the painting and closer to the rapids. He also modified the stance of the voyager, from standing in the original to kneeling in the replica. Old Age The final painting, Old Age, is an image of death. The man has grown old; he has survived the trials of life. The waters have calmed, the river flows into the waters of eternity. The figurehead and hourglass are missing from the battered boat; the withered old voyager has reached the end of earthly time. In the distance, an angel descends from heaven, while the guardian angel hovers close, gesturing toward the other. The man is once again joyous with the knowledge that Faith has sustained him through this perilous life to the promise of Heaven. The landscape is practically gone, just a few rough rocks represent the edge of the earthly world, and dark water stretches onward. Cole describes the scene: "The chains of corporeal existence are falling away; and already the mind has glimpses of Immortal Life." Cultural significance The Voyage of Life was well received by critics and the public; the United States was experiencing the religious revival sometimes known as the Second Great Awakening. The four paintings were converted to engravings by James Smillie (1807–1885) after Cole's death and the engravings widely distributed in time for the Third Great Awakening, giving the series the prestige and popular acclaim it retains today. See also The Course of Empire, 1833–1836 series of five paintings by Cole Hubur References Citations Cited works External links The Voyage of Life: A Chronology The Voyage of Life at the National Gallery of Art 1840 paintings 1842 paintings Painting series Romantic paintings Collections of the National Gallery of Art Paintings by Thomas Cole Stage theories 19th-century allegorical paintings Allegorical paintings by American artists Angels in art Maritime paintings