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<noinclude><pagequality level="1" user="Slowking4" /><div class="pagetext">{{rh|{{x-larger|274}}|{{x-larger|{{uc|LATOUCHE—LA TOUR D’AUVERGNE}}}}|{{x-larger| }}}}<!-- replace "Foo" and "Bar" with the header from the page, delete and input page numbers as appropriate -->
</noinclude><section begin="s1"/>In Greek art Leto usually appears carrying her children in her arms,
pursued by the dragon sent by the jealous Hera, which is slain by
the infant Apollo; in vase paintings especially she is often represented
with Apollo and Artemis. The statue of Leto in the Letoon
at Argos was the work of Praxiteles.
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<section begin="s2"/>'''LATOUCHE; HYACINTHE JOSEPH ALEXANDRE THEABAUD DE''' [known as HENRII (1785-1851), French poet and
novelist, was born at La Chatre (Indre) on the 2nd of February
1785. Among his works may be distinguished his comedies:
Projets de sagesse (1811), and, in collaboration with Emile
Deschamps, Selmours de Florian (1818), which ran for a hundred
nights; also La Reine d'Espagne (1831), which proved too
indecent for the public taste; a novel, Fragalelta: Naples el
Paris en 1799 (1829), which attained a success of notoriety;
La Vallee aux coups (18 33), a volume of prose essays and verse;
and two volumes of poems, Les Adieux (1843) and Les A grestes
(1844). Latouche's chief claim to remembrance is that he
revealed to the world the genius of André Chénier, then only
known to a limited few. The remains of the poet's work had
passed from the hands of Daunou to Latouche, who had sufficient
critical insight instantly to recognize their value. In editing the
first selection of Chénier's poems (1819) he made some trifling
emendations, but did not, as Béranger afterwards asserted, make
radical and unnecessary changes. Latouche was guilty of more
than one literary fraud. He caused a licentious story of his
own to be attributed to the duchesse de Duras, the irreproachable
author of Ourika. He made many enemies by malicious attacks
on his contemporaries. The Conslilulionnel was suppressed in
1817 by the government for an obscure political allusion in an
article by Latouche. He then undertook the management of
the Mercure du XIX” siecle, and began a bitter 'warfare against
the monarchy. After 1830 he edited the Figaro, and spared
neither the liberal politicians nor the romanticists who triumphed
under the monarchy of July. In his turn he was violently
attacked by Gustave Planche in the Revue des deux monde;
for November 1831. But it must be remembered to the credit
of Latouche that he did much to encourage George Sand at the
beginning of her career. The last twenty years of his life were
spent in retirement at Aulnay, where he died on the 9th of
March 1851.
Sainte-Beuve, in the Causeries du lundi, vol. 3, gives a not too
sympathetic portrait of Latouche. See also George Sand in the
Siéele for the 18th, 19th and 20th of luly 1851.
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<section begin="s3"/>'''LA TOUR, MAURICE QUENTIN DE''' (1704-1788), French
pastel list, was born at St Quentin on the 5th of September 1704. After leaving Picardy for Paris in 1727 he entered the studio of Spoéde-an upright man, but a poor master, rector of the academy of St Luke, who still continued, in the teeth of the Royal Academy, the traditions of the old gild of the master painters of Paris. This possibly contributed to the adoption by
La Tour of a line of work foreign to that imposed by an academical training; for pastels, though occasionally used, were not a principal and distinct branch of work until 1720, when Rosalba Carriera brought them into fashion with the Parisian world. In 1737 La Tour exhibited the first of that splendid series of a
hundred and fifty portraits which formed the glory of the Salon
for the succeeding thirty-seven years. In 1746 he was received
into the academy; and in 1751, the following year to that
in which he received the title of painter to the king, he was
promoted by that body to the grade of councillor. His work
had the rare merit of satisfying at once both the taste of his
fashionable models and the judgment of his brother artists.
His art, consummate of its kind, achieved the task of flattering
his sitters, whilst hiding that flattery behind the just and striking
likeness which, says Pierre Jean Mariette, he hardly ever missed.
His portraits of Rousseau, of Voltaire, of Louis XV., of his queen,
of the dauphin and dauphiness, are at once documents and
masterpieces unsurpassed except by his life-size portrait of
Madame de Pompadour, which, exhibited at the Salon of 1755,
became the chief ornament of the cabinet of pastels in the Louvre.
