Old Testament Subjects. and is a fine example of the truth, that, to a master mind, few objects are necessary to depict an event, even of the most complicated and sublime description. The picture forms one of a series, representing the Seasons, of which, this is the Winter. It was finished about the year 1664, and is therefore the production of great experience and study, the artist being at that time seventy years of age. The set was painted expressly for Cardinal Richelieu. Engraved by J. Audran, Laurent Eichler, Develliers, and Bovinet. 3 ft. 8 in. by 4 ft. 11 in.-C. (about.) Valued by the Experts du Musée, 1816. 120,000 fs. 48007. Now in the Louvre. Poussin made several sketches of the preceding subject, which differ materially from the finished picture; two of these studies are in the collection of Cardinal Fesch, and a third, done on a slate, is in the possession of a gentleman at Rome. 5. The Sacrifice of Noah. The composition consists of the patriarch and his family, amounting to seven persons, the only survivors of a drowned world. The grateful sire stands in the centre, at the side of the blazing altar, his countenance is raised, and his hands extended, supplicating the acceptance of his offerings; his wife, his sons, and their wives, are assembled around him, animated by similar feelings of devotion. One of the youths kneels in front, with his head bent down on his hand; a second, also kneeling, is pouring water from a vase into a laver, and a third stands near him covering his face with both hands. Above is seen a personification of the Deity, partly enveloped in clouds, his right hand is extended in token of the acceptance of the sacrifice, and the blessing and charge then pronounced, as recorded in the eighth and Old Testament Subjects. ninth chapters of Genesis, which is further illustrated by the introduction of beasts and birds, and the bow of the covenant. This excellent picture is painted on a brown ground, which has protruded itself, and thereby injured the half-tones. Engraved by Frey, and also anonymous. 3 ft. 6 in. by 4 ft. 6 in.-C. (about.) Collection of W. Young Ottley, Esq., 1801. (bought in) 1800 gs. Sir Mark Sykes, Bart., 1824. . 315 gs. Now in the collection of Wilbraham Egerton, Esq. A repetition of the preceding picture, of larger dimensions, and painted in a clear tone of colour, is in the Gallery of Prince Lichtenstein, at Vienna; and a duplicate is in the Dresden Gallery. 6. Rebekah and Eliezer. The composition of this beautiful picture consists of fourteen figures; of which, thirteen are females; the faithful steward of Abraham, habited in the oriental costume, stands in the centre of the foreground, presenting to the beautiful Rebekah the ring and braclet sent by his master: the maiden views with modesty the token, and appears to accept them. Among those who are observing the passing scene, is one so intent upon it, that, in pouring water from a vase into another vessel, she is reminded by her companion that it is already full and running over, but of which she takes no heed. Behind the daughter of Bethuel are three females, one of whom leans on her vase, placed on the side of the well, and a second holds her water-pot in her hands; the rest of the maidens are on the opposite side; some of them have their vases on their heads, and others hold them in their hands, or are seated in conversation. The distant Old Testament Subjects. surrounding hills are adorned with buildings. This picture was painted about the year 1648, for M. Pointel. Engraved by Picart, Rousselot, and Niquet. 3 ft. 7 in. by 6 ft.-C. Valued by the Experts du Musée, Now in the Louvre. 1816. 100,000 fs. 4000l. A picture of the preceding subject was sold in the collection of M. de Calonne, in 1795, 145 gs. 7. Jacob treating with Laban for his Daughter Rachel. The subject is represented as passing near the entrance of a house from which Laban has advanced a few paces, and he stands in front with his two daughters on his left; the expression of his countenance, and the position of his hand, indicate the interest he feels in the treaty. The youthful Jacob stands in front of them, with his back towards the spectator, one hand is advanced towards his proposed bride. (who stands in the centre, looking modestly down), and the other points to a flock of sheep, in allusion to the condition of the marriage compact. Engraved by Trouvain and Mariette. 8. Jacob bargaining with Laban for his Daughter Rachel. In this composition the young shepherd stands in the centre, holding Laban by the hand, and at the same time pointing to his beloved Rachel, who is standing, with her sister Leah, behind him. The persuasive expression and attitude of Laban, and the stern look of Jacob, infer that the latter is complaining of the imposition of his uncle, in having substituted Leah for Rachel, and the union of their hands, that he is now entering into the second contract with his mercenary relation. Engraved from a drawing, anonymous. Oid Testament Subjects. 9. The Angels at the Door of Lot's House, smiting the men of Gomorrah with blindness. Collection anonymous, by Mr. Christie, 1807. 135 gs. 10. Joseph's Steward finding the Silver Cup in the Sack of Benjamin. This picture has been described to the Writer in terms of the higest commendation, both as relates to the drawing of the figures, and the diversity of passion expressed by the youth's brethren; grief, anger, and despair, are visible in their several countenances, at the discovery of the supposed theft, and the consequences attending it. 4 ft. by 4 ft. 6 in.—C. (about.) Now in the collection of the Earl of Miltown. 11. The Exposition of Moses. The subject is introduced in the foreground of a beautiful landscape, adorned with clusters of trees on either side, and bounded along its whole extent by the magnificent buildings of a city. On the foreground is seen the anxious mother bending on her knees, and committing the fragile bark, containing her babe, to the waters; she at the same time looks round to the father, who is walking away sorrowing, followed by a little naked boy: beyond these is a young female friend, pointing to some persons in the distance, probably Thermutis and her attendants. A river god reclining on a sphynx, the emblem of the Nile, is on the farther side of the water, near two trees, upon which are suspended sylvan pipes and hunting implements. Engraved by Audran, C. Stella, Chasteau, ex., and Lambert. 5 ft. 3 in. by 7 ft. 2 in.-C. Collection of the Duc d'Orleans, 1795. . Purchased by Earl Temple. . Valued at 800/. Old Testament Subjects. 12. The Preservation of Moses. The scene exhibits a landscape, divided by a spacious river, which is crossed in the distance by a bridge composed of numerous arches. Thermutis, the daughter of Pharaoh, attired in a yellow mantle, stands in the centre of the foreground, between two female attendants, upon the youngest of which she leans her arm; her hand is extended, and her attention directed to the newly-found infant, which a man in the water is delivering to a young woman; and the latter, with outstretched arins, is bending on the verge of the bank to receive it. The usual emblem of the fertilising Nile is introduced on the farther side of the group. This admirable picture is engraved by Mariette, Van Somer, and Niquet. 2 ft. 10 in. by 3 ft. 7 in.-C. Valued by the Experts du Musée, 1816.. 40,000 fs. 16007. Now in the Louvre. 13. Moses preserved from the Waters. This capital picture exhibits a composition of ten beautiful women, disposed in the most graceful attitudes; two of them are in the centre holding the basket, which contains the infant, while a third is lifting him out of it; three others are bending forward with eager curiosity to see the babe, and Thermutis stands in a dignified attitude beyond them, giving her orders. Behind the females, holding the basket, is one assisting her companion up the bank of the river. Various classical buildings adorn the more distant landscape, and the usual emblem of the Nile is introduced on the projection of a rock near the centre. Engraved by A. Loir and G. Audran; Gantrel, ex., and in the Musée. 3 ft. 9 in. by 6 ft.-C. 1772. 4580 fs. 1831. Collection of M. Nyert, Now in the Louvre. |