s, has torn one of
his feet from the tree to which it was nailed. The expression in the
action of this figure is wonderful. The attitude of the other is more
composed, and he looks at the dying Christ with a countenance perfectly
expressive of his penitence. This figure is likewise admirable. The
Virgin, St. John, and Mary the wife of Cleophas, are standing by, with
great expression of grief and resignation; whilst the Magdalen, who is
at the feet of Christ, and may be supposed to have been kissing his
feet, looks at the horseman with the spear with a countenance of great
horror. As the expression carries with it no grimace or contortion of
the features, the beauty is not destroyed. This is by far the most
beautiful profile I ever saw of Rubens, or, I think, of any other
painter. The excellence of its colouring is beyond expression. To say
that she may be supposed to have been kissing Christ's feet, may be
thought too refined a criticism; but Rubens certainly intended to convey
that idea, as appears by the disposition of her hands, for they are
stretched out towards the executioner, and one of them is before and one
behind the cross, which gives an idea of their having been round it. And
it must be remembered that she is generally represented as kissing the
feet of Christ: it is her place and employment in those subjects. The
good Centurion ought not to be forgotten--who is leaning forward, one
hand on the other, resting on the mane of his horse, while he looks at
Christ with great earnestness. The genius of Rubens nowhere appears to
more advantage than here; it is the most carefully finished picture of
all his works. The whole is conducted with the most consummate art.
The composition is bold and uncommon, with circumstances which no other
painter had ever before thought of--such as the breaking of the limbs,
and the expression of the Magdalen; to which we may add the disposition
of the three crosses, which are placed perspectively, in a very
picturesque manner--the nearest bears the thief whose limbs they are
breaking; the next the Christ, whose figure is straighter than ordinary,
as a contrast to the others; and the furthermost the penitent thief.
This produces a most interesting effect, but it is what few but such a
daring genius as Rubens would have attempted. It is here, and in such
compositions, that we properly see Rubens, and not in little pictures of
Madonnas and Bambinos. It appears that Rubens made some change