Room 31

In this full-length portrait, Armand-Jean du Plessis, duc de Richelieu (1585–1642) wears the robe and skull cap of a cardinal. This position had been granted to him in 1622. His left hand lifts the robe to reveal a delicate layer of lace, also visible on his sleeves, beneath the great expanse of...

According to the Gospel of Matthew, an angel appears to the Virgin Mary’s husband, Joseph, in a dream. Champaigne shows the angel gesturing towards both heaven and the Virgin Mary, confirming that Christ has been conceived through the Holy Ghost. Kneeling in front of an open Bible, Mary glances t...

This warm, tranquil port scene is bathed in sunlight: the clock on the building to the left records the time as five o'clock. A coat of arms with three golden fleurs-de-lis (emblem of the French king) above the clock and on the ship’s flags to the right suggests this painting was intended for a F...

Diana, goddess of hunting, stands between the huntsman Cephalus and his wife Procris. Procris gives her husband a spear, carried here by an attendant, and a magic dog. The painting is loosely based on a story in Ovid’s Metamorphoses. The title suggests that the pair are being reunited after a fal...

King David and his companions emerge from the cave of Adullam. They cannot enter the city of Bethlehem and the valley below as the Philistines, whose pitched tents are just visible in the bottom left corner, occupy both. Nevertheless, three of the King’s soldiers have bravely ventured out to fulf...

This picture raises all the questions usually prompted by an unidentified sitter: who is this person, where is he, how old is he? The dark background gives little information. He’s young, and his clothes suggest he’s well off, but there are no further clues to his identity.When this work entered...

This painting is one of a series depicting the Seven Liberal Arts, which represent disciplines associated with learning and language – grammar, logic, rhetoric, arithmetic, music, geometry and astronomy – as half-length figures of women. Grammar is shown as a woman watering plants, conveying the...

A woman and five children are crammed into a small space. It is hard to tell where they are, or what their relationships to one another are; their individual facial expressions, which all feel unconnected, seem to be the main focus.The bright colours of the children’s clothes stand out against a...

In this sombre scene a peasant woman, a young girl and two children sit round a table in a dreary room. The older girl and woman look straight at us, their furrowed brows, pursed lips and tense gazes creating a feeling of melancholy or despair. The boy concentrates on cutting bread, smiling conte...

A group gathers around a manger to adore the newborn Christ. On the right, the Virgin Mary and Joseph gaze reverently at the infant, alongside two small angels. On the left are two young boys and an old, barefooted man: they are the shepherds mentioned in the Gospel of Luke (2: 8–20). This scene...

These three men are probably the painter brothers Antoine, Louis and Mathieu Le Nain. Their noses and chins suggest a family resemblance, and the way that the central man stares out at us recalls the traditions of self portraiture. The costumes, with their broad collars, suggest a date of the lat...

Saint Paul, who is dressed in a red cloak, directs the men in the foreground to burn a pile of books that represent the pagan tradition. He has travelled to the city of Ephesus (now part of Turkey) to encourage the Jews and Greeks to convert to Christianity, and his success is shown by the figure...

In this portrait, the recently widowed Catherine-Thérèse, Marquise de Seignelay (1662–1699) and two of her five sons are shown as characters from Greek and Roman mythology. The Marquise is probably meant to be the sea goddess Thetis, but could also be interpreted as Venus, the goddess of love, wi...

In this fantastical landscape, the holy family – the Virgin Mary, Joseph and Christ – pause on their journey beside a derelict Roman temple. Among crumbling columns and fragmented archways, niches with antique statues and carved reliefs remain intact. The Virgin gives Christ some figs as a symbol...

In this wild party, men and women dance around a term – a carved bust of a bearded and horned man. This is traditionally identified as Pan, god of woods and fields, flocks and herds, although the statue could also be Priapus, god of gardens and fertility, who wears floral garlands and exposes his...

A man has been crushed by a snake and lies dead beside a pond: his body is limp and his skin a greenish-grey. We see a man and woman whose gestures and movement show their fear and surprise. The way the landscape is constructed reveals the drama in stages: the running man sees the dead man and th...

In this scene from the Book of Exodus, a large gathering of Israelites worship a life-size statue of a golden calf, or what is actually a bull, which represents the Egyptian bull-god Apis. They have decided to worship a different, pagan god while their leader Moses has been away on Mount Sinai co...

Shepherds kneel and stand in order to praise the baby Jesus, watched by Joseph and the Virgin Mary. The stone archway frames an earlier episode: the same shepherds fall over in surprise as an angel appears in the clouds to announce Christ’s birth to them. Following an old tradition in painting, P...

In this chaotic woodland party, men and women dance, drink, play music and behave badly. They gather around a statue of a red-faced satyr with horns, which may represent Pan, god of shepherds and herdsmen, or Priapus, god of gardens. Both deities are linked to the mischievous god of wine, Bacchus...

This playful scene celebrates Silenus, companion to Bacchus, the Roman god of wine and drunkenness. Silenus, a naked old man with a bald head, sits slumped on a throne to the left, supported by two men. Too drunk to stand, he balances one leg precariously on a tiger. He is surrounded by revellers...