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The conversation settled upon Napoleon I, often placed on the stage and newly studied in books an object of curiosity, a personage in the fashion, no longer a popular hero, a demi-god, wearing boots for his country, as in the days when Norvins and Beranger, Charlet and Raffet were composing his legend; but a curious personage, an amusing type in his living infinity, a figure whose style is pleasant to artists, whose movements attract thoughtless idlers.
Like the trained reporter that he was, Guys followed a battle, recording the salient incidents of the engagement, not overemphasising the ghastliness of the carnage, as did Callot or Goya or Raffet, but telling the truth as he saw it, with a phlegm more British and German than French.
Among the artists, Eugene Sue, Henriquel-Dupont, Tony Johannot, and Louis Boulanger had chosen the style of Louis XIII. Eugene Delacroix wore a Moorish dress, Horace Vernet an Arab costume. Winterhalter represented a Florentine of the fourteenth century, while Amaury Duval, Jadin, Eugene Lamy, Gudin, Raffet, &c., &c., were all got up with the most studied correctness.
The conversation settled upon Napoleon I, often placed on the stage and newly studied in books an object of curiosity, a personage in the fashion, no longer a popular hero, a demi-god, wearing boots for his country, as in the days when Norvins and Beranger, Charlet and Raffet were composing his legend; but a curious personage, an amusing type in his living infinity, a figure whose style is pleasant to artists, whose movements attract thoughtless idlers.
Then comes, in the third place, poverty in rags, the poverty of the people, the poverty that is poetic; which Callot, Hogarth, Murillo, Charlet, Raffet, Gavarni, Meissonier, Art itself adores and cultivates, especially during the carnival. The man in whom poor Agathe thought she recognized her son was astride the last two classes of poverty.
A few more days of such unremitting war, and we should have vied with the glorious tatterdemalions of the armies of Italy and of the Sambre et Meuse, as Raffet paints them. With their noses in the air, their mouths open, their eyes half shut, my Chasseurs lay stretched out among the legs of their horses and slept heavily. Poor horses!
The conversation settled upon Napoleon I, often placed on the stage and newly studied in books an object of curiosity, a personage in the fashion, no longer a popular hero, a demi-god, wearing boots for his country, as in the days when Norvins and Beranger, Charlet and Raffet were composing his legend; but a curious personage, an amusing type in his living infinity, a figure whose style is pleasant to artists, whose movements attract thoughtless idlers.
Then comes, in the third place, poverty in rags, the poverty of the people, the poverty that is poetic; which Callot, Hogarth, Murillo, Charlet, Raffet, Gavarni, Meissonier, Art itself adores and cultivates, especially during the carnival. The man in whom poor Agathe thought she recognized her son was astride the last two classes of poverty.
Forty-two dead or wounded: dead Marshal Mortier, General Lachasse de Verigny, Colonels Raffet and Rieussec, Captain Willatte, aide-de-camp to the Minister of War, seven others, and two women; wounded Generals Heymes, Comte de Colbert, Pelet, Blin, and many more. The Due de Broglie was hit full in the chest by a bullet that flattened out on his star of the Legion of Honour.
A few sectionaries of the Mail and of the Butte-des-Moulins, commanded by Raffet, drew up in the passages and avenues to defend it. The Girondists withstood, as long as they could, the deputations and the Mountain. Threatened within, besieged without, they would have availed themselves of this violence to arouse the indignation of the assembly.
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