IS ; NCR
 
 LIBRARY 
 
 UNIVERSITY OF 
 CALIFORNIA 
 
 SAN DIEGO
 
 CHRIST IN ART
 
 Art Lovers' Series 
 
 The Madonna in Art 
 Christ in Art 
 Angels in Art 
 Saints in Art 
 Child Life in Art 
 Love in Art 
 
 * 
 L. C PAGE AND COMPANY 
 
 (Incorporated) 
 212 Summer St., Boston, Mass.
 
 CHRIST IN ART 
 
 JOSEPH LEWIS 
 
 FRENCH 
 
 EIlustrateD 
 
 BOSTON 
 L. C. PAGE AND COMPANY 
 
 (INCORPORATE &) 
 I goo
 
 Copyright, 1899 
 BY L. C. PAGE AND COMPANY 
 
 (INCORPORATED) 
 
 Colonial 
 
 Electrotyped and Printed by C. H. Simonds & Co. 
 Boston, U, S. A.
 
 TO 
 
 m. JF. . 
 
 IN GRATEFUL REMEMBRANCE
 
 FOREWORD. 
 
 OUT of religion, which may be broadly 
 defined as the stronger elements of the 
 human soul, concentrating first in fear, 
 then in superstition, and finally in faith, 
 has mainly sprung not only such art as the 
 world knows to-day, but much that is lost 
 for ever. It is but the natural law of 
 progression the law that set the stars in 
 their courses that the fear of ages ago, 
 which first implanted a god in the breast 
 of primeval man, should have passed 
 through the fiery furnace of superstition 
 finally to triumph as the faith which is the 
 corner-stone of the Christian religion. 
 
 The subject of the Christ is thus un- 
 s
 
 6 FOREWORD. 
 
 doubtedly the greatest that has ever en- 
 tered into the domain of Art. As proof of 
 its importance, and of the high service to 
 religion of its handmaiden, Art, in the 
 Christian cycles, there has never been, and 
 never can be, a greatest picture of the Sa- 
 viour, one on which the verdict of all Time 
 will be united, but a series of them. Those 
 representations which have best satisfied 
 the ideal of their time belong in this cate- 
 gory. The present brochure is simply a 
 brief effort to set down in order some of 
 the attempts that have been made, under 
 varying degrees of inspiration and influ- 
 ence, to picture the Saviour and His life- 
 work. 
 
 JOSEPH LEWIS FRENCH. 
 BOSTON, August 15, 1899.
 
 CONTENTS. 
 
 CHAPTER PAGE 
 
 FOREWORD 5 
 
 I. INTRODUCTION 13 
 
 II. THE CHRIST -CHILD 35 
 
 III. CHRIST AS TEACHER AND HEALER . . 69 
 
 IV. CHRIST AS MARTYR 137 
 
 V. CHRIST DEAD AND ARISEN . . .221
 
 LIST OF ILLUSTRATIONS. 
 
 LEONARDO DA VINCI. Head of Christ. (A study 
 
 for the Last Supper.) Frontispiece 
 
 Brera Gallery, Milan. 
 
 GHIRLANDAJO. Christ Calling St. Peter and St. 
 
 Andrew 21 
 
 Sistine Chapel, Rome. 
 
 TITIAN. The Redeemer 25 
 
 Pitti Gallery, Florence. 
 
 LE ROLLE. Arrival of the Shepherds 39 
 
 CORREGGIO. Repose in Egypt 40 
 
 UJfizi Gallery, Florence. 
 
 LuiNl. Christ in the Temple 55 
 
 National Gallery, London. 
 
 GUIDO RENI. Christ and St. John 59 
 
 National Gallery, London. 
 
 MURILLO. Christ-child. (From the Holy Family.) . 63 
 National Gallery, London. 
 
 VEROCCHIO. Baptism of Christ (detail) 73 
 
 Academy, Florence. 
 
 ARY SCHEFFER. The Temptation of Christ . ... 81 
 VERONESE. Marriage at Cana (detail) 85 
 
 Louvre, Paris. 
 
 HOLMAN HUNT. The Light of the World .... 99 
 BAROCCIO. The Saviour Ic >5 
 
 Pitti Gallery, Florence. 
 
 RAPHAEL. Transfiguration 113 
 
 Vatican Gallery, Rome.
 
 LIST OF ILLUSTRATIONS. 
 
 PAGE 
 
 TITIAN. Head of Christ. (From Christ and the 
 
 Adulteress) 121 
 
 Belvedere Gallery, Vienna. 
 MURILLO. Sermon on the Mount, or Miracle of the 
 
 Loaves and Fishes (detail) 129 
 
 Charity Hospital, Seville. 
 
 FRA ANGELICO. Entry into Jerusalem 141 
 
 Academy, Florence. 
 
 TITIAN. Tribute Money (detail) 147 
 
 Dresden Gallery. 
 RAPHAEL (attributed). Head of Christ. (From the 
 
 Last Supper.) 153 
 
 Egyptian Museum, Florence. 
 
 HOFMANN. Christ hi Gethsemane 163 
 
 MUNKACSY. Christ before Pilate (detail) 173 
 
 Owned by Mr. John Wanamaker, Philadelphia. 
 
 GUIDO RENI. Ecce Homo 181 
 
 Dresden Gallery. 
 
 GABRIEL MAX. Napkin of St. Veronica 185 
 
 PIOMBO. Christ Bearing the Cross 195 
 
 Dresden Gallery. 
 
 PERUGINO. Crucifixion (central panel) 201 
 
 Church of Santa Maria Maddalena dei Pazzi, Florence. 
 
 RUBENS. Crucifixion 209 
 
 Old Pinacothek, Munich. 
 
 GUIDO RENI. Crucifixion (detail) 213 
 
 Church of San Lorenzo in Lucina, Rome. 
 
 RUBENS. Descent from the Cross 223 
 
 Antwerp Cathedral, 
 
 FRA BARTOLOMMEO. Deposition 227 
 
 Pitti Gallery, Florence. 
 
 CARACCI. Pieta 235 
 
 Louvre, Paris. 
 CORREGGIO. Noli Me Tangere 243 
 
 Prado Gallery, Madrid. 
 
 PALMA VECCHIO. Supper at Emmaus 249 
 
 Pitti Gallery, Florence. 
 
 MANTEGNA. Ascension (detail) 255 
 
 Uffizi Gallery, Florence.
 
 I 
 
 INTRODUCTION
 
 " For don't you mark, we're made so that we love 
 First when we see them painted, things we have 
 
 passed 
 Perhaps a hundred times nor cared to see. 
 
 If I drew higher things with the same truth, 
 That were to take the Prior's pulpit place, 
 Interpret God to all of you." 
 
 " FRA LIPPO LIPPI " BROWNING.
 
 CHRIST IN ART. 
 
 CHAPTER I. 
 
 INTRODUCTION. 
 
 earliest Christians, in their 
 total reaction from the aestheti- 
 cism of pagan life, counted the 
 mere sense of beauty as some sort of a per- 
 sonal sin, and for nearly thirteen centuries 
 what survived of Christian art was with- 
 out any special appeal to the finer senses. 
 Thus Art perished almost utterly in the 
 Dark Ages, only to be revived as the 
 spirit of the mighty Greeks again re- 
 sumed its sway over the minds of men. 
 13
 
 14 CHRIST IN ART. 
 
 The first four or five centuries of the 
 Christian era consequently make for little 
 in any chronicle of religious art. Aside 
 from some almost obliterated and very 
 rude paintings in the Catacombs of 
 Rome, representing a quite narrow range 
 of subjects, a few scarce bas-relief orna- 
 mentations of the tombs of the great, 
 and certain rare fragments of mosaic 
 work found in the churches, there is 
 nothing left to us of the very earliest 
 period. 
 
 The most notable art monument of 
 the first five centuries of the Christian 
 era is the carved ivory throne of the 
 Bishop Maximian, which is standing 
 to-day in the Cathedral of Ravenna. 
 The representations are a series of bas- 
 relief panels divided between scenes in 
 the life of St. John the Baptist, the life 
 of Joseph (the patriarch), and the life of 
 our Saviour.
 
 INTRODUCTION. 15 
 
 The first important memorial which we 
 still possess of the second period of Chris- 
 tian art, beginning about the commence- 
 ment of the sixth century, are some 
 mosaics in the remains of another early 
 basilica in Ravenna, the Church of S. 
 Apollinare Nuovo. This relic consists of 
 twenty-two scenes taken wholly from the 
 life and ministry of Christ. These are 
 still in a very fair state of preservation, 
 and constitute a starting-point in the 
 record of religious symbolism that is al- 
 most beyond value to the art student and 
 the historiographer. 
 
 It was about the time of their origin 
 that the era of church building began, 
 whose crown was to come from the hand 
 of Michael Angelo in the rounding of the 
 dome of St. Peter's. Monasteries also 
 multiplied. It was an age of great relig- 
 ious fervour, which is, indeed, the chief 
 vital characteristic, the living spark, of
 
 1 6 CHRIST IN ART. 
 
 the whole period known as the Dark 
 Ages. The Church was all in all to the 
 people, and, as edifices dedicated to the 
 faith arose, means to adorn and beautify 
 them gradually increased. The funda- 
 mental spirit of this decoration was the 
 exposition of the meaning of Christ and 
 His life. The chief idea in decorating a 
 new cathedral was indeed the same in all 
 essentials of conception as that which 
 exists to this very day. Certain scenes 
 from the historic life of our Lord were 
 selected and worked out in painting, 
 in mosaic, and in carvings of wood, 
 bronze, ivory, or stone. 
 
 The subjects were rigidly selected by 
 a council of ecclesiastics, and the artist, 
 in the present-day sense, was almost 
 wholly an artisan. Examples of this period 
 are, unfortunately, as rare as those of the 
 earliest one. To the Church of St. 
 George, at Oberzell, in Germany, the
 
 INTRODUCTION. 1 7 
 
 traveller must make his pilgrimage to 
 find the oldest relic. This is a series 
 of frescoes, attributed to the tenth cen- 
 tury, which forms a frieze over the nave 
 of the church. 
 
 The next remaining traces of mediaeval 
 Christian art are two centuries later, and 
 can be seen in the church at Vic, in the 
 department of the Indre et Loire, in 
 France. Only four colours, white, red, 
 yellow, and black, were used in painting 
 even this comparatively late example, and 
 while considerable life is manifested in 
 the spirit of the composition, the drawing 
 is very harsh and crude. 
 
 The Gaeta column, still standing in 
 front of the Gaeta cathedral, is the most 
 interesting and remarkable remnant of 
 the mediaeval period existing in Italy. 
 This is a marble pillar twenty feet high, 
 supported on the backs of carved lions. 
 All of its four sides are sculptured with
 
 1 8 CHRIST IN ART. 
 
 sacred subjects. It was at this period 
 that the stained glass window, of which 
 some beautiful early examples are still ex- 
 tant in France particularly, was first em- 
 ployed to teach religious object-lessons. 
 
 This was also the era of illuminated 
 manuscripts, on single copies of which 
 a monk often toiled a lifetime, but 
 which were the treasured possessions of 
 the monasteries and the nobles, and were 
 almost inaccessible to the people. The 
 ownership of a rich missal was as much 
 coveted in the Dark Ages as the posses- 
 sion of a splendid mansion would be 
 to-day. 
 
 The use of all these mediums gradually 
 and naturally concentred in the employ- 
 ment of the easiest and most readily 
 accessible form of representation, paint- 
 ings, mural and otherwise. 
 
 The art of painting had slowly pro- 
 gressed till at the close of the thirteenth
 
 INTRODUCTION. 1 9 
 
 century it had superseded all other forms. 
 Examples of this period are, however, of 
 little interest save to the art student and 
 the religious historian. Only with the 
 dawn of the Italian Renaissance does the 
 subject become of relative importance to 
 the general peoples of civilisation. All 
 of the Italian masters of this and the 
 succeeding periods, and most of those of 
 Northern Europe, may be studied with 
 profit and, in most instances, with delight 
 by the average person of to-day. 
 
