Eyre Crowe (1824-1910)

Medium: oil

Exhibited: Royal Academy, 1875; Paris Exposition Universelle 1878

Original caption: ‘When the Mamelukes charged, the cry was “Let Messieurs the savants and the donkeys enter within the square”‘

The painting was part of the collection of the late R.A. Cosier Esq. of Thamesfield, Berkshire, and was auctioned by Messrs Christie, Manson and Woods, at King Street, St James’s Square, London, on 4 and 5 March 1887. It was purchased by ‘Norwood’ for £84.

Athenaeum, 1 May 1875:

During the expedition of the French in 1798, a joke was current which associated the troops with the donkeys on which they rode. It was said that when the Mamelukes charged the invaders, MM. les savants and les ânes were ordered within the square formed to receive cavalry. Mr. Crowe has taken advantage of the tale to present to us a well-arranged and admirably-executed group of the learned men in question, reclining, lounging or standing on the desert sand in hot sunlight. Bertholet sits on a black mule, and talks with Villoteau, a draughtsman; St. Hilaire, seen in profile, converses with Dutestre, another draughtsman; next to Fourier is Conté, the latter with a bandage over the eye which he lost while experimenting in the manufacture of the crayons which preserve his name; Denon is in a green coat, listening to Monge, who gesticulates with both hands; Balzac is talking with Cotaz; the latter, in a blue coat, lies on the sand. It is a capital, solid and careful picture, a little hard in execution, and rather scattered in colour, but otherwise quite a model for the painters of the present day.

Illustrated London News, 15 May 1875:

[We prefer Handing the Brush to] ‘The French Savants in Egypt, 1798’ (831), where we see ‘Messieurs les Savants’ and the donkeys in the middle of a large square formed by the French infantry to resist the Mamelukes. Our acknowledgment is due, however, to the conscientious research and the careful thoroughness with which everything is here realised; while climatic influences may to some extent justify the hardness of aspect of which we have complained.

The Graphic, 15 May 1875

Mr. Eyre Crowe’s chief work is an ingenious illustration of one of the footnotes of history. It is entitled “The French Savants in Egypt, 1798,” and is derived from Saintine’s account of the expedition : “When the Mamelukes charged the cry was, ‘Let Messieurs the Savants and the donkeys enter within the square.’” Mr. Crowe appreciating the humour of the situation has been heedful not to insist upon it unduly : he has gathered the men of science, with their instruments, baggage, and four-footed servants, into a group upon a sandy eminence in the centre of a large hollow square of cavalry. Probably the incident happened much as the artist has depicted it ; at least the work wears an uncommon look of truth and nature, fully exhibiting moreover Mr. Crowe’s carefulness in the treatment of detail, his finish of execution, and his studious observation of character. 

Daily News, 20 May 1875:

There is something too much, also, of scattered action and fantastic colour in Mr. Eyre Crowe’s “French Savants in Egypt, 1798” (831), but here one may grant much to the story of the picture, which is essentially grotesque. When the troops form square to receive a charge of Mamelukes “Messieurs les Savants and the donkeys” are put in the centre of the square for safety’s sake. Messieurs les Savants, however, do not seem much disturbed; and the picture as a whole produces rather a comic impression.

The Saturday Review, 12 June 1875:

Favourable examples of Mr Crowe’s latest phase are ‘Handing the Brush’ (385) and ‘The French Savants in Egypt, 1798’ (831). The artist’s keen pencil always stings with satire.

Henry Blackburn, Academy Notes, No. 1, 1875, p.43:

The Lecture Room. No. 831, “French Savants in Egypt” … Is a dashing picture, vigorously painted, and interesting in its portraits of savants of the last century. “When the Mamelukes charged,” says Saintine, in his ‘History of the Expedition to Egypt in 1798,’ “the cry was, ‘Let Messieurs the savants and the donkeys enter within the square.’” The position is quaintly and humorously depicted; the men of science in a group, with their portfolios, telescopes, and other peaceful implements, in the centre of a large square of infantry.

The painting was later shown at the International Exhibition in Paris; the Athenaeum commented, 11 May 1878:

…portraits, costume, accessories are studied with marvellous accuracy, but these are the least valuable part of the work, which in technique shows decided mastery