The Crucifix, ca. 1887 (oil on canvas)

Le crucifix (Title given by the author); Illustration for "Angelo, tyran de Padoue" in the National Edition (Subtitle) Martin, Henri Illustrates Victor Hugo's play "Angelo, tyran de Padoue", "Journée II", "Le crucifix", and corresponds in simplified form to the didascalia opening Act 2: "DEUXIÈME JOURNÉE LE CRUCIFIXA room richly upholstered in scarlet with gold highlights. In one corner, on the left, a magnificent bed on a dais supported by twisted columns. Crimson curtains hang from the four corners of the canopy, closing to conceal the bed entirely. To the right, in the corner, an open window. On the same side, a door hidden in the curtain; next to it, a prie-Dieu, over which hangs a polished copper crucifix. At the far end, a large double door. Between this door and the bed, another small, highly ornate door. Table, armchairs, torches, a large dresser. Outside, gardens, steeples, moonlight. An angelica on the table. "The action depicted corresponds precisely to the end of this second day, scene VI, when La Tisbe leaves Catarina's room in the company of Angelo, who accompanies her: "LA TISBEMy litter is downstairs waiting for me. Will you give me your hand until then? ANGELOI'm at your service, dona Tisbe. Let's go through my apartment, please, so I can get my sword. (Going to the big door at the back.) - Whoa! Torches! THE TISBE (Takes CATARINA aside at the front of the theater.) Break him out, now. The way I came. Here's the key. (Turning towards the oratory.) - Oh! this door! Oh, how I suffer! Not even really knowing if it's him! ANGELO, returning. I'm waiting for you, Madame.LA TISBE, aside.Oh, if I could only see him pass! There's no way! We've got to get away! Oh! (TO ANGELO.) - Come, come, my lord.CATARINA, watching them go out. But Henri Martin is obviously trying to concentrate all the tension of the drama played out during this act in this denouement scene. The crucifix - which gives the day its title - placed on the table is the symbol. It recalls the episode in Scene V where the situation is reversed, with Tisbe taking revenge on Catarina out of jealousy, only to discover that Catarina has saved her mother: "CATARINAArrry! Ah! God! Ah! Stop! Don't you know he's going to kill me! At least give me a moment, just a moment, to pray to God! No, I won't get out of here. You see, I'm going to get down on my knees here... (Showing her the brass crucifix above the prie-Dieu.) - in front of this crucifix. (LA TISBE's eye focuses on the crucifix.) - Oh, please, pray beside me. Do you mind? And then, if you still want me dead, if the good Lord lets you have that thought, you can do what you like.LA TISBE (Rushing to the crucifix and plucking it from the wall.) What's with the crucifix? Where did it come from? Where did you get it? Who gave it to you? CATARINAWhat? This crucifix? Oh, I'm devastated. Oh, it's useless for you to ask me questions about this crucifix!LA TISBECow is it in your hands? tell me quickly! (The torch is left on a credenza near the balcony. LA TISBE approaches and examines the crucifix. CATARINA follows her.)CATARINAWell, it's a woman. Look at the name at the bottom. It's a name I don't know, Tisbe, I think. She's a poor woman they wanted to put to death. I begged for her mercy. As he was my father, he granted it. In Brescia. I was a child. Oh, don't lose me, have mercy on me, Madame! So the woman gave me this crucifix, telling me it would bring me luck. That's all there is to it. I swear, that's all. But what's it to you? What's the point of making me say useless things? Oh, I'm exhausted! THE TISBE, aside. Heavens! Oh my mother!" Signature - Bottom right: "Henri Martin". Inventory number: 2015.23.1