6. Mystic Marriage of St Catherine.

The Mystic Marriage of St Catherine.

Oil on Wood,126 x 168 cm, possibly 1629-30.

EDINBURGH, National Gallery of Scotland.

Provenance.

Believed to have been painted for Poussin’s most famous patron, Cassiano dal Pozzo. It was Haskell and Rinehart who first published this picture and the inventory where it appears as La S. Caterina V.M. da 7 e 5 di Pussino in Tavola. In a later article, Standring (1988), mentioned a legal declaration of 22^nd July 1731 that records, that in 1730, certi inglesi in Florence had made a contract with Cosimo Antonio to buy four paintings by Poussin then held in Rome by the Marchese Ginnetti Lancellotti. These were the Venus and Mars (Boston), Landscape with a Storm with Pyramus and Thisbe (Frankfurt), a Nude Venus with Putti (whereabouts unknown, although several contenders for this) and the Edinburgh Marriage of St Catherine.

 In 1781, the picture belonged to Humphrey Morice at Chiswick; bt by Lord Ashburnham in 1786; Ashburnham Sale Christie’s London, 20^th July, 1850, lot 9; Samuel Woodburn Sale, Christie’s, London, 24^th June, 1853, lot 72, bt. by Pearce (no size given but description fits Edinburgh painting). The Woodburn Picture is said in the catalogue to come from the Montcalm Gallery, but no such picture appears in the Montcalm Sale; perhaps anon. sale, Philips, London, 3^rd June, 1856, lot 61;  T Kibble sale, Christie’s London, 5^th June, 1886, lot 93, (as from the Ashburnham Coll), bt Lesser, Sir Herbert Cook; by descent to Sir Francis Cook; bt. from him by Agnew’s in 1946, and from them to Sir John Heathcote Armory of Devon who bequeathed it to the National Gallery of Scotland, which acquired it in 1973.

Related Works.

Drawings

There is a drawing by an imitator- probably 17^th century- of Poussin in the Cleveland Museum of Fine Arts, -brown and grey wash, 288 x 389 mm. Interestingly, this shows a different composition; we see a landscape containing a scene of the saint being beheaded, behind the main group. Though the tentative style and clumsy technique disqualify it as autograph, could this be a copy of the original design for the Edinburgh St Catherine? If so, this might indicate Poussin’s wish to eliminate violent aspects of the story and subtly suggest the execution by the device of the angel running its fingers over the sharp blade in the finished version. Also, Oberhuber speculated that Poussin wasn’t interested in perspective in this period; instead, he preferred to show the Holy Family and Saints against ruined temples, which might be symbols of salvation. This is a tempting hypothesis, but it could equally be the case that the variant graphic composition is the product of an awkward concoction of Poussin’s painting and various examples of the subject which show the martyrdom in the background, like Correggio’s for instance.

Engravings.

None.

 Description and Theme

In Western art the vision of Saint Catherine of Alexandria usually shows the Infant Christ, held by the Virgin, placing a ring (one of her attributes) on her finger, following some literary accounts, although in the version in the Golden Legend he appears to be adult, and the marriage takes place among a great crowd of angels and "all the celestial court", - and this seems to be closer to Poussin's version.This subject is found in Italian painting from the 14^th century onwards. According to a source earlier than the Golden Legend, Catherine of Alexandria’s mentor, a hermit, gave her an image of the Virgin and Child. The saint’s prayers caused Christ to turn his face towards her, and later when her faith had strengthened, to place a ring upon her finger. 

 Technical Notes and Connoisseurship Issues.

(a)   The support.

Quoting from the Edinburgh 1981 exhibition. “ Painted on five oak planks lying horizontally (considerable paint losses along the joins of the planks, especially the topmost joint). The whole panel appears to have been sawn through 42 cm from the right-hand edge, and joined together again.” Anybody approaching the problem of who painted this picture has to contend with one fact: this picture is painted on panel; none of Poussin’s other pictures use wood as a support. This has inevitably led to doubts being cast on the attribution, and frankly there seems no satisfactory explanation for this anomaly, unless we put it down to the whims of the patron, Cassiano dal Pozzo? Anomalies are not absent from Poussin’s corpus though. For example, there are a group of drawings executed in red chalk, a technique that is unusual in his work. And some scholars would completely reject all chalk drawings from Poussin’s oeuvre on the grounds that he was not suited to the medium and was more comfortable with pen and wash, at which he excelled.