 The story of Christian art, so far as it 
 interests us of the beginning of the 
 twentieth century, opens picturesquely 
 inspirationally even with that joyous 
 procession that on a certain summer day, 
 at the close of the thirteenth century, 
 carried the Madonna of Cimabue in tri- 
 umph to its resting-place in the Church 
 of Santa Maria Novella in Florence. 
 This, the first recorded achievement of 

 
 2O CHRIST IN ART. 
 
 the ideal over the ascetic spirit, marked 
 the awakening of a new birth of meaning 
 in the Holy Emblems in the breasts of 
 the people. 
 
 The first really great impulse toward 
 what we know as modern art, however, 
 came from the hand of Giotto, who in 
 1306 finished the great frescoes which 
 still adorn the Chapel of the Arena at 
 Padua. A genuine attempt to seriously 
 introduce human character into painting 
 will be found in these works, which, so 
 long as they remain decipherable, consti- 
 tute a priceless relic of the first period of 
 modern art. While it is scarcely likely 
 that Giotto used the living model, which 
 indeed was not freely done for a couple of 
 centuries following, he made bold to em- 
 ploy his wonderful power of seeing human 
 life in the people around him, in the treat- 
 ment of the character and ministry of the 
 Saviour.
 
 o
 
 INTRODUCTION. 23 
 
 Another great painter of this period, 
 Fra Angelico, who immediately followed 
 Giotto, showed more of a return to the 
 earlier ascetic manner in treatment, but 
 his long series of works remain, neverthe- 
 less, masterpieces of spiritual conception. 
 
 A reference to the era preceding the 
 true Renaissance would be incomplete 
 without the mention of the marvellous 
 work of Ghiberti, in bronze, which still 
 forms the doors of the Baptistery of 
 Florence. The life of Christ is here de- 
 picted in twenty scenes. These gates, of 
 which many replicas adorn art museums 
 the world over, are doubtless more or less 
 familiar to the general reader. 
 
 The most important contribution of this 
 period of aesthetic awakening to Christian 
 art in the Holy City was the series of 
 frescoes for the walls of the Sistine Chapel, 
 for which a number of painters were sum- 
 moned from the provinces to Rome.
 
 24 CHRIST IN ART. 
 
 Such was the development of painting 
 at the opening of the sixteenth century 
 that the greater artists, more sure of their 
 craft, began to devote themselves to spe- 
 cially selected subjects from the life of 
 Christ rather than to the employment, as 
 in most instances previously, of years of 
 labour on a more or less complete series for 
 the adornment of a single edifice. The 
 generation immediately following thus 
 produced what we acknowledge to-day 
 to be the early, and in many respects 
 the still unsurpassed, masterpieces of 
 Christian art. To this period belong the 
 splendid works of Michael Angelo, of 
 Leonardo Da Vinci, of Raphael, and of 
 Titian. 
 
 Tintoretto, alone of all the great masters 
 of this the golden age of Italian painting, 
 set his hand to a whole series after the 
 example of Giotto and the earliest masters. 
 These constitute that splendid set of fres-
 
 TITIAN. THE REDEEMER.
 
 INTRODUCTION. 27 
 
 coes which adorns the Cathedral of San 
 Rocco at Venice. 
 
 Passing over three centuries, we note 
 the somewhat curious circumstance that 
 this art serial treatment of the life of 
 Christ is revived in our own. There 
 have been four important examples " of 
 this great undertaking, of which Dore's 
 Bible is known to the masses of civilisa- 
 tion, and a notable series of more than 
 four hundred pictures has only within four 
 years been completed by James Tissot, of 
 Paris, the originals of which were only last 
 year exhibited in this country. 
 
 In modern religion, Art, if the plain 
 truth is accepted, has always been more 
 or less of an anomaly, in many cases a 
 decided outcast. 
 
 There are whole orders to this day 
 whose churches are unadorned by a single 
 religious painting. But two indeed of all 
 the enlightened sects of Christendom have
 
 28 CHRIST IN ART. 
 
 steadily and conscientiously conserved 
 Art from the beginning. To the Roman 
 Catholic and the Episcopal denominations 
 belongs all the credit for keeping alight 
 through the centuries the torch of Art 
 as a religious emblem. 
 
 It is within the memory of the present 
 generation that so much as a stained glass 
 memorial window has been admitted into 
 the churches of the dissenting denomina- 
 tions. Since the days of Martin Luther 
 all forms of religion have looked askance 
 upon Art save the Roman Catholic 
 Church and its sister institution. The 
 causes are not far to seek. The sense 
 of beauty as an attribute of living has, 
 since the sturdy Reformer who stood for 
 a renascence of the early Christian spirit, 
 been regarded chiefly in the light of a 
 snare and a temptation. The harking 
 back to old Hebraic standards, which was 
 also one of the chief notes of the Refor-
 
 INTRODUCTION. 29 
 
 mation, reinstated that ideal of Supreme 
 Divinity, the God of Abraham, Isaac, and 
 Jacob, who is ever revealed as a stern 
 God, whose exactions are, before all, obe- 
 dience and self-sacrifice. The character 
 of the Christ, instinct with beauty of so 
 complete and commanding a type that, 
 on the revival of the aesthetic instinct in 
 the breasts of mankind, coeval with the 
 Italian Renaissance, it became the chief 
 inspirational motive of Art, was over- 
 shadowed throughout a considerable area 
 of civilisation by the stern message of 
 Luther and of Calvin. 
 
 The value and stimulus of the aesthetic 
 motive as an aid to religious inspiration 
 is becoming of late years, however, more 
 and more acknowledged. The chief form 
 which it has thus far assumed in many 
 denominations which had entirely pro- 
 hibited Art from their foundation, aside 
 from a highly cultivated musical service,
 
 3O CHRIST IN ART. 
 
 which has been introduced only within 
 a couple of decades, is the stained glass 
 window. Examples of fine quality are 
 now found in the churches of the Unita- 
 rian, the Baptist, the Presbyterian and 
 other sects. The most important of 
 these are the fruits of the long career 
 of John la Farge, which is, thus far, the 
 only generally known name in the very 
 brief history of religious painting in 
 America, although some recent important 
 works by Abbott Thayer and George 
 Hitchcock seem to promise the dawn 
 of a native tradition. The followers of 
 John Wesley still hold noticeably aloof, 
 although a more liberal spirit in the use 
 of colour in the decoration of their recent 
 churches, and of music, even to the intro- 
 duction of works by masters who wrote 
 wholly under the inspiration of Roman 
 Catholicism, is decidedly apparent. 
 
 The day of a general revival of religious
 
 INTRODUCTION. 31 
 
 art is perhaps not far distant. Mural 
 decoration is undoubtedly at this moment 
 the leading art motive in the United 
 States. The acknowledged beginnings of 
 a national art are, it is confidently hoped, 
 apparent in this feeling. And the chief, 
 the inevitable centre of inspiration must 
 come as it came in the days of the 
 pontiffs of the Italian Renaissance, from 
 the Church. 
 
 There are other sects of power and 
 influence to-day, beside the only one 
 which existed in the time of Raphael, 
 and it is an important sign for the revi- 
 val of great art, that these have begun 
 to encourage the painter, the sculptor, 
 and the designer. Out of the darkness 
 of indifference to the great message held 
 in solution by sound and form and colour, 
 which have lain like a ban on Protestant 
 communities since the Reformation, we 
 are gradually emerging as a whole relig-
 
 32 CHRIST IN ART. 
 
 ious people. And the event prophesies 
 a more splendid day for Art than the 
 world has ever before known. 
 
 The aesthetic spirit has gradually be- 
 come a commanding influence in general 
 civilisation, and, aided by the great acces- 
 sions to the resources of technique, which 
 have been developed within the past 
 half-century, it has given us from the 
 hands of a few of the European masters 
 some of the most important contributions 
 to religious painting that have been 
 produced.
 
 II 
 
 THE CHRIST- CHILD
 
 It was the winter wild 
 When the heaven-born child, 
 All meanly wrapt, in the rude manger lies. 
 Nature in awe of him 
 Had doffed her gaudy trim, 
 With her great master so to sympathise. 
 " HYMN TO THE NATIVITY " MILTON.
 
 CHAPTER II. 
 
 THE CHRIST - CHILD. 
 
 key-note of our Lord's char- 
 acter, humility, is epitomised in 
 the circumstances of His birth. 
 Save the visit of the Wise Men, the 
 whole scene is in every detail of the low- 
 liest character. For the purposes of art 
 treatment this is a particular advantage, 
 and it has been well remarked in this 
 connection, of the manger at Bethlehem, 
 that " the bedchamber of a prince would 
 be commonplace in comparison." 
 
 As in most other instances, Giotto was 
 the innovator in a treatment of the scene 
 that had remained traditional for cen- 
 turies. From the unnatural stiffness of 
 
 35
 
 36 CHRIST IN ART. 
 
 mediaeval representations he departed so 
 far as to depict, for the first time, some- 
 thing of the genuine atmosphere of 
 motherhood, the Mother in all his ex- 
 amples bearing a perfectly natural rela- 
 tion to the Child in the scene. Many 
 Nativities immediately following his time 
 degenerated into Adorations, the princi- 
 pal motive of which was the representa- 
 tion of Mary kneeling before the Babe 
 in an attitude of worship. Hans Mem- 
 ling, Diirer, and the Northern masters 
 in general followed the example of the 
 Italian painters of the period in thus 
 rendering the scene. 
 
 There are, nevertheless, many great 
 contributions to Art in this class of Nativ- 
 ities. Andrea Delia Robbia's fine group 
 in marble in the Convent of La Verna, 
 Italy, is one of the masterpieces of 
 Renaissance sculpture, full of the most 
 exquisite human beauty, wedded to the
 
 THE CHRIST - CHILD. 37 
 
 charm of religious feeling. One of Fra 
 Filippo Lippi's pictures represent the 
 Mother thus adoring the Holy Babe, 
 and is called the Virgin in the Wood. 
 This is not a Nativity, although so close 
 to the subject that it must be referred 
 to here as one of the great early religious 
 paintings. It is now in the Berlin Gal- 
 lery. The Florentine school gives us the 
 best early examples of the Nativity in the 
 work of Botticelli, Perugino, and others. 
 Correggio's La Notte, in the Dresden 
 Gallery, has for generations been the most 
 popular of all pictures of the subject. 
 
 One of the best known of the Nativi- 
 ties of the early Northern painters is the 
 work of Roger Van Der Weyden, who 
 was born in 1480. This grand paint- 
 ing, full of deep sincerity, and splendid 
 in colouring, is now in the Museum at 
 Berlin. 
 
 The greatest presentation of the theme
 
 38 CHRIST IN ART. 
 
 in Art, however, is nevertheless conceded 
 to be the modern one, and the chief 
 honour perhaps belongs to Sir Edward 
 Burne-Jones, whose Nativity in the Epis- 
 copal church at Torquay, in England, 
 would alone have made his fame as a 
 religious painter. The other examples of 
 this master, all employed as mural decora- 
 tions, one of which is in a church in 
 Rome, are scarcely inferior. 
 
 Fritz Von Uhde's Holy Night is mem- 
 orable among modern German pictures of 
 the subject. Le Rolle's Arrival of the 
 Shepherds is the best of the modern 
 French works. This is a very simple, 
 direct conception that is treated in a 
 strikingly original way. 
 
 The Adoration of the Magi was, in the 
 order of events in the life of Christ, the 
 first sacred theme to really enthrall the im- 
 agination of the opening period of the Re- 
 naissance. The possibilities of the scene
 
 THE CHRIST -CHILD. 4! 
 
 were an open invitation to a gorgeous 
 revel of technique which was promptly 
 taken advantage of. Gentile da Fabri- 
 ano's The Adoration of the Kings, the 
 earliest prominent example of this class 
 of pictures, was painted for the sacristy 
 of La Trinita in Florence, about 1420. 
 Fabriano plunges at once into magnifi- 
 cence of the most extreme type in his 
 figures of the kings, the foremost one of 
 whom, as if to point the antithesis, kneels 
 to kiss the protruding foot of the Christ- 
 child. Perugino, it is stated, painted the 
 the subject con amore as a mural decora- 
 tion, and more than once. For a hundred 
 years the Adoration was a favourite sub- 
 ject of the Florentine school, reaching 
 high-water mark in the conceptions of 
 Botticelli and his pupil, Filippino Lippi. 
 Botticelli painted four known Adorations, 
 of which that in the Uffizi in Florence 
 contains the portraits of Cosimo, Guili-
 
 42 CHRIST IN ART. 
 
 ano, and Giovanni de Medici, his noble 
 patrons. 
 
