Géricault and the Raft of the Medusa (Part 2)

Episode Transcript
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Speaker 1 (00:01):
Welcome to Stuff You Missed in History Class, a production
of iHeartRadio. Hello, and welcome to the podcast. I'm Holly
Frye and I'm Tracy V. Wilson. This is part two
of a two parter we have going on now. In

(00:21):
part one, we talked about the mission of the French
frigate La Medeus, which we have been calling by the
Anglicized name Medusa, and several other vessels to re establish
the French as the rulers of the European colony in Senegal,
and how that journey turned harrowing due to poor leadership
and desperate circumstances. And today we're going to talk about

(00:43):
the aftermath of the shipwreck and the artist who became
obsessed with it. This is going to reference details from
the first part that we're not going to rehash in
a lot of extra coverage. So it's definitely a situation
where if you have not heard that first one, you
should go back. And also, like last time, unfortunately, sorry,

(01:05):
I guess we can call this an on ramp to Halloween.
But there is some grizzly stuff in this one as well,
not just related to the shipwreck. Perhaps in a way
you might find surprises, so one of the surgeons aboard
the Medusa, Henri Saigne, and a geographical engineer named Alexander Coriar,

(01:27):
were among the ten men who survived the thirteen days
of just terror aboard the raft that had been constructed
on the fly out of the Medusa's timbers to try
to hold the people who would not fit on the
ship's lifeboats. They and other members of the ship's crew
prepared reports regarding what had happened both leading up to

(01:48):
and after the Medusa was run up on a reef
and unable to be floated again. These reports outlined the
many failings of the incompetent Chamaree, as well as his
absolute lack of adherence to duty in leaving many of
his men behind on the frigate as he just sailed
off in one of the lifeboats. Though the shipwreck had

(02:12):
happened in early July, news of it didn't reach French
papers until September, though even those reports were initially very
sparse on details. As the news spread in questions started
being asked here, Sevignye returned to Paris to deliver the
report to the Naval Ministry, but his report leaked to

(02:33):
the papers, and there was actually for a while suspicion
that he had sold the story himself. He had not.
There was political maneuvering going on that wanted to use
this report to damage the existing government, and that's how
it got there. But the editor of the newspaper that
ran the story actually had to sign a statement that
he had not gotten this information from the surgeon. An

(02:55):
inquiry into the events of the Medusa opened on September seventeenth,
eighteen sixteen. Next it went to a commission for a
deep dive into all of the evidence, which found clear
evidence of negligence on the part of the captain of
the Medusa, Julian Desire Schmalz, the appointed French governor of
Senegal who was part of all of this, had his

(03:17):
own report and he wanted Alexandle Couriard to sign it,
and his version claimed that the toe ropes from the
lifeboats to the raft had broken rather than being cut
or let go, and the engineer would not sign these
because that was frankly not the truth. But he was
harangued by Schmaltz's office for his signature. Despite the fact

(03:39):
that this was going on while Corier was still in
the hospital recovering from his time on the raft. I'm
just this is just like the worst work stories of today,
where like somebody's in the hospital recovering from a surgery
and their boss is like, I need you to sign

(03:59):
this today, but it's not true. Yeah, did you design
this today? Maybe in your week in state you'll agree
with my version of events. At the beginning of December,
Corey Aer was well enough to travel back to France,
and he traveled on the Loire, which had been part
of the group that was with the Medusa on its
tragic summer voyage. A number of other survivors of the

(04:23):
Medusa were there too, including Chamree Chamaree. According to Coreyar
and others aboard the Loire seemed to believe that he
had done nothing wrong and that he would be cleared
of any charges against him. The captain in fact blamed
the governor. Yeah, he kind of knew a court martial
was coming, and he was apparently preparing for his defense

(04:46):
for that, and almost the way someone is trying to
convince themselves of a thing by convincing others. He was
acting really weird and being like, remember how that happened?
That I was trying to do the right thing. Just
completely Remember how now I absolutely knew what I was
doing and listened to the advice of the people who
knew what they were doing. Yeah, that's not true. That

