Lanckorońska with Rümann. Of these, only Lanckorońska provides any satisfactory details for the Berlin Almanac généalogique which concerns us here. But see also Lüsebrink et al. (2013) for a methodologically rich collection focusing on French almanac culture in an eighteenth-century German-speaking context, including a couple of chapters on the Genealogischer Calender.
- 10.
Focke notes that Chodowiecki collaborated most consistently with the Genealogischer Calender (later Historisch genealogischer Calender. Berlin)/Almanac généalogique. A Berlin. (from 1770–1803); the Gothaischer Hof Calender/Almanac de Gotha (from 1778–1794); and Göttinger Taschen Calender/Almanac de Goettingue (from 1778–1794), amongst others.
- 11.
For the 1776 and 1789 issues, see for example: https://opacplus.bsb-muenchen.de/title/BV013357821 (click on “Einzelbände”, page accessed 5 June 2022).
- 12.
According to Lanckorońska, from 1770 Chodowiecki was given a free reign in the choice of subjects for the Berlin Almanac généalogique following the success of his 1769 illustrations to Lessing’s Minna von Barnhelm (x). This was not the case for other almanacs, where the commissioning editor might determine the subjects/themes—for example, Chodowiecki’s designs for the Göttinger Taschen Calender for each year between 1778 and 1783 were didactic-moral cycles whose theme was chosen by Georg Christoph Lichtenberg (see Griffiths and Carey 56). Griffiths also notes that Chodowiecki was familiar with the literary subjects he illustrated: “he enjoyed a close relationship with many of the authors whose didactic or literary works he illustrated and was proud of the creativity he invested in the interpretation of their ideas” (1994, 15).
- 13.
“La série de Chodowiecki est le seul programme idéologique entièrement original de la période […] la représentation de la relation familiale s’est substituée à celle de la relation amoureuse” (2011, 207).
- 14.
For a fully comparative survey of which scenes were illustrated by different artists, see “(Re)reading Sentimental Topoi, Scenes, and Spectacles in Julie” in Sensibility, Reading and Illustration (Lewis 2009, 163–256), especially 168–216.
- 15.
“Les détails de la vie domestique effacent les fautes du premier âge: la chaste épouse, la femme sensée, la digne mere [sic] de famille font oublier la coupable amante” (Rousseau 1964, 17).
- 16.
“J. J. rêve d’une épuration des images. Tout s’épure dans son roman, à travers le temps, les conflits, les désordres, les discours, et même les délires” (79).
- 17.
It is worth noting that the captions to Gravelot’s series, supplied by Rousseau, were supplementary to rather than quotations from the novel, and bear a different relation to it. Much has been written about them (by Philip Stewart and Catherine Ramond, amongst others), so I will leave them to one side.
- 18.
The points made in this section become even more salient in cases where the illustrations were viewed as “strips”. Griffiths and Carey note that Chodowiecki’s illustrations for calendars were executed twelve to a plate, with two sets of six back to back, and collectors often bought the images before they were cut up for insertion into almanacs, displaying them instead in albums (63).
- 19.
“quand tout à coup je te vis pâlir”, “Julie! …O ma Julie… je te vois…”, “quel spectacle!”, “je vais paroître devant ton trône”. English translations by Philip Stewart (Rousseau 1997).
- 20.
See Griffiths (2016, chapters 10–11, and 26–27) and Rudy (43–55).
- 21.
Many of these were reproductive prints of paintings by artists such as Chardin, Greuze, and Fragonard. On the seventeenth-century Dutch tradition of painting on the themes of women, virtue and domesticity (whose influence on genre painting in this period is clear), see Wayne E. Franits.
- 22.
For example, image 7 of the series, depicting Julie welcoming Saint-Preux to the family home and introducing him for the first time to her husband, is very close to Chodowieckis’s emblematic image “The Bliss of Friendship” [Das Glück der Freundschaft], part of a series of four images designed for a Heilbronn almanach: Almanach und Taschenbuch für Häusliche und Gesellschaft: Freuden (by Carl Lang, 1797). See https://www.britishmuseum.org/collection/object/P_1900-1231-6369 (page last accessed 5 June 2022), and Engelmann (421) catalogue no. 789. It is worth noting that Chodowiecki was well-known for his idealistic depictions of family life, and his works in this genre—whether novel illustrations, moral series designed for almanacs, or independent prints—were highly collectible.
