New Testament Subjects. oever thou shalt bind on earth, shall be bound in heaven: and whatsoever thou shalt loose on earth, shall be loosed in heaven." His attention is directed to St. Peter, who is bending on one knee before Him, receiving with devout humility the ordination and divine charge of his Lord. On the left of Jesus are St. John, wearing a green tunic, and four other of the disciples. The nearest to the spectator, clothed in a scarlet mantle, is listening to some observation made by St. Matthew, who stands before him in a white dress, pointing upwards. The other six Apostles are on the right of the Saviour; one of them wears a bright yellow robe, a second is dressed in blue, and a third has raiment of a pink colour; their dresses being skilfully varied in colour, to assist the picturesque effect of the grouping. The importance of the charge is deeply felt by every disciple present, as is evinced both in their countenances and gestures: in the former is strikingly depicted the apostolical character, and in the latter a beautiful simplicity of action. The receding portion of the picture is occupied by several classical edifices, the nearest of which is connected by a bridge over a river. This was probably intended to represent part of the city of Cæsarea Philippi. The appearance is that of a fine serene evening. This picture is painted with a rich impasto of colour, and on a light ground. It has, consequently, the advantage of being clear in tone and brilliant in its effect throughout. In reference to this picture Poussin wrote to his friend M. de Chantelou, June 3, 1647, to the following effect: "I have began the fifth picture of the set, representing the Ordination. If I am not hindered by the excessive heat of the weather, and if God preserves my health, I promise myself the pleasure of completing your seven pictures in a year." In the same letter he acknowledges to have received two hundred and fifty crowns, Roman money, New Testament Subjects. in payment of the picture of the Penitence. Engraved by B. Audran, Pesne, Dughet, Gantrel, anonymous, and in the Orleans Gallery. 3 ft. 10 in. by 5 ft. 8 in.-C. Now in the Bridgewater Collection. 133. The Eucharist, or Last Supper. In strict accordance with the description given in the 22nd chapter of St Luke, the institution of this solemn rite of the Christian Church is depicted in a spacious room, illumined by a lamp and adorned with pilasters, from two of which some drapery is suspended as a screen. A large table occupies the middle, around which the apostles are arranged in recumbent postures, on either side of their Lord, who is placed in the centre. The first element of the sacrament has already been distributed among the apostles, who are partaking of it. The Saviour holds the cup, and appears to be delivering the solemn injunction, "Do this in remembrance of me." The pathetic appeal arrests the attention of every disciple, and while the fingers of the greater portion of them are raised to their lips, the eyes of every one are devoutly riveted on their Lord. The traitor, Judas, having received the token of his guilt, has risen from the table, and is seen on the right, quitting the room.-See John xiii. 26, and 30. This glorious production of art has evidently received the painter's most studious attention; both the expression and the drawing of the figures are of the highest excellence. The light also is admirably diffused, and contributes most essentially to the grandeur of the piece. This was the sixth of the series completed and sent to M. de Chantelou, at the end of the year 1647. New Testament Subjects. Engraved by B. Audran, Pesne, Dughet, Gantrel, anonymous, and in the Orleans Gallery. 3 ft. 10 in. by 5 ft. 8 in.-C. Now in the Bridgewater Collection. 134. Extreme Unction. This solemn sacrament is most powerfully and affectingly illustrated, by a faithful delineation of the chamber of a dying man, around whose bed are assembled his affectionate and bewailing family. At the side of the couch, and close to the front, stands a venerable priest, clothed in a yellow robe, holding the sacred unction in one hand, and bending forward to perform the pious ceremony with the other; he is attended by a youth, bearing a lighted torch in his hand and a book under his arm. On the farther side of the latter person, is a man bending over the head of the bed, and holding, with his arm extended, a lighted candle; behind him are an aged woman, a man, and two children; one of the latter is on her knees apparently praying. At the opposite end of the bed is another group of persons, among whom the most conspicuous is a young woman in a scarlet vesture, recumbent on the foot of the couch, overcome with grief; another woman is on the farther side of the bed holding her infant to take a last embrace of its departing parent. On the right, and more retired in the apartment, may be observed a female seated at a small table, leaning her head pensively on her hand. It appears by a letter written to M. de Chantelou, in 1644, that this was the first picture of the second series which Poussin commenced. In that letter he says: "I work briskly on the picture of the Extreme Unction, which is, in truth, a subject worthy of the pencil of Apelles, for he delighted to represent dying persons. I shall not quit this picture while I feel myself well, until I have completely laid New Testament Subjects. in the composition, which will consist of seventeen figures,* including women and children, several of whom are melting in tears, while others are praying for the dying man." He adds, "I will not attempt a description of the details, for this would require a masterpen (un pinceau doré et bien émanché) instead of a blunt and ill-cut one like mine."† This fine work of art, like two others of the set, has lost much of its original beauty, in consequence of the protrusion of the brown ground. Engraved by B. Audran, Pesne, Dughet, Gantrel, anonymous, and in the Orleans Gallery. 3 ft. 10 in. by 5 ft. 8 in.-C. The preceding seven pictures formed part of the splendid gallery of the Duke of Orleans. They were imported with many others into England in 1798, and were then estimated at 700 gs. each; since that period a more correct and extensive knowledge of art has greatly advanced the value of this master's works. On the occasion above alluded to they were purchased by the Duke of Bridgewater, and afterwards entailed, together with the whole of his princely collection, on the second son of the then Marquess of Stafford, since created Duke of Sutherland, and are now the property of Lord Francis Egerton. *Only sixteen figures are discoverable in the composition. In a subsequent letter he says, "M. Le Chevalier del Pozzo (it was for this gentleman that the first series of Sacraments were done), has been to see it, and although he assumes an air of satisfaction, it is easy to discover that he is by no means displeased that this and the other pictures of the set leave Rome." New Testament Subjects. THE SEVEN SACRAMENTS. FIRST SERIES. 135. Baptism. This picture is composed of thirteen figures assembled on the bank of a river, forming the foreground of a hilly country. The Saviour is seen on the left, standing conspicuously in a front view in a shallow part of the stream, with His hands crossed on His breast and His eyes directed downwards, receiving from St. John the mystical signs of the ordinance, by the pouring of water on His head. On the left of Jesus are two young men, one of whom is stooping and apparently raising the bottom of the vesture of Christ, lest it touch the water. Behind the saint is a group of six persons, one of whom is an aged man stripped to the loins, bending in pious reverence; the attention of the others is directed to the miraculous descent of a dove, which hovers over the head of Jesus. This appearance has alarmed a boy, who is clinging round the loins of the aged man. Of the three remaining persons, one is seated pulling off his stockings, a second is drawing his raiment over his head, while the third is preparing to receive the spiritual rite. Engraved by Dughet, and L. de Chatillon. 136. Confirmation. This highly-interesting subject is composed of sixteen figures, representing the officiating minister seated on the left, with his hand on the head of a child, who stands with his hands united, before him. The former is attended by a youth, who holds the sacred oil on a salver, and another young man stands behind. On the opposite side of the picture is a group of women with their children; one of these, kneeling with her back to the |