 

The St Catherine has been X-rayed- reproduction here- and this does show alterations from the existing painting. It seems logical to think that this painted over scheme was the original design; large, looming forms suggest hills and mountains in the background. Could this relate to the Cleveland drawing which shows the saint in a landscape? Is the Cleveland sheet a weak copy of another drawing that contained the original thought for Poussin’s St Catherine? Oberhuber believed that the Cleveland sheet was a copy after a lost modello, or presentation drawing, for the Edinburgh picture. PCP wouldn’t rule out the drawing as reflecting Poussin’s own design: the aperture on the right which opens up the eye to the distance is something found in other pictures of the late 1620s, g. the Midas and Bacchus (Munich).

However, this picture isn’t without its own problems and it will have to go on PCP’s list of works to be considered. 

  (b)   Stylistic Analysis.

 In working out Poussin’s stylistic development Blunt identified a group of pictures which he said were “Poussin’s most important series of works in the last years of the 1620s.” These included the present Edinburgh picture, the large altarpiece of St Erasmus (Vatican, 1629-30), as well as the study for it at Ottawa, the Virgin appearing to St James (Louvre,1629-30), the Massacre of the Innocents (Museé Condé, Chantilly, c. 1629), the Exposing of Moses (Dresden, c. 1627-8) and the Inspiration of the Epic Poet (Louvre,1630-1). To these Blunt added the fragment of the lost Golden Calf (Private Coll, on loan to Dulwich), examined in the last post. In assessing the qualities of these pictures Blunt discerned several characteristics which I’ll list here. “Broad, luminous treatment of the forms…bathed and modelled in light in the manner of Titian’s Sacred and Profane Love- detail shown here ; light, rather blonde colour key with tones recalling Veronese as much as Titian; repeated use of certain types, particularly the young women;  free creamy handling of the paint;  certain unusual devices in the painting of eyes and ears”. I feel that Blunt was on the right track when he detected the influence of Titian in the practice of “painting the eyebrows with a single curved stroke” though the “touching in of the eyelashes line by line- almost impossible to show here- was Poussin’s own invention. Poussin’s Madonna is the result of his aim to reinvent Titian’s feminine beauty within his own vision of classical grace, a tendency which can be seen the Golden Calf fragment, which though not by his hand contains similar young women as those in the St Catherine. Blunt called the style in the fragment "classical", (maybe he meant Hellenistic?);  and there does seem to be in both the fragment and the Catherine Madonna an attempt to create an antique profile, though via the colourism of Titian.  

 St Catherine herself shows knowledge of Venetian colours, the olive green and wine colours typical of Veronese as Blunt observed. Adding my own contributions to this connoisseurial analysis, I’d say that the pointed top of the saint’s headdress is a stylistic feature found in the work of Giovanni Bellini and Alvise Vivarini, which if true would suggest an even broader knowledge of Venetian art. Whoever painted this picture had thoroughly assimilated the art of that northern city.

 I’d also add physiognomic characteristics of the Edinburgh Madonna such as a big toe drawn smaller than the others, present in works from this period: for example the Rest on the Flight into Egypt (New York, c. 1628-9) .  There are stylistic affinities with other pictures in this period of 1628-1630.The combination of red and blue infused with highlights  can be found in pictures ranging from the Death of Germanicus (Minneapolis, 1628) right up to the Flight into Egypt (Worcester, Mass, c. 1629-30.) These cross- references can be multiplied and linked to other paintings like the Triumph of David (Madrid, c. 1629-30). The angel fingering the sword seems similar to the David in the Triumph; and the sword in the Edinburgh St Catherine has close affinity with the weapon in the Prado picture. If we decide that Poussin didn’t paint this picture, then we have to assume that its author was thoroughly familiar with Poussin’s art. May I introduce a candidate, Charles Mellin?

 (c)    The Mellin Factor.

