Cornelis Troost – ’Ibant qui poterant, qui non potuere cadebant’ (Those who could, walked; those who could not, fell) Mauritshuis

The composition presents a nocturnal scene unfolding on a cobbled street lined with substantial buildings. A carriage, drawn by two powerful black horses and accompanied by a coachman in formal attire, dominates the right side of the canvas. The vehicle appears to be moving purposefully forward, suggesting an urgency or destination.
On the left, three figures are depicted in a more static pose. Two men, dressed in elaborate coats and breeches, stand alongside a woman holding a lit candle. Their expressions are difficult to discern precisely due to the dim lighting, but there is a sense of observation, perhaps even amusement, directed towards the unfolding scene. The presence of the candle introduces an element of artificial illumination against the pervasive darkness, highlighting these figures while simultaneously emphasizing the obscurity surrounding them.
Above, on a raised platform or balcony attached to one of the buildings, a group of men are gathered. Their postures and gestures suggest they are witnessing the events below with varying degrees of engagement – some appear jovial, others seem more contemplative. The elevated position of this group reinforces a sense of social hierarchy; they occupy a vantage point that separates them from those on the street level.
The color palette is restrained, dominated by dark tones – browns, blacks, and grays – which contribute to the overall atmosphere of mystery and intrigue. Subtle highlights are used strategically to draw attention to key elements such as the carriage’s ornate details, the faces of the figures, and the glow of the candle.
The title, Those who could, walked; those who could not, fell, provides a crucial interpretive framework. It implies a commentary on social mobility or perhaps the consequences of circumstance. The carriage, representing privilege and ease of movement, contrasts sharply with the implied struggles of those left behind – potentially symbolized by the darkness and the figures seemingly rooted in place. The scene suggests a moment of transition, where some are able to progress while others remain constrained. It is likely that the painting intends to offer a satirical or critical perspective on societal structures and the disparities within them.