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To John, his only name, the author of this piece, according to the custom of the XVth, century, added that of Schoreel, a village near Alkmer, where he was born, in 1495. He was one of the first painters of the Flemish School that visited Italy, to improve himself by the study of the antique, and of the works of Raffaelle.

John of Schoreel has placed a taper in the dying Virgin's hand, to indicate the ardent aspirations of her soul, to return to its Creator. St. John appears to be exhorting her to think only of the new country towards which she is hastening. The aspect of the other apostles, is expressive of their grief for the loss they are about to sustain. One of them is represented in the foreground, clad with a cope, and holding a cross in one hand, and a sprinkler in the other. The artist has also introduced a great variety of other details, executed with equal truth and care; which give peculiar interest to the picture, especially at the present day, when so much importance is attached to the observation of costume,

This piece belonged to the invaluable collection of the Flemish and German masters anterior to Lucas of Leyden and Albert Durer, which was formed at Stuttgard, by the Boisserees, and purchased by the King of Bavaria : there is a lithographic print of it, by Stræner and Bergman.

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LA FEMME ADULTERE

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LA FEMME ADULTÈRE.

Le crime de l'adultère occasione des troubles si fâcheux dans les familles, qu'il a toujours été condamné chez tous les peuples civilisés. Jésus-Christ, prêchant une morale très-pure, ne pouvait laisser considérer ce crime comme indifférent. Mais sa bonté et sa miséricorde pour les pêcheurs l'empêchèrent de condamner la femme adultère qu'on lui amenait, et il se contenta de répondre à ceux qui demandaient sa mort: «Que celui de vous qui est sans péché, lui jette la première pierre.

Le même sujet a été traité par Biscaïno, n°. 320, et par Augustin Carrache, no. 440. Ici le peintre Pierre Breughel a représenté l'instant où Jésus-Christ trace sa réponse sur la poussière. Le peintre a placé les apôtres derrière Jésus-Christ, tandis que sur la droite du tableau on voit deux pharisiens, qu'il est facile de reconnaître aux sentences tirées de la Bible et brodées sur leurs vêtemens.

Ce tableau, peint encamaïeu, se voit dans la galerie de Munich: il est d'un effet vigoureux et donne une idée avantageuse du talent de Pierre, né dans le village de Breughel, et souvent désigné sous le nom de Pierre-le-Drôle, à cause des sujets gais qu'il s'amusait ordinairement à rendre.

Ce tableau a été peint en 1565; il en existe une gravure ancienne par un anonyme.

Larg, I pied 1 pouce? haut., 9 pouces ?

DIE

THE ADULTERESS.

The crime of adultery causing the most fatal consequences in families has ever been condemned, amongst all civilized nations. Jesus-Christ teaching the purest morality, could not allow this crime to be considered indifferently. But his goodness and mercy towards sinners prevented his condemning the woman taken in adultery, who was brought before him; and he merely replied to those who wished her death. « He that is without sin among you, let him first cast a stone at ber. »

The same subject has been treated by Biscaino, no. 320, and by Agostino Carracci, no. 440. Here the painter, Peter Breughel, has represented the moment when Christ writes his andswer on the sand. The painter has introduced the Apostles, behind Jesus-Christ, whilst two Pharisees are seen on the right of the picture: these are easily discerned from the sentences drawn from the Bible, and embroidered on their garments.

This picture, which is painted in camayeu, is to be seen in the Gallery of Munich: the effect is brilliant and gives a favourable idea of Peter's talent. He was born in the village of Breughel, and is often called, Droll Peter, from the lively subjects he usually chose for his pencil.

This picture was painted in 1565 : there exists an old engraving of it by an unknown artist.

Width 12 inches; height 9 inches.

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