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Untitled Article
- —the " - ' remorse attendant on the first consciousness of guilt , and the repose resulting from sincere and fervent repentance . We remember to have seen a picture expressive of the former in the British Institution some years since : we have forgotten the name of the painter , but there was an originality and power in his conception that will riot so easily escape our recollection He chose in the
for his ^ cene a cave which light was partially admitted ; before a' rocky altar , with its rough-hewn crucifix , knelt an attenuated figure ; the uplifted hands clasped in agony—the head leaning upon , or rather pressed against , the arm , as if the temples were bursting—the whole body writhing—the feet contracted , as if every physical effort were necessary to assist in relieving the anguish of the tortured soul—the face completely hidden , daring
not so much as raise the eyes to heaven to say ' Lord be merciful to me a sinner . Though far inferior in its colouring to the exquisite Correggio at Dresden , which takes the other view of the subject , we longed to place them side by side . There all is peace—the shade of trees— the murmur of waters— -the quiet * though not gloomy , solitude — the relying , grateful , absorbed look of the penitent , who heeds not the clear , cool stream
that runs gently by her , for she is drinking deep of the water of life—the perfect ease of the whole figure—make you feel that the burden and heat of the day are done—that the strugr gle is over—that the condemnation is revoked—that she sins no more . ' The Magdalen of the Exeter Gallery attempts this latter personification : the face is upraised , and looks like that of a pretty affected young lady ( that is , if affected young ladies can be pretty ) who is sitting , or rather lying , for her picture .
very proud of her fine hair and her fine figure , anxious to display both , and thinking that if she can but be taken as a Magdalen with a seraphic expression of countenance , she need not fear being thought improper by the world 1 There is a self-complacency about the mouth which almost amounts to pertness , and a total absence of that expression of gratitude which is the very soul of the forgiven . Far different is a small picture of Vanderwerfs ( 90 ) , which , from its earnestness and humility , is true to
jts subject . We must not omit to notice a St . John , by Alonzo Cano ( 31 ) . There is a reality about it which is almost startling ; the expression and colouring of the face—the wonderful softness and liquidity of the eyes , render it , although not quite equal to the presumed notion of the inspired dignity which heralded our Saviour ' s coming , a very effective picture . The expression of the face , and the attitude of the figure , are not quite harmonious ; for while the one seems to ask . ' Art thou he that should come , or
do we look for another ? ' the other , pointing to the us uallyadopted symbol , says , * Behold the Lamb of God , which taketh away the « fti < &f the world . ' No . 41 , a St . James , by Garofalo , is much more happy in the attitude chosen , which is one of spirited exhor-
Untitled Article
844 Exeter If ait Exkibiti&ii of Pain ting * .
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Citation
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Monthly Repository (1806-1838) and Unitarian Chronicle (1832-1833), May 2, 1832, page 344, in the Nineteenth-Century Serials Edition (2008; 2018) ncse.ac.uk/periodicals/mruc/issues/vm2-ncseproduct1812/page/56/
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