DOI Page / Citation link:
https://doi.org/10.11588/diglit.61252#0160
116
THE BRIDGEWATER GALLERY.
83 Penance.'—The subject is illustrated by the expia-
tion of the Magdalen, on the occasion of our Saviour’s
visit to Simon the Pharisee. Christ is reclining in a blue
vest and scarlet mantle; Mary Magdalen, kneeling, has
anointed his feet with precious ointment, and is wiping
them with her hair. Simon looks towards the Saviour
with animated doubtful inquiry; and He, with his hand
benignantly extended to the penitent, seems to say-
“ Wherefore her sins, which are many, are forgiven her.”
This picture is not so perfect, as to drawing and com-
position, as some others of the series, but the colours are
better preserved. It was completed and sent to Paris in
June, 1646. It appears that he received for this picture,
and probably, therefore, for each of the others, the sum of
250 Roman crowns.
84 The Ordination. — The subject is illustrated by
the charge to St. Peter, as first bishop of the Catholic
church. Christ delivers to him “the keys of the kingdom
of Heaven ;” St. Peter bends one knee before him. St.
John, wearing a green tunic, is on the left ; St. Matthew,
in a white dress, is pointing upwards ; the other disciples
are standing round. The landscape and architecture in
the background are admirable; and the picture, being
painted on a light background, has not suffered much in
colour. In the composition, Poussin had to compete with
Raphael, and with no discredit to himself; only, as I have
already observed, his apostles are too like heathen philoso-
phers. Barry remarks the taste, grandeur, and breadth of
style of the draperies in this picture. It was the fifth
of the set completed by Poussin, and was sent to Paris
about the autumn of the year 1647.
85 The Last Supper.—The scene is a spacious room,
illuminated by a lamp, and adorned with pilasters, from
two of which some drapery is suspended as a screen.
In the centre of a large table is the Saviour, holding the
cup, and around him the apostles, reclining in the antique
fashion. Judas is seen quitting the room. (John, xiii. 26.)
THE BRIDGEWATER GALLERY.
83 Penance.'—The subject is illustrated by the expia-
tion of the Magdalen, on the occasion of our Saviour’s
visit to Simon the Pharisee. Christ is reclining in a blue
vest and scarlet mantle; Mary Magdalen, kneeling, has
anointed his feet with precious ointment, and is wiping
them with her hair. Simon looks towards the Saviour
with animated doubtful inquiry; and He, with his hand
benignantly extended to the penitent, seems to say-
“ Wherefore her sins, which are many, are forgiven her.”
This picture is not so perfect, as to drawing and com-
position, as some others of the series, but the colours are
better preserved. It was completed and sent to Paris in
June, 1646. It appears that he received for this picture,
and probably, therefore, for each of the others, the sum of
250 Roman crowns.
84 The Ordination. — The subject is illustrated by
the charge to St. Peter, as first bishop of the Catholic
church. Christ delivers to him “the keys of the kingdom
of Heaven ;” St. Peter bends one knee before him. St.
John, wearing a green tunic, is on the left ; St. Matthew,
in a white dress, is pointing upwards ; the other disciples
are standing round. The landscape and architecture in
the background are admirable; and the picture, being
painted on a light background, has not suffered much in
colour. In the composition, Poussin had to compete with
Raphael, and with no discredit to himself; only, as I have
already observed, his apostles are too like heathen philoso-
phers. Barry remarks the taste, grandeur, and breadth of
style of the draperies in this picture. It was the fifth
of the set completed by Poussin, and was sent to Paris
about the autumn of the year 1647.
85 The Last Supper.—The scene is a spacious room,
illuminated by a lamp, and adorned with pilasters, from
two of which some drapery is suspended as a screen.
In the centre of a large table is the Saviour, holding the
cup, and around him the apostles, reclining in the antique
fashion. Judas is seen quitting the room. (John, xiii. 26.)