New Testament Subjects. appear to have participated in the mystical ceremony, and are replacing their garments; one of them, seated in front, is drawing on a blue stocking, but while thus engaged their attention appears to have been suddenly arrested by the object just described. Beyond these are three men apparently reasoning together; one of them stands in a thoughtful posture, while a second points to the Saviour, and turns to speak to his companion. The distant landscape offers a hilly and finely varied country, adorned with ruins and clumps of trees, and on the heights may be perceived a portion of the city of Jericho. This beautiful production is distinguished by the solemn and religious sentiment which appears to pervade most of the spectators, and by the variety and appropriateness of their attitudes. The execution is also more soft and melting than in many of his works, and has also the advantage of being clear throughout in its tones. The landscape is singularly fresh and verdant, and the suavity of a fine still evening gives a charm to the scene. This was the fourth picture of the set commenced by the artist, and the third which he sent to his friend M. de Chantelou, at Paris, in January 1647. Considerable apprehensions were entertained by both parties for its safety, as the courier to whose care it was committed was killed on the road. Engraved by B. Audran, Pesne, G. Dughet, Gantrel, anonymous, and in the Orleans Gallery. 3 ft. 10 in. by 5 ft. 9 in.-C. Now in the Bridgewater Collection. 129. Confirmation. This solemn and interesting religious ceremony is represented as passing in a spacious temple. The officiating priest, clothed in white robes, is seated on the right, in the act of signing the token of the cross on the forehead of New Testament Subjects. a young man, who receives it on his knees. Behind the latter are a youth habited in a yellow mantle, also kneeling, and a girl, dressed in a blue vesture, who stands with her hands united. Towards the side and near the front, is a fine woman stooping, and explaining to her son the nature of the ceremony, pointing at the same time to a lad in a yellow dress, who is kneeling near them. On the farther side of these is a young woman of singular beauty, clothed in an ample mantle of a yellow hue, which covers her head and descends below her knees; two other females are on her right, and behind her is a youthful priest asperging two persons who have just entered the place. In the opposite side of the picture, and close to the front, is a young assistant kneeling at the side of the priest, holding the consecrated water on a salver. The remaining persons are more remote within the temple; and among these may be noticed a minister binding a fillet round the head of a young girl, and a young man standing by with an incensebowl in his hands. Many of the beauties of this excellent picture are obscured by the brown preparation, on which it is painted, having protruded through the half-tones and reflexes of the colouring, so that not only is much of its original harmony destroyed, but many of the forms of the figures are even difficult to trace. This is said to be the second picture which the artist painted of the set, and it was sent to Paris, in 1646. Engraved by B. Audran, Pesne, Dughet, Gantrel, anonymous, and in the Orleans Gallery. 3 ft. 10 in. by 5 ft. 9 in.-C. Now in the Bridgewater Collection. 130. Marriage. This composition consists of about twenty-four figures, occupying the whole extent of a handsome temple. In the centre are placed the affianced couple, New Testament Subjects. personating Joseph and Mary. The former wears a vest of a pale yellow mingled with greenish hues; the latter has on an ample robe of a blue colour; both of them are decked with chaplets of white roses, and are kneeling before the priest, who is seated and guiding her hand to receive the ring. The minister is attended by a young man, dressed in a blue mantle, who stands by him holding a cup on a salver in one hand, and a vase in the other: at his side and behind him, are eight persons; these, together with nine others, who are on the opposite side, and two in the centre, stand around the espousing parties, witnessing or assisting in the ceremony. Among them, and near the front, are an aged man wearing a yellow tunic, and a woman, dressed in a pink-coloured vest, with a naked child by her side. The publicity of the ceremony is indicated by the doors of the temple being thrown open, and the adjacent buildings of the city are seen. This, like the preceding picture, has lost some of its original beauty by the protrusion of the brown ground. The picture was sent from Rome, according to a letter written by the artist to his friend M. Chantelou, in March 1648; and in that epistle he says, "I beg of you to receive this picture as favourably as you have done the others. I have done my best in painting it, and have enriched it with many figures, as you will perceive; it has cost me above four months' labour, for I have at all times felt an anxious wish to please you; should I have succeeded according to my intentions, I shall be the most contented of men. I hope you will do me the favour to write me your opinion of it, freely and without disguise, as you are accustomed to do." Engraved by B. Audran, Pesne, Dughet, Gantrel, anonymous, and in the Orleans Gallery. 3 ft. 10 in. by 5 ft. 9 in.-C. Now in the Bridgewater Collection. New Testament Subjects. 131. Penance. The artist has exemplified this sacrament by a representation of the Saviour's visit to Simon the Pharisee, as recorded in Luke vii. 36, and, in accordance with the reputed custom of the Jews, has disposed the guests in recumbent positions round the table. The Saviour, clothed in a blue vest of varied hues, and a scarlet mantle, is reclining on the right, with one hand extended, and His attention directed to Mary Magdalen, who is bending over His feet and wiping them with the hair of her head; this circumstance has excited in the breast of the Pharisee some doubts of the prophetic character of Jesus, for it is said that, "he spake within himself, saying, this man, if he were a prophet, would have known who and what manner of woman this is that touches him." Jesus, knowing what was passing in his mind, put the question contained in the 41st and 42nd verses of the same chapter, and having received from Simon a correct reply, He calls his attention pointedly to the woman, and, after dilating upon what she had done to him, concludes with," wherefore her sins, which are many, are forgiven." This is the moment depicted, and the important words have excited the displeasure of the host, and the surprise of the guests; for some of them appear to be inquiring "who is this, that forgiveth sins also?" Simon, having a venerable and animated countenance, is seated on the left, clothed in ample robes of a yellowish green hue, and wearing on his head the philactery; his countenance, expressing the sentiment already described, is turned towards the Saviour. A youth is engaged washing and wiping his feet; a second domestic is kneeling close to the front, pouring water from a large vase into a smaller one; several other servitors are on the farther side of the table, either bringing in meats, or waiting on the guests. In a letter, dated February 4, 1646, written to M. de * New Testament Subjects. Chantelou at the time the picture of the Confirmation was sent from Rome, Poussin observes, "I am now engaged on a Triclinium, which I think will please you; after this, I propose to do the Baptism of Jesus Christ." It appears, however, that the painter changed his intention, for he quitted the former picture and completed and sent the latter one, as has already been stated, while that representing the Penance did not leave Rome till June, on which occasion he wrote, "I now send you the Penance which I have finished; I know not whether it will procure for me an obliteration of past faults. No prologue is necessary in explanation of my picture; for the subject is represented in such a manner that any one who has read the Evangelist may understand and interpret it." This is one of the most luminous and brilliant pictures of the set. Engraved by B. Audran, Pesne, Dughet, Gantrel, Faubone, anonymous, and in the Orleans Gallery. 3 ft. 10 in. by 5 ft. 9 in.-C. Now in the Bridgewater Collection. 132. The Ordination. This sublime picture exhibits Jesus, clothed in a pink vest and blue mantle, standing in the midst of His disciples, holding a key in each hand, the left pointing upwards, the right in a contrary direction, in allusion to v. 18, 19, c. xvi., of Matthew. “And I say unto thee, that thou art Peter, and upon this rock I will build my church: and the gates of hell shall not prevail against it. And I will give unto thee the keys of the kingdom of heaven: and what The dining-room of the Romans was so named, in consequence of its being the custom to place three couches round the table and to leave the fourth side open for the servitors. |