was admitted into the academy of painting in his twentieth year,
was admitted into the academy
of painting in his twentieth year, where he had already executed several pictures of great merit; his son, who was
born at Paris in 1694, and to whom he left his name, his
talents, his knowledge, and virtues, enjoyed the same good
fortune. in his 2ist year: he was first painter to the duke
of Orleans, and in 1747 to the king. Though his peronal qualities and endowments had already made him a
welcome guest with the princes and great men of the court,
yet this last appointment increased his reputation; and the
first use he made of his consequence, was to induce M. de
Tourathem, who had fortitude of mind sufficient for such a
sacrifice, to decline the title of a protector of the academy,
which hitherto had always been connected with the office
of superintendant of the buildings, in order that the academy of painting, like all the rest, might be under the
immediate protection of the king. He also erected a preparatory school, at Paris, for the y^ung pupils, who went
to Rome, where they studied history, and exercised themselves under able masters. To him likewise the public
were indebted for the exhibition of the pictures in the
Luxembourg gallery. Like all men of genius, he had his
enviers and rivals; but his rivals were his friends, his modesty drew them to him, and he never refused them his
esteem. His place as first painter to the king brought him
to court, and made him more intimately acquainted with
the queen and the dauphin. The queen often gave him,
work to do, which chiefly consisted in pictures of the saints
and other objects of devotion. On her return from Metz,
finding over her chimney a picture which he had privately
executed, representing France in the attitude of returning
thanks to heaven for the deliverance of the king, she was
so moved, that she exclaimed, “No one but my friend
Coypel is capable of such. a piece of gallantry!
” The
dauphin had frequently private conversations with him.
He himself executed the drawing for the last work of Coypel, the “Sultan in his seraglio.
” His table was always
strewed with the manuscripts of this artist, which he intended to publish at his own expence. The death of the
author prevented his design, and on hearing of the event,
the prince said publicly at supper: “I have in one year
lost three of my friends!
”