 The Venetian style was peculiarly well- 
 adapted to cope with that gorgeous treat- 
 ment of this subject which is a tradition 
 of the fifteenth and early sixteenth cen- 
 turies. Bonifazio, Veronese, and Tinto- 
 retto are among the masters of the 
 Venetian school who have added to their 
 fame by it. 
 
 The "superlative degree of elabora- 
 tion " is exhibited in the Procession of 
 the Magi, a fresco in the Riccardi Palace, 
 at Florence. This is simply a splendid 
 cortege of the nobles and dignitaries 
 of Florence in the fifteenth century. 
 The detailed description of this single 
 work will give a succinct idea of the 
 depth and freedom of invention which 
 the Renaissance of painting in Italy had 
 achieved by the middle of the fifteenth 
 century.
 
 THE CHRIST - CHILD. 43 
 
 There is first to the left of the approach 
 to the manger a choir of angels. These 
 are painted individually, each head from 
 life, with strong feeling, and are a most 
 interesting study in themselves. At the 
 right is seen the procession winding in 
 toward the place where the Babe lies. 
 Riding at the head, on a richly caparisoned 
 white mule, is the venerable Patriarch of 
 Constantinople, attended by the heads 
 of the Church, who are followed by the 
 chief dignitaries of the Republic, appar- 
 elled as become their state, and attended 
 by pages and outriders. This is a mar- 
 vellous collection of contemporary por- 
 traits, as indeed may be stated of the 
 whole fresco, so far as the human faces 
 are concerned. In the centre of the 
 cortege, with a clear space about him, so 
 as to give the proper distinction, appears 
 a striking and magnificent figure mounted 
 on a large white stallion, here introduced
 
 44 CHRIST IN ART. 
 
 as the second of the three kings, and a 
 portrait of the Greek Emperor John 
 Paleologus. 
 
 All the sports of the field hunting, 
 hawking are represented as in progress 
 in the background of the picture as the 
 procession moves along, and hawks, 
 hounds, hunting leopards held in leash, 
 and all the paraphernalia of the chase are 
 shown. To be in itself a complete pano- 
 rama of noble sport out-of-doors, the com- 
 position lacks only the presence of ladies. 
 The spirit of this company is grave, yet 
 buoyant. There is no attempt at the 
 introduction of religious feeling, save in 
 the faces of the ecclesiastics, in which as 
 an element of correct portraiture it is 
 inevitable. A motley crowd of all condi- 
 tions of men and boys brings up the rear 
 of the cortege, precisely the same as 
 follows a street procession to this day. 
 The landscape through which this gor-
 
 THE CHRIST - CHILD. 45 
 
 geous train winds its way is rich, varied, 
 curiously composed, in that it introduces 
 almost every variety of flora and many of 
 fauna then known. 
 
 The painter, Benozzo Gozzoli (1420- 
 1498), was a favourite pupil of Fra An- 
 gelico. Vasari's description seems to fit 
 him exactly. " He was of great inven- 
 tion, very fertile in animals, in perspec- 
 tive, in landscape, and in ornament." 
 
 This amazing work, begun probably in 
 1459, occupies three walls of the chapel 
 of the Riccardi Palace, the fourth being 
 completed by the actual scene of the 
 Adoration. The painting is to-day al- 
 most as fresh as when completed. W. J. 
 Stillman, who visited it in 1892, remarks: 
 " It is the most extraordinary agglomera- 
 tion of pose plastique in all the range of 
 the Renaissance. It is such a collection 
 of unquestionable portraits as I do not 
 know elsewhere in the world."
 
 46 CHRIST IN ART. 
 
 There are in the work many faults 
 of composition which Gozzoli afterward 
 relinquished, but this instance will serve 
 very well to show that the utmost range of 
 invention and the freest use of the living 
 model had been finally attained. 
 
 If the reader would study an Adoration 
 of the Shepherds, a theme which has 
 often been rendered of itself by religious 
 painters of all times, let him see the pic- 
 ture of that name by Domenico Ghirlan- 
 dajo, a noble early Renaissance painter in 
 the Academy at Florence. He will find 
 the whole composition somewhat curious, 
 perhaps. The chief one of the shepherds 
 looks very much like a statesman ; there 
 is some strange rich architecture for a 
 manger scene, and the attitudes of both 
 Joseph and Mary are somewhat stiff. 
 But if there is reverence for the common 
 creed in his soul anywhere, he will find it 
 growing up in him as he looks upon this
 
 THE CHRIST - CHILD. 47 
 
 sweet, serious, earnest delineation. He 
 will get some idea what a deep living thing 
 religion was with some of these old Italian 
 masters, and how the seeking after divinity 
 has preserved their art to us, and makes 
 beautiful in it much that is quite repellant 
 to modern nations of taste. 
 
 That classic modern French painter, 
 Bouguereau, to span several centuries 
 and come down to yesterday, has a rich 
 and beautiful composition called The 
 Adoration of the Magi in the Church of 
 St. Vincent de Paul, Paris, which prob- 
 ably fills the general popular ideal of 
 to-day in the fullest measure. 
 
 A great work in our own country in 
 religious painting has been done by John 
 La Farge, who has a grand picture called 
 The Arrival of the Magi at Bethlehem, in 
 the Church of the Incarnation in New 
 York City. 
 
 Of the life of Mary after the birth of
 
 48 CHRIST IN ART. 
 
 our Lord we know but little. There is 
 only a glimpse here and there in the 
 Gospels. Hers is the crown of meekness 
 over all women. Her sweet spiritual 
 presence seems to hover ever in the back- 
 ground, the embodiment of the apotheosis 
 of self-sacrifice. 
 
 The portrayal of the Madonna in Art is 
 therefore necessarily but a shadowy con- 
 ception compared to the living, vital pres- 
 ence of the Saviour Himself. There is, 
 indeed, but one other figure of His time 
 who can be classed with Him, St. John the 
 Baptist. 
 
 There are but two events in the life 
 of our Lord subsequent to the Nativity 
 in which Mary appears in general art, 
 the Flight into Egypt and the Finding of 
 Christ in the Temple. The former is a 
 monumental subject, so far as regards the 
 number of pictures of it that have been 
 made. The list of them is the roll-call of
 
 CORREGGIO. REPOSE IN EGYPT.
 
 THE CHRIST - CHILD. 51 
 
 the painters, from Giotto, and before, to 
 the men of to-day, in some cases answered 
 to half a dozen times. 
 
 Giotto's picture, which is part of the 
 Arena Chapel frescoes at Padua, is one of 
 the best known and most often reproduced 
 of all examples of his style. This, as many 
 of the earlier pictures, has a figure of a 
 guiding angel poised in the air above the 
 scene. Fra Angelico's general composi- 
 tion (the picture is in the Florence 
 Academy) is of much the same cast as 
 Giotto's. Both seek to stir, first of all, a 
 deeply religious sentiment in the beholder. 
 Albert Durer, as his contribution to the 
 general theme, chose to treat the sojourn 
 in Egypt. It is handled in his usual real- 
 istic manner, and is part of his Little 
 Passion series. Rembrandt, who revelled in 
 shadow, and therefore loved night scenes, 
 made a painting of the Flight, which is 
 preserved in the Berlin Gallery. It is not
 
 52 CHRIST IN ART. 
 
 one of the great works of religious art, 
 being very much in the Dutch method 
 which was wider of the mark set by the 
 Renaissance painters than that of any 
 other school. Yet the picture is of great 
 value as possessing the general unmistak- 
 able qualities of this master. 
 
 Tintoretto's picture in the series of 
 frescoes in the Cathedral of San Rocco, at 
 Venice, is notable among all the Italian 
 works for the special care and pains he 
 has bestowed upon the landscape. This 
 remark applies also to the Madonna, the 
 artist, like many another of his period, 
 choosing to regard the legend as rather 
 belonging to the life of Mary than that of 
 our Lord. 
 
 To speak of a single picture which 
 seems indeed to apotheosise the ar- 
 tistic possibilities of the subject, and 
 which has been somewhat widely charac- 
 terised as " the greatest religious picture
 
 THE CHRIST - CHILD. 53 
 
 of our time," the work of Holman Hunt, 
 first exhibited in 1888, recurs instantly. 
 The presentation of the subject here is 
 altogether ideal, although the groundwork 
 of the composition evinces the closest 
 attention to contemporary details. The 
 key-note of the picture is that of joyous 
 expectation, a sentiment which lifts it 
 quite out of the plane of all other 
 Flights which are treated without ex- 
 ception from the standpoint of semi- 
 tragedy. It is this very unexpected 
 manner which has undoubtedly con- 
 tributed chiefly to give the work its 
 popular acclaim. 
 
 Two other notable modern pictures are 
 the In the Shadow of Isis of Luc Olivier 
 Merson, a religious work of which the 
 close of the nineteenth century has reason 
 to be proud. The Flight into Egypt, by 
 Pierre La Garde, another contemporary 
 French artist, is also a striking and effec-
 
 54 CHRIST IN ART. 
 
 tive, albeit quite simple, treatment of the 
 great theme. 
 
 The scene of the finding of Christ 
 in the Temple disputing with the Doc- 
 tors, while the subject of many decora- 
 tions, has also inspired a number of 
 splendid easel pieces. To mention a few 
 of the more memorable Disputations, 
 Bernardino Luini, one of the masters of 
 the Milanese school, has two, one in the 
 Sanctuary Church of Saronno, of which 
 the story runs that, having killed a man 
 in self-defence, he sought an asylum here 
 with the monks, which he obtained on 
 condition that he should cover the walls 
 of the church with scenes from the 
 life of our Lord. The other, evidently 
 painted under less strenuous circum- 
 stances, contains a sweet and lovely, 
 though rather too dreamy, head of the 
 youthful Saviour, with heads of four 
 doctors. It is a noteworthy work, and
 
 THE CHRIST - CHILD. 57 
 
 has found a final resting-place in the 
 National Gallery of London. 
 
 There is a lovely, though somewhat 
 expressionless type, suggesting, as Luini's 
 do, a female model, in Boccacino's Christ 
 with the Doctors, in the Royal Academy, 
 Florence. 
 
 The Disputation of Pennachi, also in 
 this collection, while a splendid piece of 
 composition and colouring, is wide of the 
 mark as an actual depiction of the probable 
 scene. It is somewhat curious, even con- 
 sidering the period, that such remarkable 
 technical skill should have been wasted 
 on so artificial a rendering of the subject. 
 The picture represents the boy Christ 
 high on a throne, while a group of Church 
 dignitaries, contemporary with the painter, 
 are grouped standing in stereotyped atti- 
 tudes below Him. Full-length portraiture 
 is evidently the chief intention. 
 
 Heinrich Hofmann's well-known pic-
 
 58 CHRIST IN ART. 
 
 ture is the best liked of the modern Dis- 
 putations, although the splendid rendering 
 of the scene by Holman Hunt is by far 
 the more important work. The head of 
 the Christ in Hofmann's picture has 
 been for a generation, perhaps, the most 
 generally popular picture of the youthful 
 Saviour. 
 
 Of young St. Johns the number is 
 only second to pictures of our Lord in 
 the first period of His life. Raphael has 
 a strenuously beautiful St. John in the 
 Desert, in the Galerie Royale, Florence. 
 Then there is the well-known Young St. 
 John of Andrea Del Sarto, with its 
 
 " Strange, prophetic, haunting, fateful eyes," 
 
 as some recent poet has called them. Luini 
 also painted a Virgin and Child with St. 
 John, as part of the fresco in the Church of 
 Santa Maria Degli Angeli ; also a Jesus and 
 St. John as infants embracing one another.
 
 THE CHRIST - CHILD. 6 1 
 
 Guido Reni's Christ and St. John as 
 children is, as might be expected of the 
 painter of the head of Beatrice Cenci, one 
 of the few approaches to a masterpiece 
 of this subject, and one of the most 
 charming works of this rare devotional 
 master. 
 