(05:09):
journey back to France was really rough for Coryr and
not just because he was having to travel with the
captain that had caused his misery. He was not fully
recovered physically. He was well enough to travel, but he
was not one hundred percent and mentally he was not
there at all. He was not at ease being back
at sea. His early days when he was on a

(05:29):
smaller boat that was taking him out to the Loire,
it sounds like he had a very rough time and
was so agitated and anxious that he was physically ill.
But when the Loire reached France at the port of Rochefort,
Coryer was actually hospitalized there, and while he was there,
the ship surgeon on Reese Aveagner often visited him, and

(05:49):
the two men shared the details of what had been
happening in their respective locations over the previous months, and
they started to collaborate on a definitive and detailed account
of the entire voyage, wreck and raft experience. That account
was narrative of a voyage to Senegal in eighteen sixteen
undertaken by order of the French government, comprising an account

(06:12):
of the sufferings of the crew and the various occurrences
on board the raft in the desert of Zara and
at Saint Luis and the camp of Dacord, to which
are subjoined observations respecting the agriculture of the western coast
of Africa, from Cape Blanco to the mouth of the Gambia.

(06:33):
This book was explosive. It gave everyone in France a detailed,
moment by moment account of what had transpired and how
quickly the raft had turned into a nightmare once it
was cut loose. The entire world was, in my mind,
unsurprisingly eager to hear this story, and soon it was
translated into multiple languages to meet that demand. Interestingly, and

(06:58):
tooine reche four, he was the man who had been
given a great deal of power by Captain Cholmer in
navigating the ship, even though he had no real qualifications,
was writing his own counter narrative, presumably hoping to pass
off any responsibility for the tragedy. And seven Yer and
Coriard actually noted this upcoming work in their book, stating

(07:19):
in the preface to the second edition, quote at the
moment that we publish a second edition of our narrative,
we learned that mister Sevignye is going to publish a
pretended account by mister richefor an auxiliary ex officer of
the French Marine. Our readers will not have forgotten a
certain pretended sea officer who was partly the cause of

(07:39):
our misfortunes, and who went on board the Medusa, gave
such unhappy advice to the captain, who still more unhappily
followed it too closely. Well, this ex officer, this fatal auxiliary,
who conducted the frigate upon the bank of Arguins, is
no other than mister Richefort. Having gone on board the
Governor's boat, he remained a stranger to the disasters which

(08:02):
he had partly caused, and consequently knew nothing of what
passed either upon the raft or on board the boats
which stranded, or in the desert. We make no farther remarks.
The public will judge of his account and ours. I
never actually found any information of this account that was
to be published by Richeforce, so I don't know if

(08:22):
it went forward, or if that plan was abandoned, or
if I just couldn't find it because it's so rare.
The story traveled well beyond France, though it doesn't appear
to have hit papers in the US until November. The
details of the thirteen days on the raft, even including
the harrowing decision to throw the dying off the raft
to preserve provisions, were all recounted. Hugh du Rois de

(08:46):
Chemerer faced a court martial that began in January eighteen seventeen.
Although there were almost two dozen witnesses, this wasn't a
scenario where testimony was particularly revelatory or explosive. All all
of the details had already become public knowledge, so this
was kind of just a matter of seeing what consequences

(09:06):
Chamerie might face. And Chamaree did not help his own case.
When he was called to the stand. He didn't even
give his age correctly. He was off by three years.
He also tried to pass blame to anyone and anything
but himself, citing, among other things, the haste with which
he was told to get to Senegal as part of
the reason things went wrong. He also claimed that he

(09:29):
was begged to command a lifeboat, which was not true.
He just left. He claimed that he felt the decisions
that he was making throughout this ordeal were for the
safety of the people aboard the ship, and that they
were all selfless. Though Chamret was obviously at fault for
a great portion of the Medusa tragedy, he got off
pretty easily. He was banned from naval service, stripped of

