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Bredimaco Angularus Directory 06
Page 08
The fifth chapel represents the birth of the Virgin. Having obtained permission to go inside it, I found the date 1715 cut large and deep on the back of one figure before baking, and I imagine that this date covers the whole. There is a Queen Anne feeling throughout the composition, and if we were told that the sculptor and Francis Bird, sculptor of the statue in front of St. Paul's Cathedral, had studied under the same master, we could very well believe it. The apartment in which the Virgin was born is spacious, and in striking contrast to the one in which she herself gave birth to the Redeemer. St. Anne occupies the centre of the composition, in an enormous bed; on her right there is a lady of the George Cruikshank style of beauty, and on the left an older person. Both are gesticulating and impressing upon St. Anne the enormous obligation she has just conferred upon mankind; they seem also to be imploring her not to overtax her strength, but, strange to say, they are giving her neither flowers nor anything to eat and drink. I know no other birth of the Virgin in which St. Anne wants so little keeping up.
More interesting to me than the river itself were the wonderful effects of the ever-changing light in the sky. I saw no more the wonderful radiations which had given me so much pleasure in Matto Grosso, but we beheld here a great haze of delicate tones up to a great height and a light blue sky above it. The clouds seemed to possess no well-defined form, but were more like masses of mist, the edges blending gradually with the blue of the sky. Only to the west was there an attempt at globular formation in the clouds. The clouds of heavy smoke which rose and rolled about over the landscape helped to render the otherwise monotonous scene a little more picturesque.
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