 It is impossible to find any Christ- 
 childs more beautiful than Raphael's. 
 His Madonnas do not seem to slight 
 the infant as so many of the other 
 masters do. In the Virgin and In- 
 fant in the National Gallery, in the 
 Madonna del Gran Ducca in the Pitti 
 Palace, in the Madonna of the Cande- 
 labra, also in the National Gallery, in 
 each of his Holy Families, and where- 
 ever the Child Jesus is introduced, we 
 have, as in all of Raphael's religious 
 work, a type that is beyond all praise, 
 that seems to carry the idea to its far- 
 thest embodiment in painting. While the
 
 62 CHRIST IN ART. 
 
 special expression of the idea of divinity 
 in the face and attitude of the Babe is 
 never strenuously attempted in the hand- 
 ling, it is always felt in the fullest sense 
 through the lines and the colouring. The 
 soul is uplifted and carried away above 
 earthly things on beholding the wonder- 
 ful type of infant loveliness, both in the 
 National Gallery pictures and in the 
 marvellous Madonna del Gran Ducca at 
 Florence. 
 
 Murillo painted the Christ-child several 
 times with wonderful power and sweet- 
 ness. The example here given is part of 
 his great group of the Holy Family in 
 the National Gallery, London. 
 
 Single pictures of the Christ-child are 
 the rarest subjects in religious painting. 
 There are not a dozen notable ones in 
 the whole range of Art. The subject 
 was seldom attempted, for the simple 
 reason that it is an almost impossible
 
 MURILLO. CHRIST - CHILD. 
 (From the Holy Family.)
 
 THE CHRIST - CHILD. 65 
 
 one on account of its more than ideal 
 character. 
 
 Munier, of Paris, has recently painted 
 a head which comes as near fulfilling 
 a general ideal as any modern attempt 
 at portraiture of the infant Saviour. 
 This was exhibited in the Paris Salon of 
 1892, and gained much attention. It was 
 promptly reproduced, and is now quite 
 well known in this country.
 
 III. 
 
 CHRIST AS TEACHER AND HEALER
 
 " And so the Word had flesh and wrought 
 With human hands the creed of creeds, 
 In loveliness of perfect deeds, 
 More strong than all poetic thought." 
 
 TENNYSON.
 
 CHAPTER III. 
 
 CHRIST AS TEACHER AND HEALER. 
 
 E is an interregnum in the 
 life of our Lord, from the day 
 He was found in the Temple 
 among the Doctors, for a long stretch of 
 years up to the period when He begins 
 His ministry. 
 
 This period is also an interregnum in 
 sacred art, with one or two very rare 
 exceptions. The treatment of this interim 
 must necessarily be purely imaginative, 
 and there appear to be naive reasons why 
 it never appealed to the masters of the 
 Renaissance or the Northern schools. 
 These men, working under the direct 
 
 counsel and often command of the 
 69
 
 7O CHRIST IN ART. 
 
 Church, were content to do the things 
 that were asked of them. There was 
 little motive for finding imaginary scenes 
 wherewith to impress religious faith on 
 the people. And very few of the masters, 
 while they treated classical subjects from 
 the heights of imaginative inspiration, ever 
 attempted to handle the character of our 
 Lord in a like manner. Widely as the 
 treatment of the different schools has 
 varied, the very bone of the sacred text 
 has been adhered to in the selection of 
 subjects. 
 
 Holman Hunt, who may be considered 
 the chief exponent of the pre-Raphaelite 
 school, has given us the notable excep- 
 tion in his celebrated work, The Shadow 
 of Death, in which the youthful Saviour 
 is represented as receiving the intimation 
 of Calvary while at work in the shop of 
 his father, the carpenter. Sir John Mjl- 
 lais's rather curious picture, a product
 
 CHRIST AS TEACHER AND HEALER. Jl 
 
 of his pre-Raphaelite days, called Christ 
 in the House of His Parents, has been 
 engraved and is more or less widely 
 known in England. Mengelburg, a late 
 German artist, has a picture entitled The 
 Twelve-year-old Christ on His way to Jeru- 
 salem, Accompanied by His Parents. The 
 head and face of the youthful Saviour here 
 are reminiscent of Hofmann's Boy Christ 
 in his very well known Disputation. 
 
 Of the preaching of John the Baptist, a 
 direct link in our Lord's life, there are 
 a great number of compositions by the 
 masters from the beginning, which cannot, 
 however, be discussed here. 
 
 The baptism of our Lord follows in 
 natural sequence in the sacred record. 
 As the beginning of the Saviour's real 
 life work, and the establishment of the 
 rite of baptism, common to every Chris- 
 tian denomination, no matter how widely 
 differing in creed, it was and will re-
 
 72 CHRIST IN ART. 
 
 main of the greatest significance. That 
 part of the Roman Catholic Church which 
 was dedicated to this sacrament was called, 
 from the earliest times, the Baptistery. 
 Here the representations of the scene 
 always formed the key-note of the decora- 
 tions. Examples still exist as ancient as 
 the Catacombs of Rome, or about the 
 third century of the Christian era. 
 
 There is no single instance in which the 
 growth of religious art can be traced to 
 better advantage. From the earliest 
 mosaics, through the Italian and the 
 Northern schools, the Baptism may be 
 studied, yet while nearly all the great 
 painters attempted it, not one of them 
 seems to have produced an acknowledged 
 masterpiece of the subject. 
 
 Andrea del Robbia, who did all things 
 well in sculpture, has a fine bas-relief of 
 the scene, which may be seen to-day on 
 the baptismal font of the Church of Santa
 
 VEROCCHIO. BAPTISM OF CHRIST (DETAIL).
 
 CHRIST AS TEACHER AND HEALER. 75 
 
 Fiora, in Florence. Perugino, his con- 
 temporary, painted the Baptism four times. 
 There are two examples each by Verocchio 
 and Paolo Veronese. Fra Angelico has 
 three examples. The scene occupies one of 
 the panels of the bronze gates of Ghiberti. 
 Raphael's contribution is in the frescoes 
 of the Loggia in the Vatican. 
 
 As in all other subjects growing out of 
 the divine narrative, the general acclaim is 
 gradually centred on one or two particular 
 representations. The picture of Cima da 
 Conegliano, painted in 1494 for the Church 
 of San Giovanni in Bragora, in Venice, 
 belongs in this higher class. This com- 
 parative masterpiece is often contrasted 
 with that of Giovanni Bellini, which hangs 
 in the Church of San Corona at Vicenza. 
 Thus the two pictures of the Baptism 
 which have most stamped themselves upon 
 successive generations of observers are 
 not works of the great masters nor the
 
 76 CHRIST IN ART. 
 
 product of the leading school, an anom- 
 aly which will often be found in sacred art. 
 
 The subject has even occupied the at- 
 tention of American artists. Mr. F. V. 
 Du Mond, who has rendered several scenes 
 from the life of Christ with force and 
 originality, has a Baptism exhibited some 
 half-dozen years ago, which is a noteworthy 
 effort even among the small number of 
 religious pictures that have been painted 
 within the past decade in America. This 
 is fairly well known through reproduction 
 in periodicals. 
 
 Of the Temptation of our Lord, that 
 great event which marks the parting of 
 the ways, His voluntary renunciation of the 
 things of this world, there have been like- 
 wise a great range and variety of repre- 
 sentations. 
 
 As introducing the figure of the Evil 
 One, the subject was found to be of marked 
 difficulty with the early painters. All types
 
 CHRIST AS TEACHER AND HEALER. 77 
 
 of the devil are found in these first studies, 
 from the primitive imp of the earliest 
 recorded example, which indeed takes us 
 back to the seventh century, to the old 
 man with a Lear-like aspect, whom Ghi- 
 berti chose as his model. One of the 
 masterpieces of the Renaissance treatment 
 of the theme is a part of Botticelli's con- 
 tribution to the frescoes of the Sistine 
 Chapel, in which he laboured with Peru- 
 gino and half a dozen others of the chief 
 painters of the time, who were summoned 
 to Rome by the Pope for the work. 
 
 Students of this rare creator of spiritual 
 faces and forms will find this a most 
 interesting example of his craft. The 
 composition is a very naive and curious 
 one. One looks at first in vain for the 
 actual scene of the tempting, which Ary 
 Scheffer and other modern painters have 
 set forth so boldly. The eye wanders 
 amid groups of interesting figures, with
 
 78 CHRIST IN ART. 
 
 a confused sense that the wrong title is 
 attached to the work ; till finally far up in 
 one corner the Saviour and His tempter 
 are discovered on the "mountain," in this 
 case a beetling cliff that still intrudes very 
 little on the actual scene. The observer 
 at once realises that the manner of this 
 piece is the obverse of the usual Tempta- 
 tion. It is " the kingdoms of this world, 
 and the glory of them," that Botticelli, 
 with a fit sense of the decorative motive, 
 has chosen, albeit there is a constant 
 subordination to the ecclesiastical in the 
 presentation of the theme. Every part 
 of the picture is a reminder of the Church 
 and her rites. It is full of portraits of 
 ecclesiastics, and the Botticellian type of 
 woman, so well known and so signally 
 admired since the advent of the pre- 
 Raphaelites, figures everywhere. This is 
 the largest, most crowded, and most 
 important fresco, next to his Assumption
 
 CHRIST AS TEACHER AND HEALER. 79 
 
 painted for the Church of San Pietro 
 Maggiore and now in England, that 
 Botticelli ever set his hand to. 
 
 Tintoretto has a Temptation, one of 
 the series of frescoes in the Church of 
 San Rocco at Venice, in which the evil 
 one is represented as " an angel of light," 
 with radiant wings and " an armlet of 
 gleaming jewels." As is to be expected, 
 the figure of the Christ is dominated by 
 this remarkable apparition, and the moral, 
 which, as a matter of fact, none of the 
 Venetian masters seem to have sought 
 too carefully, is not properly exemplified, 
 at least to the Anglo-Saxon sense. 
 
 There are very few pictures of the 
 Temptation throughout the whole Renais- 
 sance period. Quite untouched in paint- 
 ing among the Northern schools, the only 
 important picture we possess to-day is an 
 engraving from the hand of Lucas Van 
 Leyden.
 
 8O CHRIST IN ART. 
 
 Among modern works Ary Scheffer's 
 picture is a very satisfactory rendering 
 of the subject to the general observer. 
 Professor Hofmann, who has treated 
 the scene in a series of drawings, follows 
 closely in his footsteps. 
 
 Tissot has devoted four aquarelles to 
 the story. As this artist has taken infinite 
 pains to impress the religious moral, I 
 will describe them in detail. Christ is 
 first seen borne through mid-air to the 
 mountain by the shadowy figure of the 
 evil spirit, after the suggestion of the 
 scene given by Milton in his " Paradise 
 Regained." The phantom-like figure of 
 Evil is transformed in the second scene 
 into an ugly old man, before whom our 
 Lord stands looking down with clasped 
 hands in a grotto of rock. 
 
 A third transformation of the devil is 
 effected in the next picture, where he 
 is represented in true realistic fashion, as
 
 ARY SCHEFFER. THE TEMPTATION OF CHRIST.
 
 CHRIST AS TEACHER AND HEALER. 83 
 
 " a great bat-like creature," with a horrible 
 horned face. The Christ has closed His 
 eyes before the fearful spectre intended 
 to portray the Evil One in full power, 
 and stands with clasped hands, praying. 
 
 Tissot's fourth picture represents the 
 victory of the Saviour, who, nevertheless, 
 exhausted by the conflict, lies prone upon 
 the ground, ministered to by angels. 
 
 Of the Marriage at Cana, the first of 
 the miracles of our Lord, there is a great 
 picture by Tintoretto in the Church of 
 Santa Maria della Salute in Venice, in 
 which the splendour and boldness of this 
 master's imagination find the amplest 
 play. The scene is the interior of a rich 
 and noble hall, in which a splendid com- 
 pany is assembled to partake of the mar- 
 riage feast. The figures of the Saviour 
 and His mother at the extreme upper end 
 of the board are scarcely distinguishable 
 in the company of the guests and the
 
 84 CHRIST IN ART. 
 
 wealth of detail, except by the haloes 
 which encircle their heads. The idea 
 that a miracle is transpiring is in no 
 sense apparent here. 
 