 There is a joke amongst Poussin scholars that Mellin is Poussin’s waste paper basket. In other words, a sub-standard Poussin is likely to be an imitation by Mellin, especially in this period. The first serious advocate of Mellin’s authorship of some of Poussin’s paintings, including the St Catherine, was Doris Wild. She considered the Edinburgh work “Mellin’s masterpiece” an opinion that would be shared by very few Poussin scholars today despite the doubts about attribution hovering over this picture.  Wild became obsessed with the idea of re-assigning some of Poussin’s paintings to Mellin, a practice that some French curators have upheld, though this trend seems to be on the wane- see below. But as Christopher Wright has pointed out this group of “Mellin pictures” is too “incoherent”. And once we continue down this road re-attributing Poussin to Mellin, where do we stop? In addition to taking away the St Catherine from him should we continue and reject the New York Rest on the Flight, the Worcester Flight into Egypt, the Prado St Cecilia. I’ll return to these pictures and this problem in other posts.

 Blunt dismissed Mellin as an exponent of the “semi-baroque”, and while Mellin has taken a beating next to Poussin, he’s always been feted by his native Frenchmen. There was a major exhibition of the painter at Nancy in 2007. Here’s an appropriate quote from Didier Rykner’s review.

 Mellin has often been compared unfavourably, and unfairly, to Nicolas Poussin. Although lacking his genius, Mellin is an excellent painter whose style has nothing to do with Poussin’s. The misunderstanding, as underlined by Philippe Malgouyres, author of the catalogue and in charge of the exhibition, stems from the art historian Doris Wild who, while being a major contributor to his rediscovery, committed a serious misinterpretation in qualifying him as a less talented imitator of Poussin.

 I’ll have to come back to Mellin when I examine Poussin’s Flights into Egypt where the latter’s influence on the former is most evident. Blunt’s “semi-baroque” label is interesting though because it suggests a painter with just a foothold in the baroque style. Poussin was similar, but of course he was a much more competent painter able to fuse the language of the baroque with classical idioms briefly before he moved on to his fully fledged high classicism of the 1630s, which really begins with the canonical Inspiration of the Epic Poet.   One of the best examples of this hybrid style can be seen in the Virgin appearing to St James- click back to this post for a reproduction of fit.

 (d)   Dating.

 Blunt’s 1627 is too early for the picture, and even his revised date of 1628 seems to raise problems. At the other end of the scale, Denis Mahon’s 1631-33 seems too late. As Mahon put it in a Burlington article of 1960 where he took issue with Blunt connecting the Two Heads fragment with the Marriage of St Catherine.

  “These two heads appear to me to be close in handling to the St Erasmus. Blunt has characterized the fragment as rather 'classical'; I must confess I cannot quite see this, though I would agree (and this is a two-edged argument!) that it is difficult to assess the 'degree of classicality' without knowledge of the composition as a whole. The head on the left seems to me to have a similar relationship to the analogous head in the San Francisco Golden Calf (Colloque, Fig. 148) as the kneeling man in the Madone du Pilier has to the analogous figure in the San Francisco picture. Motives first tried out in the latter are now treated in a much broader and more mature way; in fact, the comparison militates against, rather than in favour of, the contemporaneity of the San Francisco picture (and thus against its alleged date of 1629). On the other hand, I am afraid I cannot agree with Blunt's association (Colloque,i, pp. 166 f.) of these two heads with passages in the Marriage of St Catherine(F ig.36) formerly in the Cook Collection. The handling of the two heads (Colloque, Fig. 26), the St Erasmus, and the Madonna du Pilier (cf. Colloque, Figs. 147, 205, and 224) all seem to me to be heavier and more forceful than that of the St Catherine. In fact, I can see delicate nuances beginning to appear in the St Catherine which to me clearly indicate a rather later date (1631)..”

