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