FRENCH BATTLE-PICTURES.

In an American work--_Glances at Europe_, by Mr H. Greeley--the

following sound observations occur on the battle-pictures in the

palace of Versailles: 'These battle-pieces have scarcely more

historic than artistic value, since the names of at least half of

them might be transposed, and the change be undetected by

ninety-nine out of every hundred who see them. If _all_ the French

battles were thus displayed, it might be urged with plausibility

that these galleries were historical in their character; but a full

half of the story--that which tells of French disaster and

discomfiture--is utterly suppressed. The battles of Ptolemais, of

Ivry, of Fontenoy, of Rivoli, of Austerlitz, &c. are here as

imposing as paint can make them; but never a whisper of Agincourt,

Cressy, Poitiers, Blenheim, or Ramillies; nor yet of Salamanca, of

Vittoria, of Leipsic, or Waterloo. Even the wretched succession of

forays which the French have for the last twenty years been

prosecuting in Algerine Africa, here shine resplendent; for Vernet

has painted, by Louis-Philippe's order, and at France's cost, a

succession of battle-pieces, wherein French numbers and science are

seen prevailing over Arab barbarism and irregular valour, in combats

whereof the very names have been wisely forgotten by mankind, though

they occurred but yesterday. One of these is much the largest

painting I ever saw, and is probably the largest in the world, and

it seems to have been got up merely to exhibit one of

Louis-Philippe's sons in the thickest of the fray. Last of all, we

have the Capture of Abd-el-Kader, as imposing as Vernet could make

it, but no whisper of the persistent perfidy wherewith he has been

retained for several years in bondage, in violation of the express

agreement of his captors. The whole collection is, in its general

effect, delusive and mischievous--the purpose being to exhibit war

as always glorious, and France as uniformly triumphant. It is by

means like these that the business of shattering knee-joints and

multiplying orphans is kept in countenance.'

Chambers's Edinburgh Journal, No. 419 Volume 17, New Series, January 10, 1852 · 第 11 / 18 题