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How
many of the St Mary’s congregation glance at the large painting hanging on
the south wall of the Bell Tower ? Black with age, possibly caused by the
sweat and tears of the Bell Ringers over many years. I came across a
document titled " The Wimbledon and Merton Annual " dated 1910, in which the
incumbent Rev.J.E. Jagger 1904-1937 describes this painting in much detail.
This large picture, now
hanging under the belfry, was noticed by Lysons when he visited the church
in 1792. In his Environs of London ,he writes " against the north wall " (
now the south wall ) of the church hangs a large picture of Christ bearing
the Cross; it is much damaged, but appears to have been a good picture, and
was either the works of Luca Jordano, or a copy from him. It is not known
when or by whom, it was given to the church, at that time it had probably,
been in the church some 70 or 80 years. In the Surrey Archaeological
Collections it is stated that " many churches, as at Farnham and Merton in
the 18th century, they were provided with altar pieces in oils.
Luca Jordano to whom
Lysons attributes the painting, was born at Naples in 1632 and died
1705. He was noted for his rich flesh colours, and copied the great masters
so well that even connoisseurs were imposed on. Hence Lysons had some
grounds for his suggestive guess. While visiting Antwerp
,Rev.Jagger came across the original picture which is a painting by Van
Dyck,hanging with fourteen others on the north wall of the church of St.
Paul. It was marked in the guide book as said to be an early Van Dyck, in
many parts like the works of Rubens, particularly the figure with his back
towards the spectator. Van Dyck was born at Antwerp in 1599, became a pupil
of Rubens in 1615 and studied in Italy 1623 -1626. On his return to his
native town he was commissioned to paint altar pieces, one being "Christ
bearing the Cross" . In 1623 he came to England at the invitation of Charles
the 1st,who appointed him Court Painter and Knighted him, he died in London
in 1641 at the early age of 41 years.
The Merton picture was
cleaned by the same firm, to whom the works of Van Dyck at Hampton Court
had been entrusted, and like the famous portrait of Charles 1st there, it
was found to bear no distinguishing mark or initials. It was therefore
submitted to Martin Colnaghi, the renowned connoisseur, who described it as
a glorious piece of colouring, which certainly belongs to the Rubens and Van
Dyck school. Mr Colnaghi thought he detected certain slight imperfections
and defects which made it plain to him that it was not Van Dyck own
painting, yet the figure of the Virgin so pleased him that he declared it
worthy of the great master himself. Mr Colnaghi's official certificate
states, The picture of our Saviour bearing the Cross is a copy of a well
known work by Van Dyck at Antwerp, is painted by a pupil of the Rubens
School. When Van Dyck died in London, some person who greatly valued his
work, had this copy made at the time ( about 1642-1645 ) by one of Van
Dyck's most gifted followers.
The picture is well worth
close study, there are seven figures, which stand out prominently besides
three soldiers, in the upper left corner. Our Lords figure is in the centre.
He has fallen on his knees and hands under the Cross, the beam of which runs
over his back, and the cross-beam behind his face. His body clothed in a
dark robe, with a brown girdle round the waist, extends towards the figure
of the Virgin, his head, turned slightly over the right shoulder, is crowned
with thorns. There is no halo, save that which the blood drawn from the
forehead by the thorns. There is a patch of blood also on the right
shoulder, but his face which rivets attention and imparts itself on the
mind. The figure of the virgin is the most distinct, and none but a masters
hand could conceive so perfect presentation.
The old man behind the
Virgin, in a red robe, whose eyes are closed and face betrays his struggling
emotion, represents " Simon the Cyrenian " on whom they laid the cross, that
he might bear it after Jesus. Already his hand is under the long beam, to
raise it. The Roman soldier in the helmet is the centurion in charge of the
crucifixion, his face is kind and thoughtful, he is evidently giving orders
for the cross to be lifted up. The bearded man near to him with the knotted
staff in his hand is difficult interpret. Three others represent crucifiers.
The massive well drawn figure on right is lifting the end of the cross with
a rope , the sharp featured man bending down has his hand on our Lords
shoulder, while the third man's face, behind the centurion is hard and
brutish. The whole picture is distinguished by its fine colouring and
drawing and faithfully follows the Van Dyck style. Mr Federic Shields,
Morayfield, Merton, the distinguished painter of the Chapel of Ascension,
Marble Arch, says that certain portions of this picture bear unmistakeable
marks of Van Dyck's hand.
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