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A frieze -like display of suffering characters, military might, ornate and colourful costumes, terror, disease and death is shown in front of a scene of widespread desolation. Unusual for a painting of civil ruin during this period, The Massacre at Chios has no heroic figure to counterbalance the crushed victims, and there is little to suggest hope among the ruin and despair.
The vigour with which the aggressor is painted, contrasted with the dismal rendition of the victims, has drawn comment since the work was first hung, and some critics have charged that Delacroix might have tried to show some sympathy with the brutal occupiers. A military attack on the inhabitants of Chios by Ottoman forces commenced on 12 April and was prosecuted for several months into the summer of the same year.
The campaign resulted in the deaths of twenty thousand citizens, and the forced deportation into slavery of almost all the surviving seventy thousand inhabitants. Would that everything should hold together! Land and sea, light and shade appear as bands of drifting colours listlessly running into each other, and Delacroix appears to abandon the laws of perspective altogether with his rendering of clouds.
The complete effect of this background is to suggest a constant opening out, dissolution and centrelessness. The thirteen civilians—men, women and children—have been rounded up for slaughter or enslavement. They are harshly presented to the viewer in an almost flat plane; slumped, disordered, and unevenly distributed.