  Two years after this article, and in response to Blunt’s 1960 exhibition, Mahon would push the date of the Catherine further back to 1633. Leaving aside the question of what Mahon meant by “delicate nuances” in 1960, I simply can’t place the picture as late as 1633, or even 1631; its monumental figures and grandeur accords more with works of 1629-30, particularly the Martyrdom of St Erasmus. The fluted columns appear in pictures of this period, including autograph paintings that contain similarities with the St Catherine. Similar architecture appears in the Prado Triumph of David (above) and St Cecila, the Washington Assumption of the Virgin, and a dubious Holy Family (Moscow).Mahon himself also drew attention to the similarity between the painting of the drapery in the St Catherine and the gown hung over the tomb in the Washington Assumption Even if Poussin’s authorship of the St Catherine is doubted, the work boasts great stylistic affinity with many pictures of this year 1629-30, some of which have undisputed autograph status. A date of between 1629- 1630 seems therefore advisable.

Additional Notes.

 I suppose you’re wondering where PCP stands on the attribution? Well, I have to say that even taking into account the problems, notably the support, and certain incongruities like the colour of the saint, I’m still inclined to believe that I am in the presence of a work painted by Poussin’s own hand. I completely reject the Charles Mellin hypothesis, though I needn’t worry too much about this as it doesn’t have many adherents these days. The practice now is to separate Mellin from Poussin, and link him with other French artists such as Simon Vouet, about as far from Poussin as you can get. This obviously works to the attribution’s advantage; once you take Mellin out of the equation, what other candidate can be put forward? But what really clinches it for me is the angel on the right holding the sword. The atmosphere here is very introverted and melancholy, very close to the mood of the Prado Triumph of David which is one of the most sombre canvases that Poussin ever did. The pensive bearer of the sword contrasts markedly with the light, joyous feel of the women and Christ child to the right; there’s also the correspondence in type; the angel and David have similar facial characteristics. Also, the left leg of the angel is bent back, a pose that is present in the Prado Triumph of David. It’s intriguing to speculate which was painted first. I would have to say that they may have been painted at the same time. Poussin made some modifications though; the model for the seated David seems to be the sculpture known as the Ludovisi Mars, whereas there seems to be no specific source for St Catherine’s angel. It’s not at all surprising that some scholars, e.g. Wright, have stressed the stylistic affinities between these two paintings. Both pictures were cleaned in 1981 and this brought out the similarities in colour between them, another point of convergence.

 There remains the problem of the oak panels, but that that’s always going to be a stumbling block to the attribution. Sure it’s unusual, if not singular, but unless more archival evidence emerges that might help us understand the choice of support, there’s nothing we can do. And unless somebody advances very strong reasons for taking the picture away from Poussin, then I think the attribution should stan.

 

Attribution Views

Blunt, 1966 + (1627-29)

Wild, 1966 - (Charles Mellin).

Brejon de Lavergnée, 1973 + 

Edinburgh, 1973 +

Blunt, 1974 + (1627-29).

Thuillier, 1974 - (Wild’s att to Mellin to be taken seriously).

Wild, 1980 – (Charles Mellin).

Edinburgh, 1981 exh, Brigstocke et al + (1629).

Wright, 1984, + (c. 1630)

PCP, 2012 +, 1629-30.

Relevant Literature.

Catalogues

Anthony Blunt, The Paintings of Nicolas Poussin: A Critical Catalogue, (London,1966), no. 95.

Hugh Brigstocke et al, Poussin: Sacraments and Bacchanals (Edinburgh, 1981), no. 9; no 10 (Cleveland drawing).

Philippe Malgouyres, Charles Mellin. Un Lorrain entre Rome et Naples (Charles Mellin. A native of Lorraine between Rome and Naples, Nancy, Musée des Beaux-Arts, 2007

Konrad Oberhuber, Poussin: The Early Years in Rome, (Fort Worth, 1988), no. 69; no. D162 (Cleveland drawing, here listed as copy).

Jacques Thuillier, Tout l’oeuvre peint de Poussin, (Paris, 1974), B 24.

Christopher Wright, Poussin Paintings: A Catalogue Raisonné, (London, 1984), no. 57.

Other Literature.

Anthony Blunt, Nicolas Poussin, (Washington, 1967, rep, London, 1995).