 Veronese's grand painting with this 
 title hangs in the Louvre, and once 
 seen is not likely to be forgotten. It is 
 a superb wedding-banquet of Venetian 
 nobles. Among the guests are figures of 
 Francis I., and Mary of England, Eleanor 
 of Austria, Charles V., and other great 
 personages of the time. The extreme of 
 realistic splendour in the treatment of a 
 Scriptural subject is realised in this great 
 work. 
 
 The Northern artists, in whom, with 
 the exception of the Dutch school, the 
 religious feeling was always the leading 
 motive, give due prominence to our Lord 
 in the scene. 
 
 Among the many contributions of Sir 
 Edward Burne-Jones to sacred art is a
 
 CHRIST AS TEACHER AND HEALER. 87 
 
 window-piece of the Marriage at Cana, at 
 Biarritz, France. 
 
 The first recorded act which can be 
 said to belong to Christ's actual ministry 
 is The Cleansing of the Temple. Ghi- 
 berti, in those marvellous gates of the 
 Baptistery at Florence, has the scene 
 depicted as following the Temptation, 
 hence plainly referring to the first Cleans- 
 ing. 1 
 
 The subject is not found represented 
 by the early artists, for the reason that 
 it is a somewhat difficult test as a study 
 of character, a phase of Art which began 
 seriously to develop only with the high 
 Renaissance. 
 
 Some of the earlier painters have treated 
 it, however, wholly from the scenic stand- 
 point, the Da Pontes of Bassano, a family 
 of six painters who belong to the Venetian 
 
 1 The second one, it -will be remembered, occurs shortly 
 after Christ's Entry into Jerusalem.
 
 88 CHRIST IN ART. 
 
 school, actually going so far as to make 
 it the motive of cattle pieces. Examples 
 of these curious paintings are in the 
 National Gallery of London and the Bel- 
 vedere, Vienna. 
 
 Bonifazio has a grand picture of the 
 subject painted for the vestibule of the 
 Chapel of the Ducal Palace, Venice, 
 which Mrs. Jameson describes with even 
 more than her usual enthusiasm, 1 and 
 concludes by crowning it, with some 
 authority, as the masterpiece of this 
 charming religious painter. 
 
 Rembrandt etched the scene with the 
 sincerity and vigour that is characteristic 
 of him. Christ is represented as wielding 
 the scourge with great force a fright- 
 ened throng is seen escaping on all sides 
 from this strenuous central figure, and 
 some, in their hurry to get out of the way, 
 have even fallen prostrate. Says a recent 
 
 1 " Sacred and Legendary Art."
 
 CHRIST AS TEACHER AND HEALER. 89 
 
 writer on sacred art, describing this work : 
 " A single touch redeems the character 
 -of a scene which would otherwise seem 
 one of fierce and commonplace anger. 
 It is the mysterious halo which surrounds 
 the Saviour's clasped hands, making His 
 figure the representation of holy and 
 consecrated wrath." 
 
 In the discourse with Nicodemus, which 
 follows in the sacred narrative, we find 
 one of those signal changes in the char- 
 acter of our Lord, which make of Him 
 the many-sided and mysterious character 
 that He is. A fine sense of the value of 
 philosophical reflection is presented here 
 in contrast to the scene of vigorous 
 action in the Temple. 
 
 The Northern schools, with their native 
 genius for chiaroscuro, the product of long 
 nights and early lamp-lighted evenings, 
 seem to have found most inspiration in 
 this subject. Franz Francken II., a fine
 
 QO CHRIST IN ART. 
 
 exponent of the best period of the Flemish 
 school, has an example in the Belvedere 
 Gallery at Vienna. 
 
 Both Rembrandt and Rubens tried their 
 hand at the scene. The modern Bible 
 illustrators, Bida and Tissot, have en- 
 deavoured to do the subject justice, offer- 
 ing as it does unusual opportunities for 
 character study. In the frescoes of John 
 La Farge, in Trinity Church, Boston, 
 Nicodemus is represented as propounding 
 questions to Christ from a scroll, the 
 Saviour looking down upon him in the 
 attitude of a careful listener. 
 
 The Discourse with the Samaritan 
 Woman at the Well is the companion 
 piece in the decorations of Trinity, which, 
 taken as a whole, constitute one of the few 
 really notable examples of religious art in 
 the United States. 
 
 This episode of the Samaritan woman, 
 which is related only by the Beloved
 
 CHRIST AS TEACHER AND HEALER. 9! 
 
 Disciple, has been painted a great many 
 times. From Filippino Lippi, an ex- 
 ample which shows a complete sur- 
 render to the influence of his master, 
 Botticelli (the picture is in the Semi- 
 naris at Venice), to Burne-Jones, the sub- 
 ject seems to have been common as an 
 easel picture. It was a fine opportunity 
 for the introduction of an ideal portrait 
 of the Saviour, with a completely con- 
 trasting type. Burne-Jones's work is 
 employed as the centrepiece of a win- 
 dow in the Church of St. Peters, Vere 
 Street, London. 
 
 Professor Hermann presents the Christ 
 in an attitude of seriousness that is almost 
 commanding as He reproves the woman, 
 whose pagan beauty, in contrast with the 
 clarified mien of the Saviour, suggests at 
 once and powerfully the contrast between 
 the old pagan and the new Christian order 
 of things. " Behold ! I make all things
 
 92 CHRIST IN ART. 
 
 new," is the great moral message of this 
 picture. 
 
 Of Wohlgemuth, a very early German 
 painter, who was a part of that period 
 when the religious spirit had, as yet, only 
 
 " Taught Art to fold her hands and pray," 
 
 there is preserved to us in a wonderfully 
 fresh condition a picture of Christ calling 
 the Apostles. It is in the Pinakothek at 
 Munich. The landscape is of mediaeval 
 Germany, with a river and churches and 
 castles in the background. The Apostles 
 are dispersed about the scene in such un- 
 couth attitudes as were inevitable with the 
 Middle Age Northern painter. But the 
 depth of serious piety in the countenances 
 of all is very fine ; and the face and figure 
 of the Saviour may be taken as the very 
 type of the mediaeval ascetic. 
 
 Lord Lindsay says of the few known 
 examples of this painter in general, that
 
 CHRIST AS TEACHER AND HEALER. 93 
 
 " the powerful and deeply seated piety of 
 the artist has printed itself on his work." 
 
 Ghirlandajo, who was one of the little 
 group of the best painters in Italy sum- 
 moned by Pope Sixtus to Rome, in the 
 early part of the sixteenth century, for 
 the great task of decorating the Sistine 
 Chapel, was apportioned the calling of 
 Peter and Andrew and the sons of Zebe- 
 dee, the scene including also the Miracu- 
 lous Draught of Fishes, as his share of 
 the work. 
 
 By the old masters the calling of James 
 and John and the Miraculous Draught of 
 Fishes were often depicted as one and the 
 same scene. This is one of the subjects 
 of which that treasure-store of earliest 
 religious art, the mosaics of San Apolli- 
 nare Nuovo at Ravenna, furnishes an 
 example, in the most primitive style, of 
 course. 
 
 In the series of Raphael's cartoons,
 
 94 CHRIST IN ART. 
 
 made for the tapestries of the Sistine 
 Chapel, and now a treasured possession 
 of the South Kensington Museum, there 
 is a Miraculous Draught of Fishes. Only 
 the actual scene of the miracle is treated. 
 It is to my mind a highly decorative 
 piece for a Scriptural scene, not in any 
 special sense outre^ however, when con- 
 sidered as the basis for a tapestry 
 never an important medium for religious 
 work, in which three large storks in the 
 foreground appear to be introduced chiefly 
 as picturesque accessories. The design 
 is full of the physical meaning of the 
 miracle. The brawny-armed Apostles, 
 drawing in the bursting nets, play the 
 chief part in the general character of the 
 scene. 
 
 Rubens has a Miraculous Draught full 
 of life and action, done in his usual heroic 
 style. It is, as is often the case with 
 Rubens, a great picture with very little
 
 CHRIST AS TEACHER AND HEALER. 95 
 
 religious feeling in it, although the figure 
 of the Christ is depicted with some atten- 
 tion to the ideal attributes of the Saviour. 
 
 Gaspard de Craeyer, another Flemish 
 painter, and a contemporary of Rubens, 
 who somewhat shows the master's influ- 
 ence, painted a Miraculous Draught which 
 is among the treasured examples of the 
 early Flemish school in the Museum at 
 Brussels. 
 
 There was an important example of the 
 subject painted by Jouvenet at the begin- 
 ning of the eighteenth century for a new 
 Roman Catholic Church in Paris, which 
 has found its way to the great French 
 National Gallery, and now hangs in the 
 Louvre. The attitude and figure of the 
 Saviour in this work dominate the scene, 
 whereas in the pictures of Raphael and 
 Rubens it is only an impressive part of it. 
 
 Among the vast decorative undertak- 
 ings of Sir Edward Burne-Jones is the
 
 96 CHRIST IN ART. 
 
 three-light window in the new Ferry 
 Church, at Cheshire, England, in which 
 the three subjects, Christ Preaching from 
 the Ship, The Miraculous Draught, and 
 The Abnegation of Simon Peter, have 
 each a separate space. 
 
 Tissot, with his customary fullness in 
 treating the sacred narrative, has a pic- 
 ture of the Preaching from the Ship, 
 one of the least often handled of all the 
 scenes, and he has also depicted the 
 Healing of the Demoniac in the Syna- 
 gogue, according to both versions, that 
 of St. Mark and St. Luke, though they 
 do not differ substantially. 
 
 Of the general healing of the sick there 
 are many passages scattered through the 
 sacred record. Matthew has six scenes 
 of this kind in the first half of his Gospel. 
 This, the most immediate direct evidence 
 of our Lord's divine power, was mani- 
 fested, more or less, wherever He went,
 
 CHRIST AS TEACHER AND HEALER. 97 
 
 and there have been many pictures de- 
 voted to each one of the miracles. 
 
 The theme as a whole was selected by 
 Rembrandt for a remarkable etching, The 
 Hundred Guilders Plate, so called be- 
 cause that was the price the artist asked 
 for the work when with great care and 
 pains he had finished it. It represents 
 the sick in various conditions, coming to 
 Jesus in numbers. The figure of the 
 Saviour is commanding, but the chief 
 interest, as in others of Rembrandt's re- 
 ligious works, consists rather in the care- 
 ful sincerity with which he has wrought 
 out the varied details of the scene. 
 
 Jouvenet, who decorated the Church 
 of St. Martin des Champs in Paris, about 
 the year 1700, and whose work is impor- 
 tant enough to have been transferred and 
 preserved in the Louvre, has a picture 
 showing Christ healing the multitude on 
 the shores of the Lake of Gennesaret.
 
 98 CHRIST IN ART. 
 
 This was one of four pictures painted by 
 the artist for this church, all of which 
 have been hung in the French National 
 Gallery. 
 
 Overbeck, the leader of the strange 
 band of mystics who endeavoured to 
 dominate modern religious feeling in 
 Germany at the beginning of the present 
 century, has an impressive composition 
 devoted to this grand theme in his Gospel 
 series. It seeks to convey the important 
 idea of the individual and tender ministry 
 of the Divine Healer to each case of 
 suffering, a note that is too much neg- 
 lected in general pictures of the series. 
 
 Zimmerman, following the example of 
 several modern German realists in the 
 treatment of sacred subjects, brings the 
 scene into an every-day modern home 
 of the poor. Representations of such a 
 character, of which examples have mul- 
 tiplied during the latter half of the
 
 HOLMAN HUNT. THE LIGHT OF THE WORLD.
 
 CHRIST AS TEACHER AND HEALER. IOI 
 
 nineteenth century, are always very im- 
 pressive, and seem to have exercised an 
 important influence in later religious feel- 
 ing. Ary Scheffer's Christus Consolator, 
 a great work of modern sacred painting, 
 belongs to this class. 
 
 Hofmann has an impressive picture in 
 this general series, Behold ! I Stand at 
 the Door and Knock. This artist gives 
 us the same type of Christ throughout, 
 benignant, sweet, calm, merciful. It is 
 an ideal that has stirred the heart of 
 modern Germany, particularly among the 
 lower classes, and is indeed one of those 
 representations that have contributed gen- 
 uinely to religious feeling in our own 
 time. 
 
