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P. 69, note 12.9Delaporte received the delegation of Mornay on January 25, 1832 assisted by his wife, Angela Regini Delaporte. Delacroix enjoyed them and even made a portrait of her on the return trip to Tangier in May 1832. They all reunited on other occasions in France in 1834, 1849, and 1850. The Tangier home of the consul was especially interesting to Delacroix because of its Moorish exterior and European interior. Here in the privacy of the consulate, Madame Delaport felicitated the possibility of drawing Moorish models, something shocking to most.
14 But the personages the closest to Delacroix during his voyage to Morocco were a Jewish man, Abraham ben Chimol, and an Arab man, Mohammed ben Abou. These men Delacroix saw almost every day while he was in Morocco and through them he saw the exotic world around him in a much more personal way.
For Delacroix the immediate effect of these personal relationships transformed or at least modified the Orientalist vision of Morocco which most Europeans embraced and which permanently affixed the Other in the exotic past. 15 Salon catalogue, 1841, no.
511; cited by Johnson, op. cit., vol. III, p. 176.15For Delacroix, Abraham ben Chimol and his family represented the Jewish world in Morocco, a world of both the present and future, through meetings with different generations of their family, and of the past, through visits to family gravesites. Ben Chimol was the drogman at the Maison de France and held the monopoly on the leather exportation trade from Morocco. His family included his wife Saada, daughter Precidia, and daughter-in-law Rachel. His cousin David Azencourt was also a drogman attached to the Maison de France at Tangier. All the drogmen in Tangier were Jewish and constituted an elite, educated group, « Des Maures de distinction » as Delacroix called them. 27 Arama, Voyage initiatique, pp. 122-123.21 When he returned from Meknes, he was once again welcomed in the homes of his Jewish friends. There was also an exceptional reception on April 29 with a startling commemorative page written by Jamila Bouzalgo (circled in red) in Judeo-Spanish (Delacroix signed it in Latin) in a « global » spirit as a souvenir of the evening.
While De Mornay always complained about Ben Chimol, Delacroix sided with the Jews and protested against their restrictions. 29 Arama, Voyage initiatique, p. 102.23 Maurice Arama has brilliantly pointed out that in Delacroix’s painting, A Street in Tangier (1832, Albright-Knox Gallery), represents a world of unexpected tolerance revealed in the scene identified by Arama as a street in Tangier and not Meknes. The scene includes a Rifian (an indigenous Berber in white burnous), an Arab at the door, and a Jewess and her child at the extreme left. As Arama has documented, the polygonal star is similar to one found in Tangier (i.e. The Hindu Star of Lakshmi, with its eight forms of riches).
The model for the Rifian was a bodyguard at the Consulate of France and the woman (Preciada) was the wife of Abraham ben Chimol. The presence of the child unambiguously establishes the proper moral standing of the barefooted woman. Arama has shown that Delacroix would never portray a Jewish woman alone instead representing her in fact as a very discreet lady and not a woman of the street.
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In short the painting, as Arama unveils it, represents a utopian world or at least one of some tolerance (Rifian-Arab-Jew-Hindu). 34 Drummond-Hay (J.), A Memoir of Sir John Drummond-Hay, J. Murray, London, 1896, pp. 185-186.«.he was about six feet three in height, and of a Herculean frame.His features were very marked; a prominent Roman nose and massive jaw, with eyes like a lion; his shaggy locks hung beneath his turban over each ear. The general expression of this countenance was that of a stern tyrant, but in conversation with those he liked, he face beamed with good humour, and he had a pleasant, kind mannervery intelligent, and not a fanatic ».
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35 Hannoosh, op. cit., vol. I, p. 228.27 To be sure, there were language difficulties between Delacroix and Ben Abou because the official translator, Antoine Desgranges, was not capable of understanding nor trusting the Kaid. One also doubts that the Kaid spoke much French given that he could not pronounce the name « Delacroix » even after having written it on a piece of paper.
Nevertheless, the challenge of verbal communication did not keep the soldier and the artist from meeting almost daily, even during those first days in Tangier. 57 See Guibel (A.), Lisinka Poirel, Album d’une vie, Nancy, 1989 and Arama, Voyage initiatique, pp. 2740As did Delaporte and his wife, Victor Poirel and his wife Lisinka met Delacroix again much later in Paris. Surely there were many retellings of this extraordinary and secretly dreamlike vision in the interior of the Muslim world. Or was it that? Was Delacroix duped by an untrustworthy ex-pirate who brought the Frenchman to a low-class house of prostitution which included his own wife? Or was it prejudiced authors who later orientalized the depiction of these women into «a harem»? What can we believe about Sid Abdallah?
How can we know?41Ten years later, The Jewish Wedding was commissioned by the Count Maison, a military colonel who then refused to accept the painting. The booklet of the Salon of 1841 explained the scene in the following way.