Francis Haskell and S. Rinehart: “The Dal Pozzo collection, Some new Evidence”, Burlington Magazine, 102, [1960], pp.318-26;

Brejon de Lavergnée, Tableaux de Poussin et d’autres artistes français dans la collection Da Pozzo: Deux Inventaires inédits Revue de l’art 19 (1973), 78-96.

Denis Mahon, “Poussin au carrefour des années trente,”Actes, I, 1960, 237ff.

Denis Mahon,  "Poussin's Early Development: An Alternative Hypothesis", Burlington Magazine,  Vol. 102, No. 688, Nicolas Poussin and His Circle (Jul., 1960),pp. 288-327.

Didier Rykner, Review of Mellin exhibition, 2007, http://www.thearttribune.com/Charles-Mellin.html.

Timothy J. Standring, “Some Pictures by Poussin in the Dal Pozzo Collection: Three New Inventories”, Burlington Magazine, Vol. 130, No. 1025 (Aug., 1988), pp. 608-626.

Doris Wild, “Charles Mellin ou Nicolas Poussin,”Gazette des beaux arts 68, (1966), 177-214, 204f.

Doris Wild, “Charles Mellin ou Nicolas Poussin,”Gazette des beaux arts 68, (1967), 3-44.

Doris Wild, “Nouvelles attributions à Charles Mellin” La Revue dui Louvre ,21 (1971), 347-352.

Doris Wild, Nicolas Poussin: Leben, Werk, Eskurse. 2 vols. (Zurich, 1980), vol. 2, M 29.

 

Comments

[Stephen Conrad]

Hi David

A most interesting entry...so a couple of comments. As you say we must be careful about the support, but if we accept the four small 1650s pictures on wood (which Mahon told me he felt sure were pastiches; the French he said, were "crackers" to accept them) of the Annunciation, Noli me Tangere, and Lamentation, 2 in Munich, 1 in the Prado, and (all interestingly constantly asserted as Poussin by Wild) and the Baptism of Christ in a Private Collection, formerly Czernin collection - which we have to, as it was painted for Jean Fréart de Chantelou (and for which there are related drawings form the 1640s in my opinion), then it does not seem unreasonable to assume that occasionally Poussin, in the late 1620s, would have used a wood support. Oak is surely not such a surprise for a picture painted in Italy as both oak, and poplar, were used by artists right through the seventeenth century at various times. Artists often used what came to hand, and it may have been a patron who said he had a panel the right size and so forth, so Poussin used it. He may even have been experimenting with a panel...

As for Mellin, Blunt's review of Thuillier's L'Opera Completa volume in the Burlington Magazine, makes clear that Wild's hypothesis that many early Poussin's were by Mellin, largely accepted at that time by Thuillier, was quite crazy, and to our eyes, sated on colour photographs of cleaned pictures it seems so obvious, in my view, that the St Catherine in Edinburgh is by Poussin from late 1620s. I think Blunt described the Mellin of Wild's wilder theories as a monstrous figure and a 'fantasmagoria' and he was right about this, and thank goodness for the Nancy exhibition that has undone much of Wild's damage.

[David Packwood]

Hi Stephen,

Valuable insights as always.

Should have mentioned these other panels, even though they are likely to be after Poussin. I'll update the entry sometime; or maybe I'll mention them when I do the Prado Noli me Tangere.

Mellin the monstrous! Yes, conjured from the depths of Wild's imagination. Will have to check the Blunt references again.

Best,

David

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Hey! I know this is somewhat off topic but I was wondering which blog platform are you using for this site? I'm getting fed up of Wordpress because I've had problems with hackers and I'm looking at alternatives for another platform. I would be fantastic if you could point me in the direction of a good platform.
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[レイバン Jackie OHH ジャッキーオー]

Hey there would you mind sharing which blog platform you're working with? I'm planning to start my own blog soon but I'm having a tough time making a decision between BlogEngine/Wordpress/B2evolution and Drupal. The reason I ask is because your design seems different then most blogs and I'm looking for something completely unique. P.S Apologies for being off-topic but I had to ask!
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Hello! I just wanted to ask if you ever have any problems with hackers? My last blog (wordpress) was hacked and I ended up losing several weeks of hard work due to no data backup. Do you have any methods to prevent hackers?

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