1807.] Account of the Marquis of Staffond’s Gallery of Pictures, 127 
veral figures seem, by their actions, to 
place their principal good in eating ‘and 
drinking ; and amongst the spectators, a 
young man enters the room with his arms 
folded; he is indolently contemplating the 
whole scene, whilst his friend ear uestly re- 
latesto him the charactersof the principal 
actors. ‘The expression of these is admira- 
ble, and the whole is most harinomiously 
coloured and lighted up by a window on 
the left-hand-side. The disposition and 
work of the drapery is fine, and the figures 
of the -Pharisee and Mary Magdalene are 
made very prominent and admirably con- 
trasted. ‘The whole does infinite henouf 
to the genius and comprehensive talents 
of the painter. 
Lhe Sacrament of Marriage. 
This is certainly not the most conse- 
quential or beautiful picture of the series ; 
a dark shadow is thrown over the faces of 
the bride and bridegroom, who, kneeling 
down, are receiving. from the venerable 
priest the blessing of Heaven upon their 
union; their heads are decorated with 
chaplets of flowers, as emblems of the 
married state. It is rather extraordinary 
that the painter has represented the priest 
i a sitting posture; the relatives and 
friends stand round, ‘but there is nothing 
in their features or actions to indicate 
any particular expression of the mind. 
The subject is simply a ceremony, and 
forms a group which excites but little in- 
terest for the pencil ; .the draperies, how- 
ever, are arranged with considerable dig- 
nity and effect, and the character marked, 
in respect to the variety of their ages, 
with considerable foree and discrimina- 
ion. ‘The choice of the attitudes is the 
most unfortunate circumstance in the 
piece. If we cai suppose that the painter 
had made an opening upon one side of 
sconce, aud had introduced a festive band 
of musical performers with dancers, then 
a pleasing variety would have been oc- 
castoned, which the picture seems at pre- 
sent much in need of. For want of this, 
ai unpleasant similarity pervades the 
whole assembly, which in pieces whe: 
the more rapid expressions of the as 
sions are concerned, Poussin has always 
been fortunate enough to avoid. 
Sacrament of Extreme Unction. 
The ceremony of anointing the hands 
and feet (or, as it 1s called, the Extreme 
Unction) is peculiar to the Romish 
ehureh, and terms the subject of thi 
valuable and excellent picture. U pon ¢ a 
couch 1a a dak room its stretclied the 
figure of a midd ¢-eged inan, at the poiat 
of death, It scems deubtiul whether 
the soul has left the body, or whether: 
the vital aura still remains ir its earthy 
covering. Close by his side is the ve- 
nerable 1 figure of a holy father, who, with 
the’ most earnest attention, stoops over 
the dying man, anoimting his hands and 
pronouncing absolution. The drapery of 
this is yellow, and has an admirable effect 
by drawing the eye by its warmth to the 
centre of the picture. In his other hand 
he holds the cup with the holy oil: his 
features are expressive of great sympathy 
and regard towards the unfortunate ob- 
ject. One torch and one candle beam 
upon the unhappy group which surrounds 
the body; one of these is held by a mes- 
senger. who seems just entering, and 
earnestly seems to implore that tt may 
not be too late for the priest to make 
the necessary intercession. . The ex- 
pression of his face is admirable ; terror, 
anguish, and the anxiety of doubt, are 
painted. there in the most vivid colours, 
aud his drapery, being of a red colour, 
draws the eye of the spectator towards 
the figure. <A female servant in all the 
anxious earnestness of grief, and at the 
same time with a strong expression of 
inward. horror, stretches out the infant 
child to embrace its dying father, while 
its innocence and uninformed features 
are admirably contrasted with the other 
faces. His daughter, at the head of the 
bed, implores Heaven, in silence, to hear 
her prayers. The wie. wringing her 
hands, and frantic with grief, has rushed 
mco the apartment, to take her last fare- 
well of her spouse; nor can she be re- 
strained by those who surround her, and 
who urge her to leave the room. Te 
make this admirable picture still more af- 
fecting, the aged parents are seen mourn= 
ing for the loss of their son, and his affec- 
tionate sister is stretched at the foot of 
the bed, m silent agony; her face cover- 
ed cer her dishev ailed eae with which 
poate away her tears. ‘The scene, al- 
vether, ismost affecting ; and if to ae 
es the passions be the highest province 
of the poet and the painter, Poussin has, 
in this adimirable picture, laid claim to 
the excellence of both these characters, 
The colouring and general har mony of the 
whole is excellently preserved, and can 
hardiy be surpassed for effect even by 
Rembrandt himself, she 
Phe Sacrament of Baptism. — - 
The tustorical circumstance of out 
Saviour being baptised by John, has beer 
chosen by the painter for the represen= 
tation of this subject. It is a Landscape 
consisung of aw ad and barren scenery, 
sticla 
i 
a —e 
