DOI Page / Citation link:
https://doi.org/10.11588/diglit.61252#0159
THE BRIDGEWATER GALLERY.
115
corresponding action and expression : some exhibit all
the enthusiasm of faith ; others, a pious humility ; others
look thoughtful or doubtful ; others are struck with sur-
prise by the miraculous incident. The figure in front,
whose attention has been arrested in the act of drawing on
a stocking, is taken from Michael Angelo’s famous cartoon
of the “ Soldiers bathing in the Arno.” The landscape is
very fine, harmonising, by its calm solemnity of effect,
with the subject represented.
This picture was the third of the set forwarded to M.
de Chantelou (in January, 1647). The courier to whose
care it was entrusted was killed on the road.
81 Confirmation.—The scene is a spacious temple. The
officiating priest, clothed in white robes, is seated on
the left of the spectator, in the act of signing with the
token of the cross, the brow of a young man kneeling
before him. Another youth kneeling, and a girl with her
hands clasped, appear to be waiting their turn. Near the
foreground is seen a mother explaining the import of the
ceremony to her son, and beyond these, a graceful group
of women. One of these, the figure in the yellow mantle,
is of remarkable and surpassing beauty. In the background
are other figures, officiating ministers, and youths and maidens
preparing for the ceremony. As a composition, this is one
of the grandest of the series, but the harmony of the
colouring has been quite destroyed. It was the second of
the series completed and sent to Paris in 1646.
82 Marriage.—Illustrated by the espousals of Joseph
and Mary. A composition of about twenty-four figures.
The scene is a spacious temple, opening into the city
behind. Joseph and Mary, crowned with white roses,
kneel before the officiating priest, who is placing the ring
on her finger. The attitudes of the bride and bridegroom
are remarkable for simple antique grace, and the whole
picture is distinguished by its beautiful arrangement and com-
position, but, as in the former example, the colouring quite
spoiled and blackened. It was the last of the series painted
by Poussin, and forwarded to M. de Chantelou in 1648.
115
corresponding action and expression : some exhibit all
the enthusiasm of faith ; others, a pious humility ; others
look thoughtful or doubtful ; others are struck with sur-
prise by the miraculous incident. The figure in front,
whose attention has been arrested in the act of drawing on
a stocking, is taken from Michael Angelo’s famous cartoon
of the “ Soldiers bathing in the Arno.” The landscape is
very fine, harmonising, by its calm solemnity of effect,
with the subject represented.
This picture was the third of the set forwarded to M.
de Chantelou (in January, 1647). The courier to whose
care it was entrusted was killed on the road.
81 Confirmation.—The scene is a spacious temple. The
officiating priest, clothed in white robes, is seated on
the left of the spectator, in the act of signing with the
token of the cross, the brow of a young man kneeling
before him. Another youth kneeling, and a girl with her
hands clasped, appear to be waiting their turn. Near the
foreground is seen a mother explaining the import of the
ceremony to her son, and beyond these, a graceful group
of women. One of these, the figure in the yellow mantle,
is of remarkable and surpassing beauty. In the background
are other figures, officiating ministers, and youths and maidens
preparing for the ceremony. As a composition, this is one
of the grandest of the series, but the harmony of the
colouring has been quite destroyed. It was the second of
the series completed and sent to Paris in 1646.
82 Marriage.—Illustrated by the espousals of Joseph
and Mary. A composition of about twenty-four figures.
The scene is a spacious temple, opening into the city
behind. Joseph and Mary, crowned with white roses,
kneel before the officiating priest, who is placing the ring
on her finger. The attitudes of the bride and bridegroom
are remarkable for simple antique grace, and the whole
picture is distinguished by its beautiful arrangement and com-
position, but, as in the former example, the colouring quite
spoiled and blackened. It was the last of the series painted
by Poussin, and forwarded to M. de Chantelou in 1648.