DOI Page / Citation link:
https://doi.org/10.11588/diglit.62822#0129
NICHOLAS POUSSIN.
57
New Testament Subjects.
attired, stands on the summit of some steps at the side, point-
ing his sceptre to the Saviour, at the same time turning round
to the priests and others who are about him, most of whom
appear to exult at this indignant treatment, by the mockery
of arraying him in a costly robe, which two soldiers are
placing over his shoulders. Behind these is a crowd of people,
who have entered the hall by a lofty archway. Engraved from
a drawing by C. Stella.—See observation to No. 103.
116. The Flagellation. The artist has chosen to avoid the
representation of the actual infliction of that degrading
punishment, and consined himself to the preparations, leaving
the spectator to conceive the rest. Two executioners are
engaged, one of them is attaching the wrist of the Saviour to
a block, while the other is withdrawing his raiment: the
instruments of punishment lie on the ground. In the back
of the prison are seen three persons looking through the iron
grating. Engraved from a drawing by C. Stella.—See obser-
vation to No. 103.
1*17. Ecce Homo. “ Then came Jesus forth, wearing the
crown of thorns and the purple robe. And Pilate saith unto
them, behold the man !” In accordance with this description,
the Saviour is represented in a front view, wearing a crown of
thorns and the purple robe, which is attached on his shoulders
by a strap over his naked bosom ; his wrists are bound to-
gether, and one hand holds a reed. Mental agony, mingled
with patient resignation, are strongly expressed in his coun-
tenance. Engraved anonymous. Painted in a circle.
118. The Crucisixion. This capital picture exhibits a
composition of great extent and variety, embracing in addition
to the events recorded as having occurred on that momentous
occasion, an episode of the effect of our Lord’s death, as
57
New Testament Subjects.
attired, stands on the summit of some steps at the side, point-
ing his sceptre to the Saviour, at the same time turning round
to the priests and others who are about him, most of whom
appear to exult at this indignant treatment, by the mockery
of arraying him in a costly robe, which two soldiers are
placing over his shoulders. Behind these is a crowd of people,
who have entered the hall by a lofty archway. Engraved from
a drawing by C. Stella.—See observation to No. 103.
116. The Flagellation. The artist has chosen to avoid the
representation of the actual infliction of that degrading
punishment, and consined himself to the preparations, leaving
the spectator to conceive the rest. Two executioners are
engaged, one of them is attaching the wrist of the Saviour to
a block, while the other is withdrawing his raiment: the
instruments of punishment lie on the ground. In the back
of the prison are seen three persons looking through the iron
grating. Engraved from a drawing by C. Stella.—See obser-
vation to No. 103.
1*17. Ecce Homo. “ Then came Jesus forth, wearing the
crown of thorns and the purple robe. And Pilate saith unto
them, behold the man !” In accordance with this description,
the Saviour is represented in a front view, wearing a crown of
thorns and the purple robe, which is attached on his shoulders
by a strap over his naked bosom ; his wrists are bound to-
gether, and one hand holds a reed. Mental agony, mingled
with patient resignation, are strongly expressed in his coun-
tenance. Engraved anonymous. Painted in a circle.
118. The Crucisixion. This capital picture exhibits a
composition of great extent and variety, embracing in addition
to the events recorded as having occurred on that momentous
occasion, an episode of the effect of our Lord’s death, as