994 FINE ARTS IN PARIS. 



Decamps stands singular among French painters, and in this 

 point of view, and as a master in his art, is so wonderful a painter, 

 that it will be interesting to follow him a little in his devious 

 courses. His career is as singular as his style of painting. He 

 has visited Africa, Constantinople, and the East ; and, during his 

 residence in those regions, he acquired the dry burning style, the 

 original colouring, and even the manners of the country. 



For years, he has been an inimitable genius, yet ever imitated. 

 He has painted human beings and his imitators monkeys. Yet 

 equal praise cannot be bestowed on all he has done. His picture 

 representing the battle between the Cimbrians and Romans is, with 

 all its stirring composition, but an indistinct mass of colours. It 

 would seem that he was ambitious of being a painter of battles, 

 but he failed. His manner we can neither praise nor censure, 

 neither recommend nor discourage — it is Decamps's manner, and, as 

 such, excellent and full of effect. How he manages it to give to his 

 Arabic, Egyptian, and Asiatic scenes such interest, and such 

 variety, we know not, but the character of his representations are 

 true to nature. 



Decamps's figures, closely surveyed, seem a chaotic jumble. 

 But, on retiring a few steps, his forms start from the canvass like 

 letters written with invisible ink brought out by intense heatj 

 at one time he overlays his colours, and at another he paints so 

 slightly that the threads of the canvass are visible. In this slight 

 touch he no doubt indulges when, having been inspired, he has no 

 faults to conceal beneath thick layers of colours. He has five 

 paintings in this exhibition, all possessing more or less merit. 

 The best of these represents a Turkish outpost, near Smyrna. 

 The interior of the locality is laid open to the spectator — on one 

 side is seen a kind of alcove, with a camp bed j on the other, 

 a stable, with an opening into the country. Two camels, with 

 their indolent and wearied drivers, pass along the road j in the back 

 ground are seen, between the bright green plantains, the minarets 

 and domes of Smyrna. The party which forms this outpost 

 consists of a young beardless Turk, seated on the ground and 

 smoking his long pipe, and who, together with an older companion 

 in arms, is listening to a gaily-attired girl, who has brought some 

 provisions in a basket. Two Mussulmen are handling their arms, 

 ■whilst the commanding officer is lying on the camp bed, playing 

 the mandoline and smoking his pipe. If we say that we can form 

 distinct notions of as many Turkish masters as are seen in the pic- 

 ture, we shall have bestowed all the praise that can be conferred on 

 it. Indeed, the great merit of Decamps consists in being perfectly 

 true and faithful to nature. 



A counterpart to Decamps's Eastern figures, are the architectu- 

 ral edifices of that climate, by Morel Fatio. He may be styled the 

 Canaletto of Algiers, for since the French have conquered that 

 colony, he has produced as many mosques, squares, sea-ports, and 

 towers, as the Venetian artist painted San Marcos, piazzetas, and 

 signorial edifices. What he does give is excellent and instructive. 