- 23.
Strangely, in the French language edition of the almanac, the references to letter and “tome” do not indicate the Part/Letter which would have enabled a reader to find the relevant passage in any edition (see Appendix). They rather seem to refer to the Rellstab edition with Cramer’s German translation of the novel (J. J. Rousseau’s Sämmtliche Werke, 1785–1791, Staatsbibliothek zu Berlin shelfmark: 50 MA 4774–6). It seems that the letter numbers given correspond exactly to their numerical position within each of volumes 1, 2 and 4.
- 24.
“Douce et paisible innocence, tu manquas seule à mon Coeur”. For a more detailed discussion of this image, see Lewis (2019, 102).
- 25.
“—peut-être, ah! S’il ne dépendoit que de moi”.
- 26.
See for example Chodowiecki’s “Die Gattin” [The Wife]—an illustration to Christian Ludwig Neuffer’s poem “Die Braut, die Gattin und die Matrone” in the Taschenbuch für Frauenzimmer von Bildung auf das Jahr 1800. See British Museum: https://www.britishmuseum.org/collection/object/P_1900-1231-6411 (page last accessed 24 May 2022), and Engelmann no. 910–12, 1857 489. Or “Häusliche Glückseligkeit / Félicité domestique” (c1800–1801), part of a moral series of twelve illustrations for Göttinger Taschen Calender on the motives and consequences of marriage (“par inclination”, “par ambition”, “par intérêt”, etc). See Universitaire Bibliotheken Leiden: https://digitalcollections.universiteitleiden.nl/view/item/1623791 (page accessed 5 June 2022)—and Engelmann no. 598 (318).
- 27.
“La raison peut s’égarer dans un chalet tout aussi bien que dans un cellier”.
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Appendix
Appendix
Table of captions and inscriptions for Chodowiecki’s illustrations for Julie in the Almanac généalogique pour l’année 1783 and Genealogischer Calender auf das Jahr 1783. Captions are transcribed as they appear and not modernised
French captions [with English translation, by Philip Stewart in Julie, or the New Heloise (Dartmouth College, 1997)] | German captions | Part and Letter number from Rousseau’s novel. Note on narrative perspective and voice | |
|---|---|---|---|
1 | …quand tout à coup je te vis pâlir, nouvelle Héloise T.I.Lettre XIV. D.Chodowiecki inv. et [?] [when all of a sudden I saw you turn pale; Stewart 52] | ……als ich dich auf einmal erblassen sah… Rousseaus neue Heloise.1.Theil14.B. D.Chodowieki del. F.Berger sculpsit. | Part I, Letter XIV Saint-Preux’s voice (subsequent description of events depicted), narrated in his letter addressed to Julie. |
2 | Milord—je reconnois maintenant vôtre ame grande et genereuse. T.I.Lettre LX. [Milord, […] I now recognise your grand and generous soul; Stewart 133] | Mÿlord—Jezt erkenne ich Ihre erhabene grossmüthige Seele. 1.Th.60. B. | Part I, Letter 60 Saint-Preux’s voice (direct speech addressed to milord Edouard within the scene depicted), described in SP’s letter addressed to Julie. |
3 | Douce et paisible innocence, tu manquas seule à mon coeur. T.I.Lettre LXXIII. [Sweet and peaceful innocence, my heart lacked nothing but thee…; Stewart 144] | Süsse, ruhige Unschuld, du allein fehltest meinem Herzen. 1.Th. 63. B. | Part I, Letter 63 Julie’s voice (subsequent reflection on her own state of mind in the episode depicted), narrated in a letter addressed to Claire. |
4 | Julie!.....o ma Julie….je te vois……. T.II.Lettre XXII. [Julie!.... O my Julie!.... I behold you….; Stewart 229] | O Julie—o meine Julie—dich erblicke ich…. 2.Th.22.B. | Part II, Letter 22 Saint-Preux’s voice (direct speech addressed to Julie’s portrait within the scene depicted), narrated in his letter to Julie. |
