DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.68873#0116
The plague at Jaffa,
crutch. Nearly on the same ground a Frenchman, af-
flicted with the ophtalmia, common to those climates,
hearing the voice of his general, approaches to the place
from whence it issued. The fore-ground presents an-
other scene. A young surgeon, the victim of his hu-
manity, appears in a swoon, attacked by the malady,
from which he was desirous of saving the unfortunate
person expiring at his feet. The painter has devoted the
other part of his picture to the expression of the symp-
toms, and the disastrous effects, of the pestilence. A
victim, extended upon the ground, rends his hair, while
the contraction of his limbs exhibits the excess of his
sufferings. The features of another person, who rises to
behold Buonaparte, evinces that he has recovered from
a similar attack. A third is motionless, his head sup-
ported by his hands, and appears insensible to the scene
that is passing around him. Further on, two officers,
one of whom is blind, receives, with gratitude, the
bread distributed by the Turks. One of them indicates
to the sufferers the succours that have been given to
them by the commander in chief. Behind this group,
two slaves carry away the body of an afflicted person, of
whom only the legs are visible.
In this extensive composition the artist has omitted
nothing that could explain the subject, and shew the
place where the action passes. The architecture of the
Orientals, the burning sky of Syria, and the position of
the city of Jaffa, are rendered with the greatest exactness.
The colouring is beautiful, the design vigorous and bold ,
the draperies of the Asiatics, and the cloaks of the sol-
diers, present large folds and fine masses, and the tout
ensemble exhibits the pencil of a master destined to be-
come a proficient in his art.
crutch. Nearly on the same ground a Frenchman, af-
flicted with the ophtalmia, common to those climates,
hearing the voice of his general, approaches to the place
from whence it issued. The fore-ground presents an-
other scene. A young surgeon, the victim of his hu-
manity, appears in a swoon, attacked by the malady,
from which he was desirous of saving the unfortunate
person expiring at his feet. The painter has devoted the
other part of his picture to the expression of the symp-
toms, and the disastrous effects, of the pestilence. A
victim, extended upon the ground, rends his hair, while
the contraction of his limbs exhibits the excess of his
sufferings. The features of another person, who rises to
behold Buonaparte, evinces that he has recovered from
a similar attack. A third is motionless, his head sup-
ported by his hands, and appears insensible to the scene
that is passing around him. Further on, two officers,
one of whom is blind, receives, with gratitude, the
bread distributed by the Turks. One of them indicates
to the sufferers the succours that have been given to
them by the commander in chief. Behind this group,
two slaves carry away the body of an afflicted person, of
whom only the legs are visible.
In this extensive composition the artist has omitted
nothing that could explain the subject, and shew the
place where the action passes. The architecture of the
Orientals, the burning sky of Syria, and the position of
the city of Jaffa, are rendered with the greatest exactness.
The colouring is beautiful, the design vigorous and bold ,
the draperies of the Asiatics, and the cloaks of the sol-
diers, present large folds and fine masses, and the tout
ensemble exhibits the pencil of a master destined to be-
come a proficient in his art.