. Nicolas Poussin, his life and work. ion. A slave is introduced who washesSimons feet, a pendant figure to Mary in theearlier picture. Mary Magdalene stands by theside of her Lord ; in tears, she bends over Hisfeet and anoints them with the ointment. Christsform on the couch seems longer than in otherexamples, and gains in majesty. The Eucharist of the Del Pozzo series hasdeteriorated in colour. Poussin keeps the triclin-ium, but Christ and the three disciples in thecentre do not recline, but appear as if sittingupright. John leans on the Saviours breast. Alamp hangs over the head of Christ,
. Nicolas Poussin, his life and work. ion. A slave is introduced who washesSimons feet, a pendant figure to Mary in theearlier picture. Mary Magdalene stands by theside of her Lord ; in tears, she bends over Hisfeet and anoints them with the ointment. Christsform on the couch seems longer than in otherexamples, and gains in majesty. The Eucharist of the Del Pozzo series hasdeteriorated in colour. Poussin keeps the triclin-ium, but Christ and the three disciples in thecentre do not recline, but appear as if sittingupright. John leans on the Saviours breast. Alamp hangs over the head of Christ, the roomlooks bare of all ornamentation. Hoc est corpusmeum.—Here is a vast hall adorned with columnsof the Tuscan order. Christ wears a white tunicand red mantle. He holds a cup of wine, which Heblesses. Peter and John are associated as in DaVincis great work,^ and Peter questions John in ^ Georges Berger, LArt. Paris, 1877, L p. 107. Poussinvisited Milan, and made a careful study of Da Vincis LastSupper, in S. Marie delle ORDINATION. From the series The Seven Sacranie/its. In the possession 0/ theDuke of Rutland, Belvoir Castle. LIFE IN ROME 103 regard to the traitor. A novel arrangement hereis the use of four couches, around the foursides of the table, thus bringing the disciplesnearer together. A man, standing in the back-ground, places a finger on his mouth, and symbol-izes by this action the mystery of the mass ascelebrated in the Roman Catholic Church. Thiswork shows some study of Raphael and Leonardo,but more of antique types, in the heads. The Ordination of the first set is well-preserved and has clear, transparent picture cannot represent Christs meetingwith His disciples soon after the Resurrection,when He said to Peter, Feed my sheep, becausetwelve apostles are here introduced. The sheepare in Raphaels picture of like name. Poussinfollows the Italian master in the position givento Christ and Peter who kneels before form is here
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