(09:53):
all prior military honors and his pension, required to pay
all the expenses of the court martial, and sentenced to
years in prison. I'm just gonna say, banning him from
the naval service when he had not been at sea
in like two decades and he was like retirement agent. Really. Yeah,
the rest of that may be somewhat more impactful, but

(10:15):
like three years did not seem like nearly enough to
a lot of his countrymen, given how many lives had
been lost through his negligence. Survivors of the ordeal felt
that the Ministry of the Navy had downplayed the whole
thing to prevent political fallout for the monarchy. Yeah. So,
if you were wondering in Part one why we read

(10:35):
some of the incredibly grisly passages, we did This was
part of why I wanted our listeners to understand really
how light this sentence is given what people endured and
the trauma that they lived through, in addition to the
people that died. As the news of the Medusa and
the story of Alexandre Corrier and Here seven Ye spread

(10:55):
throughout France, it seemed that literally everyone in the country
was fascinated and horrified by it, understandably, but one person
in particular, an artist named Teo Door Jericho, became completely
transfixed by the story. We'll talk about Jericho's life after
we pause for a sponsor break. Teo Door Jericho was

(11:25):
born on September twenty sixth, seventeen ninety one in Ruin, France.
He was the son of a lawyer. We don't have
a whole lot of information about his early life, although
we do know that his parents sent him to school
to study classical literature, which he abandoned to focus on painting.
One of the primary drivers for Jericho's interest in art

(11:45):
was his passion for horses. He had loved horses since
he was a tiny boy, and as he grew up,
he wanted his life's work to be painting them. Additionally,
Jericho had a scandal in his early life. When he
was sixteen, his uncle, who was in his early fifties,
married a much younger woman that was twenty two year

(12:07):
old Alexandrine Modeste de Saint Martin, and these two young
people became friends. She was interested in art, so they
had a natural affinity. In eighteen oh eight, Jericho's mother,
who also supported his hopes for an artistic career, died.
Although Theodore was financially set due to an inheritance from

(12:27):
his mother, he was still beholden to his father's wishes
for his future. Alexandrine became his primary supporter. This went
beyond encouragement. She got her husband to hire him and
do his business, which was tobacco. But that was something
of a ruse because Jericho was rarely at work and

(12:47):
he was instead getting lessons in art and horseback riding.
But his uncle, Jean Baptiste Carell, was repaid for this
kindness with a betrayal kind of unsurprising to me, which
is that Jericho fell in love with Alexandrine, and the
two of them started having an affair which went on
for quite some time. The nineteen eleven Encyclopedia Britannica entry

(13:11):
on Jericho says this of his painting teachers quote. In
eighteen oh eight he entered the studio of Charlesverner, from
which in nineteen ten he passed to that of guerin
whom he drove to despair by his passion for Rubens
and by the unorthodox manner in which he persisted in
interpreting nature. So it sounds like Jericho was kind of

(13:31):
intense and explosive in a number of ways outside of
his preferences in artists. After a number of issues with
guards and museum leadership, he was outright banned from the
Louver after he hit a student who was visiting there.
I could never quite suss out what the disagreement had
been between these two men, but Jericho was willing to

(13:53):
throw hands in a museum. As what I said. Jericho's
first major work to be displayed publicly translates to Officer
of the Mounted Hunters of the Imperial Guard Charging. This
eighteen twelve painting is nearly eleven feet tall and depicts,
as its name indicates, a military officer on a horse.

(14:15):
The charging part of the title is a little misleading.
The horse may be running forward, but it looks as
if it's rearing and trying to turn away from the
direction it's pointed. Similarly, the officer has turned at kind
of an awkward angle towards something behind him, brandishing his sword.
I will say, if this is your first public display

(14:36):
of a piece of art, I think for most people
it would knock their socks off, as like, oh, this
is like an amateur's first foray into professional work. It's
whether you love the subject matter or not. It's beautifully
executed and it is enormous, so it's very impressive. And
two years after that first painting, Jericho exhibited another painting

(14:57):
of a soldier with a horse. In this piece, titled
Cuirassier bless Kitu or Wounded Cirassier leaving the fire, fire
is sometimes translated as battle. He is walking away from
whatever it is he's been involved in. But unlike the
previous painting, this soldier is not riding his horse. He
is walking alongside it and holding it by the reins.

