Debay, Jean-Baptiste-Joseph, the Elder, was born in that place in 1779. Having entered France, he studied under Chaudet, and also attended the school of the Academy. By the instructions he derived from both these sources, he succeeded in forming for himself a style which equally avoided the extreme rigour of classical tenets, and the enervating tendency of the Canovian overcharged softness. His group of "The Fates" stands foremost amongst his many works. The other group called "Seduction" is not so striking. But his statues of Charles Martel, of the poet Castel, and above all the charming one known under the name of the "Nymph with the Shell," are very clever indeed. Besides the honours which deservedly fell to the share of this hard-working and pains-taking artist, he had the happiness of seeing his own reputation rivalled, if not eclipsed, by that of his son—
Debay, Jean-Baptiste-Joseph, the Younger, born in 1802 at Nantes. His "Young Slave;" "Anne of Brittany;" " Modesty Conquered by Cupid;" and several portrait-statues, are equal to the best works of his father. He died in 1865.
Debay, Auguste-Hyacinthe, younger brother of the preceding, born in 1809, also at Nantes, when only eleven years of age, executed in marble a bust of Louis XVIII. for the town-hall of his native place, and at thirteen exhibited the busts of Mdlle. de Brosse, and of his own brother, René. From that time, however, he turned his thoughts to painting more than to sculpture; and having succeeded in obtaining admittance to the studio of Gros, he exerted himself to gather from the old master as much information as enabled him, unaided, to continue his studies in Rome. His residence in Italy was from 1824 to 1830, and on his return to Paris he exhibited the picture of "Lucretia," now in the Luxembourg gallery; followed, two years later, by the other representing "The Country is in Danger, or the Enrolment of Volunteers." This work attracted the attention of Louis Philippe. The work, however, which has raised Debay highest in general estimation is the group of "Eve and the Children," better known as the "Primitive Cradle." A copy of it was placed in the French court of the Exhibition in Hyde Park in 1851, and received one of the prizes.—A notice of this gifted family would be incomplete without a short tribute to the memory of Madame Debay, late Mdlle. Caroline-Louise-Emma Perignon, the wife of one of the Debays, and the pupil of her own father, from whom she successfully learned painting. Her untimely end in 1832 left several works unfinished, which, however, attest the artistical proficiency she had attained.—R. M.
DEBRET, Jean Baptiste, a distinguished French historical painter, born in 1788; died in 1845, in Paris his native place. After having studied under his relative, the great David, and accompanied him to Rome, he succeeded in obtaining admission to the school of public works, from which, a little time after, he entered the newly-founded polytechnic institution, first as a student, soon after as a teacher of drawing. In 1806 he succeeded in attracting the notice of Napoleon I. by a picture of considerable note. It represented the emperor in the act of saluting a passing convoy of wounded Austrians. The work was acquired by the legislative body, and led to the production of several others of the same kind, illustrating similar episodes of that almost fabulous time, many of which have been engraved. The downfall of Napoleon drove Debret from France. Having then repaired to Brazil, where the French Institute intended sending him to open an academy (a scheme which was never carried out), he found in that country full scope for the exercise of his talents, in painting portraits and court-ceremonies. He returned to France after the revolution of 1830.—R. M.
DEBRY, Jean Antoine, a French revolutionary demagogue, was born in 1760. He was bred an advocate, was elected a member of the legislative assembly in 1791, and soon became conspicuous for the violence both of his language and of the measures which he proposed. He took an active part in the proceedings of the 10th of August, was a member of the tribunal which tried Louis XVI., and voted for his death without appeal or delay. In 1798 he was chosen, along with Roberjot and Bonnier, to represent the republic at the congress of Rastadt, and was left for dead when his colleagues were assassinated on their journey home. He recovered from his wounds, however, and was appointed in 1801 prefect of the department of Doubs. After the Restoration he was exiled on account of his vote for the death of Louis XVI., but on the revolution of 1830 was permitted to return to France. He died in 1834.—J. T.