 The Light of the World of Holman 
 Hunt is one of the great religious pic- 
 tures of all time, possessing a deep and 
 purposeful quality that can only be realised 
 by careful contemplation.
 
 IO2 CHRIST IN ART. 
 
 Professor Hofmann, with wonderful ver- 
 satility, has not only given us scenes from 
 the actual record of the Saviour's life, but, 
 as in his Omnipresence of Christ, has 
 endeavoured objectively to instil religious 
 lessons. This is a fine character study, 
 representing a fifteenth century burgher 
 reading the Bible to his family, with an 
 apparition of the Redeemer appearing 
 in the background and blessing the scene. 
 The invitation to observe and reflect 
 upon the subjective effect of the Divine 
 Presence in each of the contrasting types 
 is instantly felt by the beholder, which 
 is the great service the painter sought to 
 render to religion. 
 
 In his Raising of the Daughter of 
 Jairus, Christ is seen in a commanding 
 attitude standing over the bed of the 
 invalid with his right arm raised. To the 
 ultra-modern sense there would seem to 
 be an impression of hypnotic power in
 
 CHRIST AS TEACHER AND HEALER. IO3 
 
 the central figure which awakens the pale 
 maiden to life, and the feeling is empha- 
 sised by the astonishment and rapture 
 of her parents at the bedside. 
 
 Hofmann's Mary Anointing the Feet of 
 Jesus is, perhaps, the least successful of 
 his great Bible series. There is a quaint 
 sense of something strained in the attitude 
 of all present, that is foreign to his general 
 treatment of character. The beholder is 
 not charmed out of himself into a naive, 
 religious atmosphere as in the other pic- 
 tures. 
 
 In his Come unto Me, a single figure 
 of the Saviour, looking out at the spec- 
 tator with outstretched hands, he has 
 produced an ideal of the Christ that is 
 well calculated to satisfy the popular heart 
 of a generation, and has taken its place in 
 the gallery of classical ideals of the Son 
 of Man. 
 
 The Visit of the Centurion, of Paolo
 
 IO4 CHRIST IN ART. 
 
 Veronese, is in the Madrid Gallery. This 
 is a crowded composition, showing at its 
 best the grand manner of the Venetian 
 school. The Christ has the cultured look 
 of a doctor of philosophy, a product of the 
 schools of the most finished type. A sense 
 of cultivated worldliness dominates His ex- 
 pression, as, with hand uplifted, He bids 
 the Ruler rise. The Ruler is painted after, 
 or more likely directly from, a Venetian 
 noble. The group of the Apostles at the 
 left is likewise studied from contemporaries 
 of the painter. A portrait of a dignitary 
 of the Catholic Church is among them. 
 The Ruler's retinue, including soldiers in 
 armour, black servants, and a magnificent 
 charger, forms a little panorama filling the 
 right half of the picture. This is one of 
 Veronese's great canvases. No less than 
 three other presentations of the subject, 
 attributed to the same master, hang in the 
 galleries of Dresden, Vienna, and Munich.
 
 BAROCCIO. THE SAVIOUR.
 
 CHRIST AS TEACHER AND HEALER. 107 
 
 Rubens's Christ and the Magdalen, in 
 the Pinakothek at Munich, is in all essen- 
 tial qualities an unmistakable product of 
 this master hand. None of his women 
 are more finely portrayed than the mag- 
 nificent Magdalen shown here, while his 
 Christ fulfils that ideal of the Saviour, 
 which is not the ideal simply of a day and 
 generation, in an unexampled degree for 
 this painter. The treatment of the other 
 three male figures introduced in the com- 
 position combines to make the picture a 
 masterpiece. 
 
 Baroccio's II Salvatore, an ideal head of 
 the Saviour preserved in the Pitti Gallery, 
 at Florence, is an interesting and some- 
 what striking example of the early Italian 
 school, and has, no doubt, found a per- 
 manent place in the memory of thousands 
 of visitors. The beautifully soft, sustained 
 colouring does much to make it remem- 
 bered.
 
 IO8 CHRIST IN ART. 
 
 In the Jesus Taking Counsel with His 
 Mother, also in the Pitti Gallery, it is 
 noticeable that Veronese has given us 
 exactly the same figure of the Saviour, with 
 but slightly altered expression, while the 
 position of the right hand with which he 
 makes the gesture is identical with that 
 of the Christ in the Healing of the Cen- 
 turion's Servant. This is not by any 
 means rare among the old masters, who 
 usually changed types a little, but only 
 enough to give some slight sense of 
 variety. None of the works of this, the 
 greatest exponent of the true Venetian 
 school, are of much help as an inspiration 
 to religious sentiment, as it is commonly 
 felt in our own day. 
 
 For grandeur of manner, Paolo Vero- 
 nese is without a peer. He endeavoured 
 to render the double service to art of 
 perpetuating the splendour of The Bride 
 of the Sea and the motive of the divine
 
 CHRIST AS TEACHER AND HEALER. TOQ 
 
 legend. The avowed purpose of the 
 Venetian school, however, is never irrelig- 
 ious. In their pride in the splendour of 
 their own time, a splendour which was 
 largely consecrated to the Faith, its great 
 exponents unquestionably had the right 
 to feel the necessity of treating the sacred 
 motive from a contemporary standpoint. 
 
 To their own people, the works of 
 Giorgione, of Titian, of Tintoretto, and 
 of Veronese, to name only the leaders of 
 this school, undoubtedly were, and have 
 remained through several centuries, a 
 genuine guide to religious inspiration. 
 Nor is it possible for the stranger to 
 study them seriously in their setting in 
 the churches of Venice to-day without 
 becoming more and more impressed with 
 a sense of their consecrated purpose. 
 
 Of The Woman Taken in Adultery, 
 there is a painting by Rocco Marconi in 
 the Corsini Gallery, in Rome, which was
 
 IIO CHRIST IN ART. 
 
 long ascribed to Titian. It is painted 
 with marked seriousness and depth of 
 feeling. The faces of Christ and the 
 adulteress in the scene are subordinate in 
 these important qualities, a blemish, how- 
 ever, which serves further to distinguish 
 them from the group of accusers, two of 
 whom grasp the downcast creature with 
 brawny arms. The variety of expression 
 combining in unity of sentiment in this 
 group of accusers, however, makes this a 
 fine example of the general handling of the 
 lesser examplars of the Venetian school. 
 
 Wonderful is the intensity of interest, 
 the sense of the unfolding of a miracle, in 
 the chief figures in Giotto's representation 
 of the Raising of Lazarus. With ascetic 
 realism is the text adhered to. Lazarus 
 " comes forth " literally " bound hand and 
 foot with grave-clothes " and presents in 
 himself the miracle of a man standing 
 erect and yet swathed to the point that
 
 CHRIST AS TEACHER AND HEALER. Ill 
 
 movement is manifestly impossible. Con- 
 siderations of natural laws, however, are 
 quite lost in the strong dramatic sense 
 that the whole rendering of the scene 
 awakens in the spectator. This is part of 
 the mighty series of frescoes in the Chapel 
 of the Arena at Padua. 
 
 Curious are some representations of 
 certain scenes in the life of our Saviour, 
 which have for long hung in the Berlin 
 Gallery under the classification of " Un- 
 known Masters." One of these is a 
 Transfiguration after the general type of 
 Raphael's, in which the painter seems to 
 have exhausted his invention in distrib- 
 uting grotesque attitudes of astonish- 
 ment, fear, and wonder to the figures 
 grouped about and gazing up at the as- 
 cending Saviour. There is a rare mixture 
 of types of individuals, ranging from an 
 old crone to a court dandy. A good deal 
 of correct drawing in this picture, never-
 
 112 CHRIST IN ART. 
 
 theless, some very fine rendering of cos- 
 tume, and a certain sense of power in the 
 whole composition, have contributed to 
 preserve it for incognito fame. 
 
 The Transfiguration is peculiarly sacred 
 in Art because to it was consecrated the 
 greatest work of the greatest painter of 
 all time. The gentle spirit of Raphael 
 suspired in the production of what is be- 
 fore all the most ideal event in the life of 
 our Lord. There is no conception in the 
 realm of Art, no theme that can be im- 
 agined by the mortal mind, that is higher. 
 And it is the fitting crown of the half- 
 divine life of Raphael that he died while 
 attempting to portray it. 
 
 As to the merits of his Transfiguration 
 (in the Vatican), there has been, and will 
 always continue to be, much discussion. 
 The general sentiment, however, hails it 
 as the world's masterpiece, and till the 
 Christian religion is enrolled with the
 
 RAPHAEL. TRANSFIGURATION.
 
 CHRIST AS TEACHER AND HEALER. 115 
 
 creeds of the past it will probably so 
 remain. 
 
 " From harmony ; from heavenly harmony, 
 This universal frame began, 
 The diapason ending full in man." 
 
 Thus sings Dryden ; and there is an 
 ineffable sense of harmony in the genius 
 of Raphael that lifts him nearest of all 
 painters to the divine essence. Despite 
 the incongruity of the groupings, despite 
 the cavillings at the attitudes of the 
 prophets, and the stigmatisation of Taine, 
 who declares that the poise of the Christ 
 is that of a swimmer " striking out," the 
 work possesses a quality above and beyond 
 all praise or criticism. It is to the glory 
 of Art and the pride of Christendom 
 that the colouring remains, for the most 
 part, almost as fresh to-day as when it 
 was painted, nearly four hundred years 
 ago.
 
 Il6 CHRIST IN ART. 
 
 Other masterpieces have faded, but the 
 Transfiguration glows as though it had 
 been given the dying painter to endow 
 his last work with immortal youth. As 
 sacred art is the crown of all art, so this 
 is the crown of all sacred art. It is the 
 Mecca of the traveller from every bourne 
 of Christendom, and he draws near after 
 long journeyings to its resting-place in 
 the Vatican, with a feeling little less than 
 an actual realisation of the Sacred 
 Presence. 
 
 The writer does not attempt to record 
 here personal impressions, although he 
 well remembers his own visit to the pic- 
 ture. It is the verdict of Christendom 
 and of Art, despite all great authorities 
 to the contrary, that I have here set 
 down. 
 
 In the earliest art there are no Trans- 
 figurations. The subject was quite too 
 ideal for the spirit of the Gothic and
 
 CHRIST AS TEACHER AND HEALER. I I*] 
 
 Byzantine periods. It is indeed utterly 
 ideal in every aspect, ideal though every 
 scene in the life of our Lord must be. 
 The monks drew it occasionally in the 
 missals, but the first great painter, Giotto, 
 wisely held his hand from it. Ghiberti, 
 who seems to have attempted all things 
 in his bronze gates, has a scene. Fra 
 Angelico, that man of God, could not be 
 restrained from setting his hand to it, but 
 the intention outruns the performance. 
 
 The Renaissance painters generally did 
 not attempt the theme. The gorgeous 
 imagination of the Venetian school, how- 
 ever, was naturally tempted, and there 
 are examples from the hand of Lorenzo 
 Lotto, very unideal in expression, in 
 the Municipio at Recanti; of Bellini, in 
 the Correr Museum at Venice ; and of 
 Pennachi, now in the Academy of Fine 
 Arts at Venice. 
 
 Titian restrained his hand till old age
 
 Il8 CHRIST IN ART. 
 
 had brought him near the period of his 
 own apotheosis, and at eighty-nine he 
 painted the Transfiguration. It was a 
 task of ardour to this great soul, per- 
 haps of necessity, rather than of accom- 
 plishment, however. Tintoretto painted 
 it (Church of S. Afria, Brescia), and Peru- 
 gino, and though here is a short roll of 
 great masters, it is a notable fact that 
 none of their works challenge for an in- 
 stant the general fame of Raphael's mas- 
 terpiece. 
 
 Ford Madox Brown is the only rela- 
 tively important modern name which is 
 connected with this subject, his work being 
 a memorial window in a church in England. 
 