(15:20):
The horse has a look about him that many people
have perceived as uncertain, and the soldier is looking back
over his shoulder to the dark area that they are leaving.
And this image is really pretty benign to modern eyes,
but it was very controversial in eighteen fourteen. For one,
it depicted a soldier in a way that was not

(15:43):
heroic in the least. He appears to have been defeated,
which is not great, and the painting was also quite dark.
There was nothing glorious about it, and while the title
mentions the soldier as wounded, there are no obvious wounds
on him, leading to the interpretation by some that his
wounds are emotional, either because his ego was bruised or

(16:04):
because he saw the horrors of battle, also things that
would not have been perceived as honorable in this time.
This was all rebellious on Jericho's part because this was
essentially a painting that criticized war, and he exhibited this
in the eighteen twelve painting Side by Side at the
Paris Salon, and reviews were very mixed. After this less

(16:29):
than enthusiastic reception, Jericho decided to give up art, at
least temporarily. He enlisted to fight against Napoleon's forces during
the One Hundred Days' Rule, joining the Musketeers. In his
two thousand and seven book about the Medusa and Jericho.
Historian Jonathan Miles speculated that this might have been an

(16:50):
effort to distract himself from Alexandrine, although once the king
was exiled, his service was basically over and he went
right to her chateau. Jericho next traveled to Italy to
work and study in Rome and Florence, and while there
he became deeply engrossed by the work of Michelangelo. Who
wouldn't He also witnessed an event in Rome that became

(17:14):
the focus of his next large project, and that was
a carnival horse race. So this was the subject of
his unfinished work, the Race of the Riderless Horses, and
for this project, Jericho created multiple detailed studies of the
moment just before the race begins, showing frightened horses and
their keepers trying to control them. So just FYI, if

(17:36):
you search for this work, you may see multiple different images.
That's because some of them are the studies that he
was doing to prepare for the final piece. He was
never able to create the large scale painting he had
in mind, though in part because his fixation on the
wreck of the Medusa supplanted all of his other work.
But he didn't move on to the Medusa project right away.

(17:59):
Heated a series of lithographs first, some of which were
quite erotic in nature. The timing of the Medusa story
hitting the papers and becoming a source of outrage over
the poor leadership aligned with a moment when Jericho probably
needed a diversion. His aunt by marriage in Paramour, Alexandrine,
had broken things off with them, and then the two

(18:22):
of them started their affair anew and Alexandrine became pregnant,
so the need for escape continued in a different way.
He did not have further contact with Alexandrine, and the
son that she had was surrendered to the state. Yeah,
this is one of those cases where it's not explicitly

(18:43):
laid out, but everything indicates that it would have been
obvious to his uncle that they had been having an affair.
So presumably his uncle and Alexandrine were either not having
a very sexual marriage by this point, or there was
something else in the mix that would have prevented the
two of them conceiving. Basically, this was going to be

(19:04):
super obvious that she had had an affair. When Jericho
returned to Paris from Italy, the story of the Medusa
had been revealing itself layer by layer and exposing the
bad decisions that had started with the appointment of Chamare
to the role of captain of the flagship Medusa. I mean,
if you want to get technical, you could go farther
back than that and say it starts with like colonization.