DECAEN, Charles Mathieu Isidore, Count, a French general, was born in 1769 of an honourable but poor family. He was intended for the bar, but his inclinations led him to adopt a military career. He served in the campaigns of 1793-96; and for his distinguished bravery and good conduct received the thanks of the directory and a sword of honour. In 1800 Decaen was promoted to the rank of a general of division. In 1802 he was nominated captain-general of the French possessions east of the Cape of Good Hope—an office which he held with great credit from 1803 to 1811. On his return to France he was appointed to a command, first in Spain, and afterwards in Holland. Although highly favoured by the Bourbons, he joined Napoleon on his return from Elba. He was arrested in October, 1815, but was soon released, and spent the remainder of his life in strict retirement. He died of cholera in 1832.—J. T.
* DECAISNE, Henri, a painter of the French school, was born in 1799 at Brussels. Having removed to Paris he studied there, partly under Girodet, and partly under Gros. The amalgamation of the characteristics of his two masters, and a wholesome addition of some of his own peculiarities, have made him one of the most popular and pleasing artists of the period. His activity in producing work after work is only second to that of Delacroix and Decamps. His subjects are mostly historical, and above all, French. But he has also treated sacred arguments, familiar and romantic episodes, and scenes from foreign (especially English) history and literature. The greater number of his works have been reproduced both by lithography and engraving. A list of them and further details of his life will be found in the bulletins of the Royal Academy of Belgium, vol. xxi.—R. M.
* DECAISNE, Joseph, an eminent French botanist of the present day, was born at Brussels on the 7th March, 1807. He prosecuted his early studies at his native city, and then repaired to Paris, where he devoted himself to painting, under the direction of his brother Henry, who had become famous as a painter. He soon, however, gave up painting, and attended the classes in the école de médecine of Paris. His taste for botany was thus developed, and he prosecuted this science under Du Bosc in the garden of plants. He attracted the attention of Mirbel, who assiduously promoted his interests, and he subsequently was appointed assistant to Adrien de Jussieu, professor of rural botany. In 1848 he lectured on applied botany, and he was afterwards nominated to the honourable office of professor of agriculture in the college of France. He was elected a member of the Academy of Sciences in room of Dutrochet, and on the 17th April, 1850, he succeeded Mirbel as professor of agriculture. He has published many valuable memoirs in various departments of botany. He has also contributed to the Floras of Senegambia, of Arabia Felix, and of India. At present M. Decaisne occupies a high place among the botanists of France. He took an active part in the great agricultural exhibitions of Paris.—J. H. B.
* DECAMPS, Alexandre Gabriel, one of the champions of modern French art, is a native of Paris, and was born in 1803. It is certainly not from the studio of his master, Abel de Pajou, that he has derived his vigorous style, and that extraordinary mastery of light, which, Rembrandt-like, is the most prominent characteristic of his works. We say Rembrandt-like; but by this expression it must not be understood that our painter has ever striven to imitate the great Dutch master in the mode of obtaining his effects. On the contrary, whilst Rembrandt generally concentrates the whole of his light in one limited point, and ekes out the effect of it by the contrast of very dark shadows. Decamps pours such a flood of brightness all over his works that they appear as if bathed in the sun. With a propensity to this kind of effect, Italy and the east were sure to prove a kind of promised land to young Decamps. And to those countries he proceeded, there to remain for a considerable time; studying, not in a close room, but in the pure air of the Campagna of Sicily, of Palestine, and of Egypt, the magic effects and display of light. Whilst following this course he had excellent occasion so far to identify himself with the habits, character, and scenery of oriental or southern life, as to treat, in after times, any event belonging to the history of those places with an efficiency and completeness of local features quite unrivalled. Thus, scenes from the life of Joseph, and other biblical worthies, appear for the first time under so nature-like a travesty, that the world, accustomed to cold conventional illustrations, is in a measure taken aback, and left uncertain how to judge them. Like