 The theme appears to be above the 
 inspiration of latter-day imagination, as 
 indeed it has remained for several cen- 
 turies. The subject of the Woman Taken 
 in Adultery seems, on the other hand, to 
 have been especially prolific of represen-
 
 CHRIST AS TEACHER AND HEALER. 119 
 
 tation. I will not attempt to trace the 
 moral causes which point the fact, but 
 simply content myself by quoting the 
 general remark of a very recent authority, 
 that " no subject from Christ's life, origi- 
 nating in this period, is at all comparable 
 with those of longer standing as an ex- 
 ponent of sacred sentiment." ' 
 
 It is unquestionably characteristic that 
 the most important examples are the pro- 
 ductions of the Venetian school. Lorenzo 
 Lotto painted the scene twice, and in ex- 
 tenso, his compositions containing no less 
 than seventeen figures. The paintings are 
 in Loreto and the Louvre, Paris. The 
 subject is attributed to Titian, but none 
 of the works are absolutely authentic, 
 which is perhaps to be wondered at. 
 Tintoretto's robust imagination and strong 
 hand seem to have revelled in it, and 
 there are three brilliant examples, one 
 
 1 Estelle M. Hurll, " The Life of Our Lord in Art.
 
 I2O CHRIST IN ART. 
 
 each in the Venice Academy, in the Dres- 
 den Galleries, and in the Archbishop's 
 Palace at Milan. 
 
 The art of Northern Europe of the 
 cotemporary period furnishes several 
 examples, chief of which are those by 
 Franz Francken II., in the Dresden Gal- 
 lery, and two by the great realist, Cranach, 
 one in the Dresden collection, and the 
 other in the Munich Gallery. Rubens 
 and Rembrandt found a natural enough 
 inspiration in the subject. The work of 
 the former is in the collection at Leigh 
 Court, England, while that of Rembrandt 
 is in the National Gallery, London. 
 
 Poussin, the most important early influ- 
 ence in French art, indeed the founder 
 of the academic tradition, painted an 
 important picture which is now in the 
 Louvre, Paris, as are most of the great 
 works of this painter. 
 
 Modern painters have been attracted by
 
 TITIAN. HEAD OF CHRIST. 
 (From Christ and the Adulteress.)
 
 CHRIST AS TEACHER AND HEALER. 123 
 
 the aesthetic quality of the scene, the most 
 important renderings being by Siemi- 
 radzki, by Otto Wolff, and by Domenico 
 Morelli, and it is also included in the 
 Bible Series of Bida, and our latest im- 
 portant religious master, Tissot. 
 
 Hermann's treatment of the Adulteress 
 scene is impressive. The woman on the 
 ground in an attitude of submission, and 
 yet with a certain disdain of her accusers 
 in her face, is at once seen to be beautiful. 
 The accusers are a dignified lot of old 
 men, and not the semi-rabble that Titian 
 portrays. The figure of the Saviour is 
 grand in its sense of appeal as it points 
 to the poor creature prostrate at his feet. 
 The idea of an informal tribunal whose 
 only intention is calm justice is the key- 
 note of the whole composition. 
 
 The Raising of Lazarus, as might be 
 expected from the dramatic value of the 
 legend, has been a favourite subject with
 
 124 CHRIST IN ART. 
 
 painters of all periods. I have already 
 referred to Giotto's picture. Here again 
 it is the roll-call of the great names in Art 
 that must be answered to. To mention 
 a scant few of the most notable efforts, 
 that of Rembrandt occurs at once. A 
 painting of the subject by him is now in 
 the collection of Mr. Charles M. Yerkes, 
 of New York; but the much better known 
 work is the etching which bears the date 
 of 1633. The greatest genius in chiar- 
 oscuro whom the world has produced 
 found his best opportunity among sacred 
 subjects in the contrasting lights and 
 shadows of this sepulchral theme. Un- 
 forgetable to all who have seen even a 
 respectable reproduction of the engraving, 
 is the remarkable quality of the work in 
 this genre. The blackness of the sur- 
 soundings, the figure of Lazarus revived, 
 alive, rising out of the great light 
 reflected from the divine figure of the
 
 CHRIST AS TEACHER AND HEALER. 125 
 
 Saviour! The composition is entirely 
 sane, yet mystic and miraculous to a degree 
 unapproached by other delineators of the 
 scene. 
 
 Benjamin West, the first American 
 genius in painting, made a picture not 
 long after his departure to England as an 
 altar-piece for the Manchester Cathedral. 
 Henry O. Tanner, an American painter, 
 has given us a striking modern realistic 
 presentation of the subject, a picture 
 which has recently been bought by the 
 French government and is now in the 
 Luxembourg. 
 
 Elihu Vedder, the most important sym- 
 bolic painter that America has produced, 
 has done a remarkable single head of 
 Lazarus, owned by Melville E. Stone, of 
 Chicago. 
 
 As Canon Farrar succinctly remarks, 1 
 " pictures from the parables do not prop- 
 
 1 " The Life of Christ in Art." London, 1894.
 
 126 CHRIST IN ART. 
 
 erly belong to the life of Christ." There 
 are, nevertheless, examples as early as the 
 mosaics of San Apollinare Nuovo (Ra- 
 venna). Of the tale of the Prodigal Son 
 there are pictures from the earliest to the 
 latest times. The Good Samaritan has 
 been often treated, and the moral of the 
 Wise and Foolish Virgins has been ren- 
 dered on canvas to the enlightenment and 
 instruction of all generations. A very 
 well known picture of the latter legend 
 is that by Piloty, the father of the modern 
 Munich school, which has recently been 
 exhibited in this country. 
 
 Our own William M. Hunt has a grand 
 picture of the Return of the Prodigal in 
 the Boston Museum of Fine Arts. Fubri- 
 fe's painting in three panels is perhaps 
 as well known, through constant reproduc- 
 tion during the past twenty years, as any 
 picture ever drawn from the sacred legend. 
 
 The Feast of Dives, as a rendering of
 
 CHRIST AS TEACHER AND HEALER. 1 27 
 
 the story of Dives and Lazarus, offered 
 unexampled opportunities for the splen- 
 dour of style that was the hall-mark of 
 the Venetian school. Teniers, whose pic- 
 ture readily occurs in this connection, has 
 a fantastic and peculiar example which 
 is in the National Gallery, London. This 
 important early Dutch master, of whom 
 it has been remarked that nothing in the 
 life of his own country escaped him, 
 seems, nevertheless, to have cared for 
 certain religious subjects, although the 
 general student of his work would be at 
 a considerable loss to trace his direct 
 inspiration. 
 
 When we consider the moral impor- 
 tance of the Sermon on the Mount, and 
 the estimation in which this discourse of 
 our Lord's is held in modern times, it is 
 somewhat disappointing to record its very 
 scant treatment in religious painting. 
 There are only one or two early examples
 
 128 CHRIST IN ART. 
 
 and these of but little moment. A single, 
 well-known picture of the subject of the 
 seventeenth century is a large canvas by 
 Claude Lorraine, now in the Grosvenor 
 Gallery, London. Bida alone, of all the 
 nineteenth century Bible illustrators, in- 
 cluded the scene in his series. Von 
 Uhde's picture is the only strictly modern 
 representation, and it is sincere and im- 
 pressive to the degree of power, as are 
 all the religious works of this master. It 
 seems to be, indeed, the only existing 
 work of genuine importance devoted to 
 the theme. 
 
 There is no scene in the life of our 
 Lord that is dearer to all humanity than 
 that one contained in the touching ac- 
 count of Mark, beginning, " And they 
 brought young children to him that he 
 should touch them." It was the Teu- 
 tonic races, with their strong sentiment 
 for the home, who seemed first to have
 
 MURILLO. SERMON ON THE MOUNT, OR MIRACLE 
 OF THE LOAVES AND FlSHES (DETAIL).
 
 CHRIST AS TEACHER AND HEALER. 
 
 recognised the beauty of the theme. The 
 Italian schools, indeed, do not furnish a 
 single noteworthy example. The Gospel 
 Book of Munich, one of the early missals, 
 furnishes the first known example. The 
 first important paintings are by Lucas Cra- 
 nach (the elder). There are two, one in 
 the Northbrook collection in England, 
 and another in the Stadtkirche, at Naum- 
 burg, bearing the early date of 1529. 
 Cranach had these pictures copied again 
 in his own studio, as is evidenced by the 
 fact that an authentic copy exists to-day 
 in the Dresden Gallery. 
 
 A certain Vincenz Sillaer, a contempo- 
 rary of Cranach, is known to fame only 
 through his picture of Christ Blessing 
 Little Children. It hangs in the Mu- 
 nich Gallery, and the legend attached to 
 it in the catalogue is that it is the only 
 existing work of the artist. 
 
 Adam Van Noort, the first master of
 
 132 CHRIST IN ART. 
 
 Rubens, has a picture which is preserved 
 in the Museum at Brussels, and there is a 
 painting in the National Gallery, London, 
 of which the original ascription to Rem- 
 brandt has of late years become quite leg- 
 endary. 
 
 With the growth of European civilisa- 
 tion, the love and care of children has 
 become a matter of increasing solicitude, 
 and the subject has grown correspond- 
 ingly popular. The school of Overbeck 
 devoted some attention to it early in the 
 century. It will be readily recalled among 
 the works of Benjamin West, a picture 
 full of human feeling, but lacking in ob- 
 vious points of composition. 
 
 Sir Charles Eastlake's painting of the 
 subject is well known. A recent authority 
 says of its origin : " The painting was 
 received by contemporary critics (1839) 
 with an enthusiasm amounting to a per- 
 fect furore. The artist was freely likened
 
 CHRIST AS TEACHER AND HEALER. 133 
 
 to the greatest masters of the Italian 
 Renaissance, and no praise was thought 
 too high for his work. If the calmer 
 judgment of later criticism has modified 
 this extravagant estimate, it is still true 
 that the picture is one of the best of the 
 subject ever painted." * 
 
 Fritz Von Uhde has handled the sub- 
 ject in that extreme realistic style in 
 which he endeavours to render the sacred 
 message. His work is always subjective 
 to the last degree in that not the least of 
 the symbols of the faith are introduced. 
 He is the very antithesis of Giotto and 
 the first religious painters. In the Christ 
 Blessing Little Children, a stranger, a 
 man of the lower middle classes attired in 
 the every-day garb of German civilisation, 
 has entered a schoolroom, and seated 
 himself in the midst of the children, who 
 are being gradually won over by his 
 
 1 Estelle M. Kuril, " The Life of Our Lord in Art."
 
 134 CHRIST IN ART. 
 
 presence and manner. It is as ample a 
 treatment as the theme can well receive, 
 while at the same time the simplest one 
 possible. 
 
 Such work as this of Von Uhde and 
 other modern masters seeks to blend 
 religion with human sentiment so as to 
 reach the ideal of which Christ spoke 
 when he said, " I and the Father are one." 
 Art can have no higher mission, and we 
 have reached the summit of religious 
 painting when, through the simple ex- 
 pression of common, every-day human 
 emotion, we conceive the divine essence, 
 that apotheosis which lifts the soul 
 into dumb and joyous assent with all 
 good things.
 
 IV. 
 
 CHRIST AS MARTYR
 
 " That Sacrifice ! The death of Him, 
 The High, and ever Holy One ! " 
 
 WHITTIER.
 
 CHAPTER IV. 
 
 CHRIST AS MARTYR. 
 
 55 HE first representations of the 
 Passion of our Lord date from 
 the seventh century, and were 
 born of an edict of the Church. The 
 Council of Constantinople which sat in 
 692 decided, after due deliberation, that 
 the subject should be treated thereafter as 
 part of religious art. Heretofore, only 
 mild and chiefly symbolic ideas had been 
 chosen in the delineation of the divine 
 narrative. 
 
 Canon Farrar ' devotes a whole chapter 
 to the consideration of this early re- 
 serve in painting Christ, and in a shorter 
 
 1 " The Life of Christ in Art." 
 137
 
 138 CHRIST IN ART. 
 
 one sums up the reasons therefore. He 
 remarks : " Since Christians saw idols on 
 all sides of them, and since those idols 
 were often surrounded with seductiveness, 
 and sometimes displayed with unblushing 
 cynicism the fury of perverted appetites, 
 they would naturally shrink with some- 
 thing like abhorrence from anything 
 which might be confused with a material 
 object of worship." 
 
