Colnaghi Foundation Journal 01 - Page 51

platters, and elaborate gold and silver vases, while on
the other there are elements that allude to the brevity
of life, the destructive nature of time, and Christian
redemption, referred to in the jewels next to the
casket, the pack of cards and the coins in the centre.
Among the shadows are the almost invisible oil lamp
and clock, while more clearly visible in the darkness is
a guitar that recalls worldly pleasures, around which
twines the sinister serpent of temptation with the
apple in its mouth.
Fig. 14 / Andrés De Leito,
Penitent Magdalene, oil on
canvas, 174 x 123.5 cm,
Herrera de Pisuerga,
Palencia, Ermita de la Virgen
de la Piedad.
Fig. 15 / Willem de Passe,
follower of Crispijn de
Passe, the Elder, Penitent
Magdalene, engraving,
London, The British Museum.
The skull on the book, in turn reflected in the mirror,
is the same as the one in the Blanco Soler version,
although here it is accompanied by a second skull.
Above the mirror and similarly foreshortened is
a painting of ghostly forms representing the Last
Judgment which is cut off at the upper left edge of the
composition. The picture depicts the separation of
the souls of the saved with the striking presence at the
bottom of an angel who takes the arm of one of them
and points up to where Christ reveals himself in glory,
surrounded by saints and accompanied by angels who
descend from the heavens bearing the Cross.
Fig. 16 / Andrés De Leito,
Penitent Saint Jerome,
oil on canvas, 184 x 157 cm,
Madrid, Coll & Cortés.


Powered by

Full screen Click to read
Paperturn flip book
Download as PDF
Shopping cart
Full screen
Exit full screen