This is the second of Lancret’s series of paintings depicting The Four Times of Day. A sculpted cherub (Love) sits on top of a sundial, the shadow of which points to the Roman numerals for 12 inscribed into the stone. The sundial forms the back of a stone basin into which water flows from spouts in sculpted dolphins’ mouths.
The central theme of the painting is telling time and also the passing of time, possibly with relation to the transience of youth and beauty. The man and two women note the moment on the sundial, and one of the ladies holds her pocket watch to check it against the solar time. Checking watches against sundials apparently remained common practice even after the technological advances of the seventeenth century had greatly improved the accuracy of clocks and watches. The man also appears to be holding a watch in his right hand, although it is unclear what he is doing with his other hand. Perhaps he is shielding his eyes from the sun to get a better view of the sundial or lining his hand up with the shadow to watch time passing. Two of the ladies flutter their fans against the midday heat. The pose of the lady in pink sitting on the ground is rather unusual – she appears to be tipping backwards with one leg raised, while being offered flowers by the lady with the basket. The women all wear dresses of plain or striped silks as would have been usual on informal occasions such as sitting in the garden. The lady holding the basket of flowers and a sprig looks away from the sundial while offering flowers to the reclining beauty, perhaps symbolising the brevity of life.
The known preliminary drawings for Midday (held in a private collection in the Staatliche Museen, Berlin, and another the whereabouts of which are now unknown) show Lancret’s careful planning of this composition. The painting was etched and engraved in reverse by Nicolas de Larmessin III as part of the series The Four Hours of Day, completed by February 1741. A verse on the engraving for this painting translates as: ‘This instant makes the day’s measure and the Law, / the Hours on this point regulate themselves: / Love sees it, indicates it and seems to say to the Beauties / All your hours are mine.’
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