(19:27):
But for the purposes of this event, that's what was
being pointed to is the beginning. Jericho invited Alexandle Coriard
and Heure Savigny to his studio to tell him personally
about their experiences, and he worked with these two survivors
to create a meticulously rendered illustration of the raft so
that he could ensure the project that he had in

(19:48):
mind would be as accurate as possible. This also became
something of a political statement for Jericho because he saw
in the Medusa story a parallel of the ways that
the French government had become ineffectual in the years following
the Napoleonic Wars. Like the first part of this one,
the third act is where some gory bits are. So

(20:12):
let's take a breather before that and hear from the
sponsors that keep stuffy missed in history class. Going to
visually recreate the harrowing scenes that Koryar and Savigny had
described to him. Jericho felt that he had to truly

(20:35):
understand the ways that the human body deteriorated, both while
still alive and after death, so he started spending time
in morgues and hospitals. A lot of time he attended dissections,
and sometimes he actually painted while he was in the morgue.
He created a painting in early eighteen nineteen called Anatomical

(20:57):
Fragments or sometimes you'll see it as Anatomic Pieces. It
is a study of a pile of severed limbs. In
some cases, the artist was able to get body parts
from deceased persons and take them back to his studio
to observe their decomposition and make sketches and painted studies
of them. He even made daily images of the same

(21:20):
limb decaying day after day so he would have a
complete and dated record of the process to use as
a reference. This it's not a secret. His friends knew
that this was happening. Yeah, they were a little squinked
out by it, understandably, and thought he was being oddly
obsessive and that he might get a weird infection from

(21:40):
having all of these decomposing body parts around him, but
nobody was like, don't do that. They were like, it's
he's an artist, it's his work. All of this obsessive
behavior was tied to the desire to once again become
the darling of the Paris Salon Teo Door. Jericho wanted
his entry in the eighteen nineteen Salon to be a

(22:01):
sure winner. He had been so influenced by Coriar that
he depicted him in the painting. Corier appears smack dab
in the center of it. Sevignye is also in the painting,
although he is less prominent. And Jericho worked on the
raft of the Medusa from eighteen eighteen to eighteen nineteen,
when it was shown publicly for the first time, and

(22:23):
even then he was still working on it even after
it had been placed in the gallery for the salon,
but before the salon officially began, he continued to paint,
adding several dead bodies to the raft at that late stage.
This painting is enormous. It's more than sixteen feet tall
and twenty three feet wide. It's painted in the style
of French Romanticism, which is the school of arts in

(22:45):
literature that followed neoclassicism and rationalism. So what Charles Baudelaire
characterized in his essay what is Romanticism as quote, intimacy, spirituality, color,
yearning for the infinite, expressed by all the means the
arts possess the individual is central to the ideas of Romanticism.

(23:07):
Personal experience, imagination, connections to nature, and transcendental experience are
all frequently represented. But Jericho's painting was a darker sort
of Romanticism than was typical of the time. All of
those studies that he made regarding the human body enabled
him to depict very realistic bodies in agonized and in

(23:30):
some cases dead states. In the image, the handful of
people that are remaining on the raft have seen their
rescuers on the horizon. Some of them are waving rags
of cloth to get the approaching ship's attention. Another aspect
of Jericho's raft painting that made it unusual was that
it was a depiction of contemporary events in a time

(23:53):
when there were no photos and rarely any illustrations and
news accounts. A large scale image of the horrific experience
that the raft contingent had been through, which had led
to so many deaths made a huge impression on the
French public that was really grappling with the details of
the irresponsible leadership and resultant suffering that made up the case.

(24:19):
There had been an initial effort not to reference the
Medusa in the title. At the request of the Salon,
Jericho had agreed to call it the scene of the shipwreck,
but everybody knew that this was a depiction of the Medusa.
Raft it did not go over well at the Salon.
It did win a gold medal, but no title, which

(24:39):
was unusual. Some critics criticized Jericho for selecting the shipwreck
as subject matter. Yeah, it was like, we kind of
have to give you an award because this is a
really obviously amazing achievement in painting, but like you're not
going to get a prize prize. And they just thought
he was being very carass in using this and that

(25:01):
he was exploiting the pain of these current events. But
this painting brought the scandal of the Medusa back into
the public consciousness. This, of course, came out three years
after the wreck had happened. In our recent episode on
augustin Frenelle, we mentioned that he started the lighthouse improvement
project for the French government in eighteen nineteen. That was