5 | —peut-être, ah! Sil ne dépendoit que de moi…. T.II.Lettre XXXII. [Ah if it were only up to me….Stewart 257] | —vielleicht, Ach! wenn es nur auf mich ankäme— 3.Th. 4.B. | Part III, Letter 4 Julie’s mother’s voice (direct speech addressed to Julie within the scene depicted), cited by Claire (Mme d’Orbe) in a letter addressed to Saint-Preux. |
6 | Ah! veux tu donner la mort à toute la famille? T.II.Lettre XLVI. [Ah! Do you want to inflict death on the entire family? Stewart 286] | Ach! willst du deiner ganzen Familie den Tod bringen? 3.Th.18. B. | Part III, Letter 18 Julie’s father’s voice (direct speech, addressed to Julie within the scene depicted), scene described by Julie in her letter to Saint-Preux. |
7 | —je ne vous le présente pas, je le reçois de vous, T.III.Lettre XXII. [I do not introduce him to you, I receive him from you; Stewart 345] | .…ich stelle ihn nicht Ihnen vor; ich empfange ihn aus Ihren Händen….. 4.Th.6. B. | Part IV, Letter 6 Julie’s voice (direct speech, addressed to Wolmar within the scene depicted), described in letter from Saint-Preux to Milord Edouard. |
8 | —La raison peut s’égarer dans un chalet tout aussi bien que dans un cellier. T.III.Lettre XVI. […reason can go astray just as well in a chalet as in a cellar; Stewart 372] | —Man kann so gut in einer Milchhütte als in einem Keller um seine Vernunft kommen. 4.Th.10. B. | Part IV, Letter 10 Saint-Preux’s voice (direct speech addressed to Julie within the scene depicted), described in SP’s letter to Milord Edouard. |
9 | —il y a long-tems que nous sommes tous vos Sujets. T.III.Lettre XXVI. […we have all long been your subjects; Stewart 457] | —wir sind alle zusammen schon lange Ihre Unterthanen. 5.Th.3.B. | Part V, Letter 3 Wolmar the husband’s voice (direct speech, addressed to Julie within the scene depicted), described by Saint-Preux in his letter to Milord Edouard. |
10 | quel Spectacle! T.IV.Lettre II. [What a sight! Stewart 488] | welch ein Anblick! 5.Th.5.B. | Part V, Letter 5 Saint-Preux’s voice (subsequent reflection, addressed to Milord Edouard as part of his description of the events depicted, where he and Wolmar discover Julie praying). |
11 | Non, mon ami, je me sens bien: la mort me presse, il faut nous quitter. T.IV.Lettre XXII. [No my friend, I am all right: death urges me on; we must part; Stewart 581] | Nein, mein Freund, ich fühle mich; der Tod dringt auf mich ein; wir müssen uns verlassen. 6.Th.11. B. | Part VI, Letter 11 Julie’s voice (direct speech, addressed to Wolmar within the scene depicted), described in a letter from Wolmar to Saint-Preux. |
12 | O grand Etre! Etre éternel;— Je le sais je m’en réjouis, je vais paroître devant ton trône. T.IV.Lettre XXII [O Great Being! Eternal Being, […] I know, I rejoice in it: I am about to appear before your throne; Stewart 587] | O grosses Wesen! ewiges Wesen!... Ich weiss es und freue mich darüber, das ich nun vor deinem Thron erscheinen werde. 6.Th.11. B. | Part VI, Letter 11 Julie’s voice (direct speech, addressed to God, but within her longer discourse directed at the pastor and assembled family), described in letter from Wolmar to Saint-Preux. |
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Lewis, A. (2024). Adapting Novel Illustrations for the Almanac: Text/Image Relations in Chodowiecki’s Illustrations for Rousseau’s Julie. In: Wells-Lassagne, S., Aymes, S. (eds) Adaptation and Illustration. Palgrave Studies in Adaptation and Visual Culture. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-031-32134-4_4
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