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Updated: June 8, 2025
Sarlovèze, a typical Beau-Sabreur portrait; and 388, Bonaparte visiting victims of the Plague at Jaffa, a striking composition, which advanced the artist to the front rank of his profession. Gros was the parent of the grand battle-pictures of the future; the painter of the Napoleonic epos.
Defeat, disaster, sorrow, could not weaken him; he was of the old stock, the real beau-sabreur, a relic of the old régime, that grew young in the face of defeat, that died of a broken heart at the breath of dishonour. There had been no dishonour, as he understood it there had been defeat, bitter defeat.
Yet now it was that he showed himself the chivalrous soldier, the old colonel of the old régime, the true beau-sabreur of an epoch dead. And the Red Prince Frederick Charles knew it, and bowed low as the vicomte left the dining-hall with his gentle, pale-faced wife on his arm.
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