(25:23):
the same year that Jerico showed this painting. Though Jericho's
painting of the raft didn't get a lot of positive
attention in France, the account, written by Alexandre Courier and
Henri Savni, was hugely successful and was reprinted in multiple editions.
For the fourth of these, Jericho painted four ten by

(25:44):
sixteen and a half centimeter illustrations. The originals were given
as gifts to Corey Are. One was a watercolor version
of the full painting of the raft. A second shows
another survivor who had not been on the raft and
landed far north of the Senegalese capital. In the painting,
he appears before the King of the Maritanians. The third

(26:07):
is a scene in the hospital in Sant Luis, Senegal,
where the survivors of the raft, including Coryer, are visited
by officers from the Argus, and the fourth was a
depiction of the moment the Medusa broke apart. That fourth
painting has been lost. In eighteen twenty tea door Jerico
left France for England, and he took the raft of

(26:29):
the Medusa with him. The artworks reception in England was
far more enthusiastic than what it had been in France.
This actually makes sense politically, right. England had to seed
Senegal to France, so seeing a massive painting that showed
French ineptitude frankly felt good to the English. The English
language translation of seven Yen Coriyard's book was also hugely

(26:53):
popular in England, and both the book and the painting
garnered rave reviews in the English press. I saw one
review that was like, this is the best piece of
art that has ever been created in the history of man,
like they loved the Raft of the Medusa. Jericho returned
to France while The Raft of the Medusa was still
drawing crowds in London, although he did return to London

(27:15):
as well in the next two years. Back home, he
completed a series of portraits that were informed by spending
time with his friend Etienne Jean George, who was an
early practitioner of modern psychiatry. While there were certainly studies
of human behavior before the nineteenth century, the term psychiatry
had only been coined in eighteen oh eight, so it

(27:37):
was a newly established field in the early eighteen twenties.
Some accounts indicate that the portrait series was actually commissioned
by George. This tracks because, like a lot of people
studying and treating mental disorders at the time, Cherse believed
in physiognomy, which is the pseudoscience that says that a

(27:58):
person's facial features are direct indication of their character. Jericho
unveiled this portrait series, which consisted of paintings of people
who had been deemed insane, in eighteen twenty two. The series,
which is simply titled Les monomon or Portraits of the Insane,
included ten paintings, although all of them have not survived,

(28:20):
at least that we know of. We don't know the
names of any of the people featured. It's possible that
they were all hospitalized in asylums in Paris. The paintings
are portrait of a woman suffering from obsessive envy, portrait
of a kleptomaniac, Portrait of a man suffering from military delusions,

(28:41):
a woman addicted to gambling, and portrait of a child snatcher.
The style of each of these pieces was the same.
All of them show the subjects from the waste or
chest up in three quarter profile. The background in each
of them is dark, with the sitter illuminated as though
they were emerging from the darkness. None of the subjects

(29:01):
is looking directly at the viewer, and as you may
have been counting in your head, Tracy read five titles
there out of the ten that he made. We're going
to talk about what we know about these portraits and
what we don't in just a moment, because the path
of these pieces through time has actually been a little uncertain.
George seems to have had them until he died, and

(29:24):
it's believed that at that point two of his students
acquired them at auction and split them up. We're going
to talk more about these paintings in just a bit.
Jericho was also planning some additional large paintings, including one
depicting the horrors of the slave trade, but he didn't
get beyond the early stages with it, as his health

(29:45):
undercut his ability to work at the large scale that
he intended for it. Like so many other people, Jericho
had tuberculosis. He also had two horse accidents that left
him weakened. In his final weeks, when he he had
wasted away, Jericho painted his final self portrait, which is
a haunting image that shows the ravages of the disease

(30:07):
on him. He died on January twenty sixth, eighteen twenty four.
The raft of the Medusa has continued to be lauded
for its technical achievement and its extraordinary visual impact. While
Jericho died waiting for someone to buy it, at the time,
he was in talks with the King of France to

