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Their dragoons and fantassins are not merely more real in what they do, but in how they look. Vernet's look like tin soldiers by comparison; certainly like soldiers de convenance. Aimé Morot evidently used instantaneous photography, and his magnificent cavalry charges suggest not only carnage, but Muybridge as well.
You may easily conceive that I who am fond of painting was most highly Entertained in viewing the Great Gallery of the Louvre, & yet you will, I am sure, think my taste very deficient when I tell you that I do not admire the finest pictures of Raphael, Titian, Guido, and Paul Veronese, so much as I do those of Rubens, Vandyck, & le Brun, nor the landscapes of Claude and Poussin so much as Vernet's.
I had two engravings that were not without merit, Poussin's Manna in the Wilderness, and the same painter's Esther before Ahasuerus; the one is driven out in shame by some old man of Rubens's, the Fall of the Manna is scattered to the winds by a Storm of Vernet's. The old straw chair is banished to the ante-room by a luxurious thing of morocco.
She did not wish to see Madame Adolphe's astonishment. Surely Madame Adolphe could not have forgotten the assurance with which the professor's wife had placed him in imagination at Madame Vernet's table. "My dear child, I do not know," said the professor in a repentant tone. "Then you have not dined," said Madame Marmus, whose attitude remained that of the purest innocence.
Silent, with crossed arms, he stands before a print, a copy of Horace Vernet's representation of Mazeppa, who, naked and bound upon a wild horse, rushes through the forest. Wolves thrust forth their heads and exhibit their sharp teeth. "My own life!" sighed Otto. "I also am bound to this careering wild horse. And no friend, not a single one! Wilhelm, I could kill thee!
When we got back to Lisbon I bade a sorrowful farewell to Aumale, who departed on board a steamship for Algiers, there to commence the brilliant campaign which ended in the capture of Abd-el- Kader's smalah. Horace Vernet's fine picture in the Versailles Museum perpetuates the memory of this splendid exploit.
But for the style of subject and execution required by Horace Vernet's artistic organization, these careful preparations would not answer. They would only tend to diminish the sweeping passion of the fiery melée, and freeze the swift impulsive rush of the attack or flight.
It was Pere Lantz, the "old dolphin," who was standing there with Maurice beside him and three or four of the auxiliary engineers; and, upon my word, in spite of his cap, which seemed to date from the time of Horace Vernet's "Smala," the poor man, with his glasses upon his nose, long cloak, and pepper colored beard, had no more prestige than a policeman in a public square, one of those old fellows who chase children off the grass, threatening them with their canes.
To describe that picture of Vernet's with its thousand figures, charging cavalry, flashing sabers, dust-clouds, fleeing cattle, stampeding buffalos, riderless horses, overturned tents, and fear-stricken, beautiful women would require a book.
Though considerably flattered in Vernet's beautiful picture at the Louvre, Antibes, nevertheless, leaves a pleasing impression on the mind, from its airy, well-frequented, prosperous appearance, and the bustle arising from the presence of a garrison.
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