The museum of St Quentin also possesses a magnificent collection
of works which at his death were in his own hands. La Tour
retired to St Quentin at the age of 80, and there he died on the
18th of February 1788. The riches amassed during his long life
were freely bestowed by him in great part before his death; he
founded prizes at the school of fine arts in Paris and for the
town of Amiens, and endowed St Quentin with a great number
of useful and charitable institutions. He never married, but
lived on terms of warm affection with his brother (who survived
him, and left to the town the drawings now in the museum);
and his relations to Mlle Marie Fel (1713-1789), the celebrated
singer, were distinguished by a strength and depth of feeling
not common to the loves of the 18th century.
See, in addition to the general works on French art, C. Desmeze, M. Q. de La Tour, peantre du roi (1854); Champfleury, Les Peintres de Laon et de St Quentin (1855); and “ La Tour " in the Collection des artistes eélebres (1886);' E. and J. de Goncourt, La Tour (1867); Guiffrey and M. Tourneux, Correspondence inédite de M. G. de la Tour (1885); Tourneux, La Tour, biographies critique (1904); and Patoux, L'CEuvre de M . Quentin de la Tour au musée cle St Quentin (St Quentin, 1882).
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<section begin="s4"/>'''LA TOUR D'AUVERGNE, THEOPHILE MALO''' (1743-1800),
French soldier, was born at Carhaix in Brittany on the 23rd of
December 1743, the son of an advocate named Corret. His
desire for a military career being strongly marked, he was enabled,
by the not uncommon device of producing a certificate
of nobility signed by his friends, first to be nominally enlisted in
the Maison du Roi, and soon afterwards to receive a commission
in the line, under the name of Corret de Kerbaufret. Four
years after joining, in 1771, he assumed by leave of the duke
of Bouillon the surname of La Tour d'Auvergne, being in fact
descended from an illegitimate half-brother of the great Turenne.
Many years of routine service with his regiment were broken
only by his participation as a volunteer in the duc de Crillon's
Franco-Spanish expedition to Minorca in 1781. This led to an
offer of promotion into the Spanish army, but he refused to
change his allegiance. In 1748 he was promoted captain, and in
1791 he received the cross of St Louis. In the early part of the
Revolution his patriotism was still more conspicuously displayed
in his resolute opposition to the proposals of many of his brother
officers in the Angoumois regiment to emigrate rather than to
swear to the constitution. In 1792 his lifelong interest in
numismatics and questions of language was shown by a work
which he published on the Bretons. At this time he was serving
under Montesquiou in the Alps, and although there was only
outpost fighting he distinguished himself by his courage and
audacity, qualities which were displayed in more serious fighting
in the Pyrenees the next year. He declined well-earned promotion
to colonel, and, being broken in health and compelled,
owing to the loss of his teeth, to live on milk, he left the army in
1795. On his return by sea to Brittany he was captured by the
English and held prisoner for two years. When released, he
settled at Passy and published Origines gauloises, but in 1797,
on the appeal of an old friend whose son had been taken as a
conscript, he volunteered as the youth's substitute, and served
on the Rhine (1797) and in Switzerland (1798-1799) as a captain.
In recognition of his singular bravery and modesty Carnot
obtained a decree from the first consul naming LaTour d'Auvergne
“ first grenadier of France ” (27th of April ISOO). This led him
to volunteer again, and he was killed in action at Oberhausen,
near Donauworth, on the 27th of June 1800.
La Tour d'Auvergne's almost legendary courage had captivated the imagination of the French soldier, and his memory was not suffered to die. It was customary for the French troops and their allies of the Rhine Confederation under Napoleon to march at attention when passing his burial-place on the battlefield. His heart was long carried by the grenadier company of his regiment, the 46th, after being in the possession of Garibaldi for many years, it was finally deposited in the keeping of the city of Paris in 1883. But the most striking tribute to his memory is paid to-day as it was by order of the first consul in 1800. “ His name is to be kept on the pay list and roll of his company. It will be called at all parades and a non-commissioned officer will reply, Mort au champ d'honneu1'.” This custom, with little variation, is still observed in the 46th regiment on all occasions when the colour is taken on parade.<section end="s4"/><noinclude><references/></div></noinclude>