(30:28):
acquire it. It was eventually acquired from his estate after
his passing, and it has continued since then to be
part of the Louvers collection. In eighteen fifty nine, unwilling
to loan the painting out, the Louver commissioned Pierre des
rey Guillemet and Etienne Antoine yu Genja to create a
copy of it that they use for loaning purposes, while

(30:50):
the original always stays in Paris. After he was released
from prison in eighteen nineteen, Hugh Duras de Chemer retired
to the country or he racked up an enormous debt
before his death more than twenty years later, on November
twenty third, eighteen forty one. Alexandre Courier became a bookseller
and a publisher, as well as a pretty widely known

(31:14):
political activist. He was arrested many times for publishing controversial
materials that criticized the monarchy and the French government, and
he was actually imprisoned for this work at one point.
He died in eighteen fifty seven. Alri Savigny was accused
by a variety of people of himself being negligent regarding

(31:35):
the way the raft contingent was led. There were people
from higher up the chain of command who tried to
blame him for a lot of the horrors that had
come to light. Although he initially fought these accusations, eventually
it seems like he just tried to get out from
under the shadow of the Medusa. He died in eighteen
forty three. Yeah, he quit the Navy after some of

(31:58):
these accusations started because he just did want anything to
do with it. Jericho's short life he was only thirty
two when he died, left a mystery that is still unraveling.
In eighteen sixty three, five of Jericho's portraits of mental
illness were reported found in the home of one of
Georges's students, that was a man named la Chaise, and

(32:19):
they were found by an art historian named Louis Villar d'aux.
Those five works were, after analysis, accepted as the work
of Jericho. So again, those are a woman addicted to gambling,
a child snatcher, a woman suffering from obsessive envy, a kleptomaniac,
and a man suffering from delusions of military command. From
the moment those paintings surfaced, people wondered where the other

(32:41):
five were. It was assumed that the lot of ten
had been split evenly between La Chaise and another man
named Mercal. The two of them were Georges Proteges. No
one even knows what those other portraits are, although there
have been lots of theories. Then, in twenty twenty one,

(33:02):
a biologist named Javier Burgos announced that he believed he
had found one of them in a private collection in Italy.
In a letter published in The Lancet in twenty twenty one,
Burgos stated, quote, the size of this portrait is congruent
with the other five paintings. The composition is similar, i e.
An illuminated face over a dark background, and the portrayed

(33:24):
individual wears a religious garment, a modest chawsible of a
similar color to the red scarf in the portrait representing envy.
The title of the portrait suggests it corresponds to sadness melancholy,
as described by the French psychiatrist Dominique Esquirol, who was
George's mentor. The condition is confirmed by the presence of

(33:45):
wrinkles on the brows of the portrayed patient, drawing the
classic omegasign omegam Melancholicum, which was described by the German
psychiatrist Heinrich Schul as a distinguishing feature of melancholy. Burgau
had first seen this paint in an exhibit of other
works by Jericho, and it took him by surprise. After

(34:06):
we went public, he was contacted by another person at
a gallery in Versailles who had what he believed was
another of the missing paintings. This one had a note
tucked into the back of it that said quote, this
portrait of an insane man painted by Jericho was given
to me by the widow of Di Marshal in eighteen
sixty six, Paris, nine November, Louis Lemaire. The paper the

(34:29):
note was written on was analyzed and found to be
from the nineteenth century, and that opened the door to
another possible discovery. Sort of. There is a painting in
the louver by Jericho called Portrait of a Man called
von Den, and it came to Burgos's attention as another
possible part of this series. It has long been attributed

(34:51):
to Jericho, but there is disagreement as to whether it
is part of this group of paintings. As of twenty
twenty four, there was not a consensus about whether these
new pieces were part of the ten Portrait series. And
in July of this year, which is twenty twenty five,
the French military withdrew its last troops from Senegal. We

