with angels flying in the clouds under her, and the First and Second Persons of the Trinity are placing a crown on her head; the former is clothed in a white vest and a broad yellow mantle, and is seated with a globe under his feet, and a sceptre in his left hand. The Saviour stands in the opposite side, covered with a scarlet mantle; and the Virgin is attired in a purple dress and a dark blue robe. A free and hasty production. 12 ft. 11 in. by 8 ft. 2 in.-C. Engraved by P. Pontius, and also anonymous; Vanden Enden ex. The same subject, differently composed, is engraved by Jegher and Fauci; by the latter, from a picture then in the collection of the Marquis Guerini, at Florence. The preceding was painted for the church of the Recollets, and is now in the Musée at Brussels. THE FOLLOWING ARE THE SUBJECTS OF THIRTY-SIX PIC TURES WHICH ADORNED THE CEILINGS AND GALLERIES OF THE JESUITS' CHURCH, AT ANTWERP. THESE, TO GETHER WITH THE GREATER PART OF THAT SPLENDID EDIFICE (BUILT AFTER DESIGNS BY RUBENS), WERE DESTROYED BY LIGHTNING, ON THE 18TH OF JULY, 1718. 32. St. Michael driving before him the rebel Angels. 33. The Nativity. 34. Queen Sheba before Solomon. 35. The Adoration of the Kings. 36. David cutting off the Head of Goliah. This subject, differently composed, was engraved by 42. Abraham about to sacrifice his Son Isaac. 43. The Resurrection of Christ. 44. The Promotion of Joseph in Egypt. 45. The Ascension of Christ. 46. The Translation of Elijah. 47. The Assumption of the Virgin. 48. Esther before Ahasuerus. 49. The Coronation of the Virgin. 50. St. Athanasius. 51. St. Ann and the Virgin. 52. St. Basil. 53. St. Mary Magdalen. A print of this saint is engraved, anonymous. 54. The Name of Mary surrounded by Angels. 55. St. Cecilia. 56. St. Gregory. 57. St. Catherine. 58. St. John Chrysostom. 59. St. Jerome. 60. St. Lucie. A print of this saint is engraved, anonymous. 61. St. Augustin. There is also a print of this saint engraved, anonymous. Vanden Enden ex. 62. The Name of Jesus surrounded by Angels. 63. St. Margaret. A print of this saint is engraved, anonymous. 64. St. Ambrose. 65. St. Eugenia. 66. St. Gregory. 67. St. Ann and St. Mary. Fortunately the compositions of these splendid works have been preserved through the medium of drawings in red chalk, by De Wit, from which prints have been engraved by Preisler, and also by Punt. That these prints are sadly deficient in the characteristics of the prototypes is entirely owing to the imperfections of the drawings, which partake of the style and manner of the Dutch painter rather than that of Rubens. 68. St. Francis Xavier raising the Dead. This distinguished missionary of the church of Rome is represented standing on a high pedestal in the left of the picture; he is habited in the black robes of his order, his right hand extended and the left pointing upwards; behind him is a youth, similarly clad, holding a book under his arm, and around him are assembled a multitude of persons composed of various nations, among whom, and in front, is seated a resuscitated man; on whose left are three females, one of them is removing the linen from his face, the other two are looking up with gratitude to the saint; nearer the side are two men with spades, and beyond them is a mulatto female holding forward her dead infant with an imploring look for its restoration; a little retired from this group, and upon an elevation of stone work, is a Hindoo rising from the bed of death, and from whom a negro is removing the grave clothes. These supernatural events have produced corresponding effects upon the beholders. At the base of the pedestal, in the left, is a group, composed of a young man, a woman, and a negro, on their knees; and behind them are a blind mulatto, and a tall man in a scarlet vest, who seems to be deeply affected. Beyond the multitude rises a magnificent temple adorned with idols, one of which, in front of the building, is tumbling from the pedestal upon its affrighted worshippers; in the clouds is seen the Virgin, leaning on a globe and holding a chalice in her hand; before her are angels bearing a cross, and other angels floating in a stream of celestial light, which descends and illumines the temple-a beautiful allusion to the doctrines of Christianity dispersing the darkness of ignorance and idolatry. The composition of this magnificent picture, although vast and varied, is united and disposed with such consummate skill, and every part so admirably governed by due proportions of light and shade, and aided by a rich diversity of colour, that its general effect is indescribably powerful and splendid, and may not unaptly be compared to the glorious brilliancy of the setting sun after rain, where intervening and surrounding clouds present an innumerable variety of tints. To these fascinating charms are united what may justly be considered its highest excellence-the grand and energetic manner in which the artist has exhibited the operation of the miracle, and the effects produced on the surrounding spectators. To the movement and general excitation produced, is opposed the calm and dignified attitude of the saint, whose gesture and expression denotes him to be uttering the emphatic sentence “non meo meritas, in excelcis gloria deo." 17 ft. by 12 ft. 6 in.-C. Worth 5000 gs. Engraved by Marinus, and anonymous, and in the Vienna Gallery. 69. St. Ignatius Loyola healing the sick and the possessed. The august miracle is displayed in the interior of a magnificent temple, on the left side of which, and on the summit of the steps of an altar, stands the saint, attired in a gorgeous chasuble; his right hand is extended towards the people, and at his side are several monks wearing the dress of the order; around the base of the altar appear the assembled crowd, several holding a raving female, and others assisting a maniac who lies prostrate in front; to the left, and at the foot of the altar, are two women; one, elegantly dressed in a purple silk vest (her back to the spectator), is presenting her afflicted infant for relief; the other, clad in a blue robe, is kneeling with two children by her side. Anxiety and agitation prevail throughout the throng; some are pressing forward to participate in the healing power manifested, while others are sedulously tending the afflicted. A group of admiring angels soar aloft, and the demons of evil are seen escaping from the presence of the saint. This noble production, though abounding in strength of character and expression, is greatly eclipsed by its companion in the attractions of colour and effect; the subject is also less agreeable to the eye. This picture was originally painted for the church of St. Ambrose, at Genoa, but being found too large for the altar, was taken by the artist to Antwerp, and another one, representing the same subject, painted in its stead. 17 ft. by 12 ft. 6 in.-C. Engraved by Marinus, and anonymous, and in the Vienna Gallery. These pictures adorned the Jesuits' church at Antwerp, until its destruction by lightning, after which it is probable they were sold to the Emperor of Germany, together with the original sketches, and are now in the Belvidere Palace at Vienna. 17 ft. by 13 ft.-C. Drawings of the above pictures, carefully executed in black chalk heightened with white, evidently the work of a scholar, and retouched by Rubens for the engraver, are in the Musée at Paris. 20 in. by 16 in. 70. The Assumption. The Virgin, clothed in light blue garments of various tints, has the right hand raised, the left extended, and her countenance directed upwards; a company of twelve angels are floating among the clouds beneath her, and numerous cherubim are paying her homage above. In the lower part are represented the apostles and holy women visiting the deserted tomb; one of the former, habited in a gray vest and a light-coloured mantle, is kneeling in front, and before him is a second, in a green vesture, raising up the stone covering of the tomb, in which he is assisted by another apostle and a young woman; two other females are by the side of the sepulchre, one of them holds a sheet while her companion gathers up the fresh flowers that are on it; behind them are three apostles, the one nearest the front extends his right arm and is looking up. This splendid composition is not equally excellent in the execution, and the hand of the scholar is evident in many of the subordinate parts. 17 ft. 2 in. by 10 ft. 11 in.-C. Engraved by Bolswert, and in small by Loemans. |