New Testament Subjects. 95. The Baptism of Jesus Christ. This picture is composed of two figures. The Saviour, nearly naked stands in a river close to a bank, on which He leans one hand; the other is placed on His breast. St. John is represented in profile view, kneeling and extending one hand over the head of the Saviour, apparently pronouncing some words. The First Person of the Trinity, attended by two angels, is seen above. Engraved by J. Pesne. 96. St. John baptising in the River Jordan. The composition of this picture consists of seventeen figures, including children, distributed along the bank of the river. Among them St. John is seen conspicuously, in the act of pouring water from a cup on the head of the recipient, who is bending on one knee; another man kneels close by him, and a youth stands near looking attentively on. Towards the side, is a group of four women, one of whom, kneeling in front, holds a fine infant; a second has a babe in her arms. On the opposite side stand three elders, apparently reasoning together; behind them is a youth on horseback, and close to the front, two men are stripping preparatory to receiving baptism. The landscape is divided by a river, on which is a boat with several persons in it; the distance is bounded by hills. Engraved by Audran, Niquet, and Devaux. 2 ft. 11 in. by 3 ft. 7 in.-C. Valued by the Experts du Musée, 1816. Now in the Louvre. 97. Christ healing the Sick. The scene appears to represent the Pool of Bethesda, at the side of which is a group of diseased persons; one of them, an elderly man, sits on the ground, his hands united and outstretched in an attitude of New Testament Subjects. supplication towards the Saviour, who is approaching from the opposite side; one of His hands is extended, and His countenance, beaming with benificence, is directed to the suppliant. St. John, and five other persons, are behind the Saviour, one is a woman sitting on the ground, with a sickly infant by her side. Above is seen an angel descending on a cloud to trouble the waters. Engraved by J. Bonnart. 98. Christ and the Woman of Samaria. This interesting subject is here represented with the most unaffected simplicity and truth. The Saviour, clothed in a vesture and ample mantle, is seated by the side of a well, on which He leans one arm, both His hands being extended; His countenance, seen in nearly profile view, is directed to the Samaritan woman, who stands opposite to Him, resting one hand on her vase, while the other is raised in an attitude denoting the surprise she feels at the disclosure of the events of her life by a stranger. At some distance are seen several disciples of Jesus approaching. The country presents a hilly scene, with buildings. This picture was painted in 1661, for M. de Chantelou, and, according to Felebien, was the last of Poussin's historical productions. Engraved by Pesne, Haezelman, and Drevet. 99. Christ healing the two Blind Men of Jericho. The composition of this admirable picture exhibits the Saviour standing amidst a group of eight persons, in the act of exercising His usual benignity and divine power. The two blind men are kneeling before Him; on one He has placed His hand, and already the visual sense has returned; this is strikingly expressed by the position of his hands, and also by the surprise of a spectator, who is stooping to convince himself of the reality New Testament Subjects. of the cure. Peter, James, and John, stand behind the Saviour, and on the farther side of Him are the remaining spectators, one of whom is a woman with a child in her arms. The surrounding landscape represents a hilly country, covered in part with handsome edifices. This picture was painted in 1656, for a M. Reynou, a merchant at Lyons, from whom it passed into the collection of the Duke of Richelieu, and thence into that of the King of France. Chasteau, Audran, Coypel, ex.; and S. Picot. 3 ft. 6 in. by 5 ft. 4 in.-C. Engraved by Valued by the Experts du Musée, 1816. 100,000 fs. 4000l. Now in the Louvre. The subject is 100. The Woman taken in Adultery. introduced on the foreground of a street of the city of Jerusalem. The Saviour, habited in a blue vest and a scarlet mantle, stands in the centre of the group, pointing to the penitent woman, who is on her knees before Him, and is looking fixedly at her accusers, to whom he has addressed the searching charge, "Let him that is without sin cast the first stone." This appeal has created surprise and consternation. Some of them are already retiring from His presence; one, however, standing by the side of the woman, appears to be still enforcing the law of Moses, and two others are stooping to read the inscription on the sand. A little retired from the group is a woman with a child in her arms. This capital picture was painted about the year 1653, for a M. Le Nôtre. It is engraved by Audran, C. M. Vernaelen, Q. Forbonne and anonymous. 4 ft. 6 in by 7 ft. 6 in.-C. Valued by the Experts du Musée, 1816. 100,000 fs. 40007. Now in the Louvre. New Testament Subjects. 101. Christ's Entry into Jerusalem. The scene exhibits the hilly environs of the Jewish capital, and is chiefly remarkable for an eminence on the left, surmounted by a cluster of palm and other trees; at the base of this, and close to the front, is the Saviour, riding on an ass, amidst a crowd of persons, some of whom are casting their garments in the way, others are strewing palm branches on the road, and a third portion are paying Him homage on their knees, or shouting "Hosanna to the Son of David." A number of persons are distributed over the acclivity of the hill, and several have climbed the trees, gathering branches. At some distance is seen the entrance to the city of Jerusalem. anonymous. Engraved, 102. The Last Supper. Jesus is here represented standing in the midst of His disciples, holding a plate, containing broken bread in one hand, and by the action of the other, appears to be affectionately addressing them. Four of His disciples kneel in front, three stand behind Him, and the remainder are on the opposite side. A cup is placed on a table near the Saviour. The place exhibits the interior of a temple adorned with columns of the Ionic order. Engraved by Lombart. Now in the Louvre. 103. Christ's Entry into Jerusalem. The subject is here represented more proximate to the city entrance, than in the preceding. The Saviour is approaching from an opposite side; He is also seen in nearly a front view, with St. John walking at His side; a little in advance of Him is a multitude of persons hailing Him with hosannas, and casting their garments and palm branches in the way: the adjacent hill is also crowded with persons ready to salute Him as He enters the gate of the city. Engraved by C. Stella, from a drawing. New Testament Subjects. This, and the following thirteen pictures, have been attributed to the pencil of Stella; but as they are placed among the works of Nicholas Poussin, in the Royal Library at Paris, the Writer has inserted them in this catalogue. 104. The Last Supper. The subject is represented as passing in the interior of a spacious and lofty hall, of the Roman style of architecture. The Saviour and His disciples are seen reclining round a table; the former, in profile view, is on the right, with St. John sitting at His side. The prophetic declaration of our Lord, " Verily, I say unto you, that one of you shall betray me," appears to excite the anxious. feeling of a great portion of the disciples. Close to the front is a youth bending on one knee, filling a cup with liquor near him are a candelabrum and two vases; there are also two young men standing at the side, who appear to be attendants. A company of angels hover over the Divine Institutor of the ordinance. Engraved from a drawing by Stella.See observation to No. 103. 105. Christ washing the Feet of His Disciples. The scene exhibits the paved court of a handsome mansion, in which the twelve disciples of Jesus are assembled. Three of them are seated; the nearest of these to the spectator is taking off his sandal, while another, having the appearance of St. Peter, is receiving from his Lord the mystical ablution. The rest of the disciples stand around, apparently communing together on the wonderful condescension of their Master. Engraved by C. Stella.-See observation to No. 103. 106. Christ's Agony in the Garden. The Saviour is here represented on His knees, His head inclining to the earth: while in this state of prostration, an angel has appeared to |