Smith, John: A catalogue raisonné of the works of the most eminent Dutch, Flemish, and French painters: in which is included a short biographical notice of the artists, with a copious description of their principal pictures : a statement of the prices at which such pictures have been sold at public sales on the continent and in England; a reference the the galleries and private collections in which a large portion are at present; and the names of the artists by whom they have been engraved; to which is added, a brief notice of the scholars & imitators of the great masters of the above schools (Part 8) (London: Smith and Son, 1837)

54

NICHOLAS POUSSIN.

New Testament Subjects.
render aid, and is supporting him with both arms, his attention
being directed to the prefigured cause of the Saviour’s agony,
a cross, and the various implements of his bodily suffering,
exhibited by numerous angels, many of whom appear to be
weeping over them. Engraved from a drawing by Claude
Stella.—See observation to No. 103.

107. Christ Betrayed. This subject is composed of numer-
ous figures, and represents the moment when Judas is giving
the preconcerted signal, “ Whomsoever I shall kiss, the same
is he, hold him fast.” An armed band of troops appear to
have instantly surrounded the Saviour, one of whom has
rudely seized him by the collar of his robe. While this scene
is going on, St. Peter, in his zeal, has knocked down another
of the party, and is holding him by the throat with one hand,
while the other, grasping a sword, is raised ready to smite
him. Engraved from a drawing by C. Stella.—See observa-
tion to No. 103.

108. Christ in the Judgment Hall. The Saviour is here
seen surrounded by armed soldiers, two of whom hold the
ends of a cord, which encompasses his neck, and one of them
is about to smite him on the face with his gauntleted hand.
Caiaphas, the high-priest (or, perhaps Annas, the father-in-
law of Caiaphas), is seated on an elevation at the side, in the
act of addressing the prisoner. A number of the elders are
sitting on the farther side of the priest. The scene is illumined
by torches and other lights. Engraved from a drawing by
C. Stella.—See observation to No. 103.

109. Christ brought before Caiaphas. In this composition
the high-priest, Caiaphas, has risen in anger from his seat,
and by the action of his hands, and the expression of his