(35:14):
get art, we get politics, we get gross stuff. You
get decomposing body parts. We can talk about all of
that on Friday. Yeah. I also have a listener mail
from our listener, Chloe, and I love this listener mail.
Chloe writes, Hey, Holly and Tracy, I've been listening to
your podcast for the longest time, and I finally thought

(35:36):
I had a good enough reason to justify writing to
you guys. Hey, you don't nobody needs to justify anything.
Just write and say hey, we're into it. Yes. I
know it's probably a small reason, but I really wanted
to write you. So here I am. I just recently
listened to the Edward Moybridge episode, and I was intrigued
that one of the names he chose for himself was Helios, because,

(35:56):
as you mentioned, it's the Greek name for sun, but
also was more specifically used to refer to the Greek
son god Helios. Helios also being a god could be
illuminating to Edward's personality. Oh yeah, you're right on the money.
I don't think that's an accident. Now, to refer to
the subject line, I have been listening to you guys
for a very long time, and I can vividly remember

(36:18):
the first time I started listening. I was introduced to
your podcast by my father when I was pretty young,
definitely in elementary school. My very first episode was, of course,
The Great Emu War, which my dad had found delightful
and set me up with because he knew I would
feel the same. Much to his chagrin, I found some
October episodes which I listened to after that. I hope

(36:40):
you found the ghost who was looking for her tooth.
Ever since about ten years now, I've been listening and
I just love everything about this podcast. I love the
factual way you present, and I love hearing behind the
scenes episodes where I can hear your personal takes on everything. Finally,
the way you approach queerness and queer historical figures has
been really impactful to me. It's precisely because queerness is

(37:00):
just another part of their story that I have felt
more comfortable in my own skin as I grew up.
This is very touching to me. It gets me choked up.
Oh so thank you. Me and my dad still listen
to you guys, sometimes together, sometimes apart. You make my
rides to work in school more enjoyable and help me
to do productive things that I wouldn't be able to
do otherwise. I believe this has led me to our

(37:21):
obligatory pet tax. I have two dogs and two cats.
First is Thor, my ten year old Golden Retriever, who
is scared of thunder and much loves air conditioning more
than any being I've ever met before. Second is my
three year old German Shepherd Doberman mix Loki. Although he
gets up to a small amount of mischief, he's really
sweet and loyal, choosing to follow me to every room

(37:41):
in the house. Who's gonna say that combo of dogs
is like a dog that is probably super clingy. Our
two cats are Sully and Boo think monsters inc. Who
are very nearly older than me and rightfully think they
own the play. Sorry, I don't have breeds for them.
They may be mut kitties, you know. At the vet
they call that a domestic short hair or long hair,
depending on your coat. Thank you so much for your time,

(38:04):
and thank you for giving me such wonderful stories to
listen to you with a great deal of respecting gratitude, Chloe, Chloe,
I love this email. I love these dogs. I want
to hug those dogs so bad and listen kitties too.
I want all of it. I want all of it.
The kitties are very pretty as well. Thank you so much.
This is so delightful and I love knowing that. And

(38:25):
I also am very honored that someone would grow up
with us and continue to listen and want us to
be part of their lives. It means a great deal
to me, So thank you, thank you, thank you, and
thank you for sharing your babies with us that are
so cute and listen. This is a good emaal for
right now, because it's about to be October time. We

(38:46):
got some scary stuff lined up. Hopefully it won't trouble
anyone anymore than you know cannibalism and rotting corpses in
your studio. I think we might even have the witch
looking for her tooth that you mentioned earlier in the
listener mail reading oh as a classic coming up. Great, great,
So thank you, thank you, thank you. If you would

(39:07):
like to write to us, you can do so so easy.
That email address is History Podcast at iHeartRadio dot com.
You can also subscribe to us on the iHeartRadio app
or anywhere you listen to your favorite shows, which if
you're into halloween stuff, we got October October spooky things coming,
so we hope we will see you there. Stuff you

(39:33):
missed in History Class is a production of iHeartRadio. For
more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,
or wherever you listen to your favorite shows.

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