 The early sentiment of religious art 
 was the literal injunction of the Second 
 Commandment, " Thou shalt have no 
 other gods before Me ! " In the year 340, 
 one of the chief bishops of the Church 
 commands : " Paint not Christ ! But carry 
 about with you upon your soul in thought 
 the bodiless Word." 
 
 The infinitely wider scope which this 
 decree of the Council afforded to religious 
 art seems, if we may judge from the 
 license which followed, to have been a
 
 CHRIST AS MARTYR. 139 
 
 somewhat unwise divergence. It needed 
 only the edict of the Church to stir to its 
 depths the semi-barbaric imagination of 
 the Dark Ages in delineations of the 
 awful scenes which follow our Lord's 
 entrance upon His martyrdom. And from 
 this beginning it has followed ever since 
 that more attention has been paid to the 
 Crucifixion and attendant scenes. The 
 early masters, Giotto and the rest, who 
 devoted years to a whole series, made the 
 Crucifixion the crown of their work. 
 Other series were devoted exclusively to 
 the subject. A considerable part of the 
 splendour of the Church of St. Mark at 
 Venice is derived from the mosaics of the 
 central dome, representing this sad period. 
 One of the greatest triumphs of early 
 religious art is the series of twenty-six 
 frescoes by Duccio, which occupied two 
 years of the painter's life, 1308-10, and 
 adorn the cathedral at Sienna. The
 
 I4O CHRIST IN ART. 
 
 great easel pictures of subjects growing 
 out of the closing days of the life of our 
 Lord will be mentioned in their order. 
 
 The entry into Jerusalem marks the 
 beginning of the Passion Scenes and the 
 commencement of the last week of the 
 life of the Christ on earth. I have seen a 
 striking picture by Alex Bida in his Bible 
 series. Riding on an ass, followed by the 
 disciples, and preceded by men and 
 women with palms, while a multitude 
 lines the way and a great crowd, in the 
 forefront of whom appear the dignitaries 
 of the city, await to give him welcome, 
 the Saviour approaches the towering and 
 splendid gate of the city. The scene is 
 full of the life, colour, and movement of a 
 triumphal event, the last hour of triumph 
 in the bitter life of the Christ ! 
 
 In early art this scene has a long his- 
 tory, traceable on the sarcophagi, in the 
 early mosaics, and in the grand series of
 
 arms VENIT TISI MANSvtrvs SEI>ES swASHMFUFsyRvr^ 
 I 
 
 A FIUu DWlb BENElCTVi' QVi VEHIT IN NOMINE DOHIK1 . AVTE! .XXI 
 
 60 i M01ABO VOBIS \TOIIU 5YP MCKEM VT "''MEbWl^ OPjIES" 
 
 FRA ANGELICO. ENTRY INTO JERUSALEM.
 
 CHRIST AS MARTYR. 143 
 
 early Italian painters, where it is found 
 again and again repeated. The single ex- 
 ception to its general use in the churches, 
 was as an altar-piece. 
 
 Diirer has a fine composition in his 
 celebrated Little Passion series, so called 
 because the thirty-seven sketches compos- 
 ing it were smaller than those in his first 
 series of the Passion completed five years 
 earlier (1511), and called the Greater Pas- 
 sion. This genius was in a certain sense 
 the Hogarth of the Middle Ages, with a 
 more than even Hogarthian passion for 
 telling the truth as he saw it. While the 
 purpose and the power of his religious 
 pictures can never be mistaken, he was yet 
 curiously fond of introducing purely co- 
 temporary details. Even in so serious a 
 subject as the Flagellation, for instance, 
 he has a long-haired poodle shaved after 
 the fashion of a " lion " in the foreground. 
 An urchin with a mischievous face blows
 
 144 CHRIST IN ART. 
 
 a horn contemptuously at the suffering 
 Saviour from one corner. 
 
 Despite the multiplicity of such incon- 
 gruities, the value of Diirer's work will 
 always be great and immediate ; and there 
 is certainly no painter who so rivets the 
 imagination by the curious sense the 
 beholder conceives at the first glance 
 that the last detail of the scene will be 
 found on the canvas. Diirer leaves abso- 
 lutely nothing to the imagination. 
 
 As a representative of early Middle Age 
 life and manners in the Northland, he is 
 of considerably more value even than as a 
 religious painter. The very soul of Ger- 
 man Medievalism indeed exists in his 
 pictures, all its barbarity, its cruelty, its 
 grossness, its asceticism, its splendour. 
 There are certain details of Middle Age 
 costume, of custom, which live nowhere 
 except in the vast collection of his works. 
 
 All of the modern Bible illustrators
 
 CHRIST AS MARTYR. 145 
 
 Overbeck, Bida, Dore, Hofmann, Tissot 
 have interesting pictures of the Entry 
 into Jerusalem. Overbeck, with native 
 realism, introduces prominently among the 
 spectators figures of himself and his imme- 
 diate relations. Well known to the general 
 masses of civilisation is Dore's compara- 
 tively recent treatment of this subject. It 
 is full of the exalted spirit of the scene, 
 and Dore makes much of the figure of the 
 Saviour in this sense. 
 
 CHrist Weeping over Jerusalem, which 
 immediately follows the Entry, is one of 
 Ary Scheffer's three greatest works, the 
 Temptation and the Consolator being the 
 others. This is a scene calling for strong 
 dramatic imagination. Distinctly too 
 fanciful to be an attractive subject to 
 the early or Renaissance painters, it re- 
 mained for the refined genius of the 
 nineteenth century to introduce it. Ary 
 Scheffer's picture is the first important
 
 146 CHRIST IN ART. 
 
 one. Sir Charles Eastlake's clarified 
 spirit has given us a beautiful rendering, 
 which now hangs in the National Gallery, 
 London. 
 
 The three years' ministry of the Saviour 
 drew to a close with these last days in 
 Jerusalem. The chief sects were stirred 
 up against Him, and as He went about 
 the city with His disciples they sought 
 to " entangle Him in His talk," as a pre- 
 lude to lodging a serious charge against 
 Him. It was under these circumstances 
 that they endeavoured to entrap Him into 
 treason by asking Him about the tribute 
 paid to Caesar. 
 
 The scene, while never included defi- 
 nitely among the Passion Series, is, nev- 
 ertheless, a general subject in Art. 
 Masaccio's well-known picture, the Trib- 
 ute Money, is of great value as being one 
 of the very first examples of an intelligent 
 portrayal of human character in a sacred
 
 TITIAN. TRIBUTE MONEY (DETAIL).
 
 CHRIST AS MARTYR. 149 
 
 scene. As rendered by Titian (Dresden 
 Gallery) it is claimed by many to be his 
 masterpiece. There are but three figures 
 in the piece, which is really a study of 
 the Christ at a supreme moment of wis- 
 dom and power. It is no small thing to 
 consider this picture as Titian's greatest 
 work, in view of the fact that he is ad- 
 judged by a certain important class of 
 critics to be the greatest painter who ever 
 lived. 
 
 All three of the great masters of North- 
 ern Europe in the sixteenth century painted 
 the Tribute Money. Van Dyck's picture, 
 like Titian's, concentrates on the two 
 strongly contrasting figures, the patient, 
 gentle, powerful Christ, and the cunning 
 Pharisee. As we, who read the scene in 
 the Gospel of John to-day, might naturally 
 expect, Rubens and Rembrandt both give 
 it a more ample setting. There is a group 
 of spectators who are properly chagrined
 
 150 CHRIST IN ART. 
 
 and surprised at being foiled by the adroit 
 answer of Jesus. 
 
 These were perilous times indeed for 
 the Son of Man, and the last few days 
 in Jerusalem are aptly summed up in 
 Kenan's remark, 1 " Each moment at this 
 period becomes awful, and has counted 
 more than whole centuries in the history 
 of humanity." The history of Art fully 
 bears out this pregnant statement. 
 
 No scene of all the Saviour's life has been 
 painted with more care and deeper relig- 
 ious feeling than The Last Supper. 
 Here again a very imposing array of 
 critics, backed by a vast number of ob- 
 servers for fully four centuries, arises and 
 proclaims the achievement of Da Vinci to 
 be the masterpiece of all time. Unfortu- 
 nately, time has outrun the verdict, and the 
 wonderful fresco on the wall of the Con- 
 vent of Santa Maria delle Grazie, Milan, 
 
 1 " The Life of Jesus."
 
 CHRIST AS MARTYR. 151 
 
 is sadly decayed. But it still needs no 
 restoration to hint at its profound power 
 and purpose, its exalted beauty, and di- 
 vine feeling. In fact, it was, as originally 
 painted, so great a picture that restoration 
 is in the highest sense hopeless, although 
 it is chiefly familiar to moderns through 
 one or another of the restored copies. 
 
 It is related that Da Vinci occupied 
 nearly a year at this work. He was boarded 
 and lodged at the expense of the convent 
 while thus engaged, and it is told by 
 Vasari that he used to spend hours before 
 it, absorbed in profound study. Being 
 finally taken to task by the prior of the 
 convent for this seeming waste of time 
 and the convent's substance, he responded 
 that he was really putting in his chief 
 strokes while he appeared to sit in idle- 
 ness. The reply was so apt and striking 
 that he was thereafter left to himself. 
 
 Leonardo Da Vinci was not so much a
 
 152 CHRIST IN ART. 
 
 great painter as a great man. His aim 
 in life seemed to be to perfect himself in 
 every possible branch of knowledge. His 
 vast and cultured intelligence is revealed 
 in the head of Christ in The Last Supper, 
 as the best expression of his own remark- 
 able genius that he could possibly put 
 upon canvas. The general arrangement 
 of the whole picture has always been held 
 to be admirable. It was considered a 
 masterpiece of conception in its time, and 
 no more intellectual rendering of the 
 scene has been given us since it was 
 painted, although in the general summary, 
 we have to consider so antipodal a com- 
 position as Von Uhde's well-known piece, 
 to take a prominent example of a modern 
 class. 
 
 Beginning with the sixth century mo- 
 saics of San Apollinare Nuovo, at Ra- 
 venna, there are representations of the 
 Lord's Supper down to yesterday. The
 
 RAPHAEL (ATTRIBUTED). HEAD OF CHRIST. 
 (From The Last Supper.)
 
 CHRIST AS MARTYR. 155 
 
 great art series of the early and pre- 
 Renaissance periods included it. It was 
 a favourite theme wherewith to adorn the 
 refectories or dining-rooms of the con- 
 vents and priories. Here the monks who 
 were painters wrought with ardour on so 
 appropriate a scene. The deeper relig- 
 ious feeling of Central and Southern 
 Italy produced more examples of this 
 class than the North can show. 
 
 The basic character of the composition 
 a dozen men of the plainest degree gath- 
 ered about a table is of the simplest. 
 There seems to have been no distinct 
 temptation here to the splendid manner 
 of the Venetian school, and though there 
 are fine pictures attributed to Tintoretto, 
 all are a distinct degradation of the scene, 
 and in no sense noteworthy among his 
 works. Titian and Paolo Veronese are 
 mentioned in connection with the Last 
 Supper, but their work is not memorable.
 
 156 CHRIST IN ART. 
 
 When Holbein lived at Basle, in his early 
 manhood, he painted a Last Supper, part 
 of which is missing. The picture hangs 
 in the Basle Gallery. Diirer gives us the 
 sturdy German type for his disciples, who 
 seem to take some natural interest in the 
 eating and drinking. And that is also 
 the way Lucas Van Leyden painted it. 
 " No religion without an honest physical 
 basis" was the motto of the early German 
 masters. That is the motive of Diirer, 
 who always renders the extreme of expres- 
 sion. Rembrandt indeed never thought 
 of conveying a spiritual idea, until after 
 he had paid strict attention to the physi- 
 cal one. It is an honest basis for Art, 
 and has given us a number of enduring 
 examples, among them Rembrandt's own 
 picture of the Last Supper. 
 
 Da Vinci's treatment has been the key- 
 note of all attempts to picture the Last 
 Supper since the finer sense of the later
 
 CHRIST AS MARTYR. 157 
 
 nineteenth century, with the Gallic spirit 
 in the lead, has generalised the soul of Art 
 into a single idea, technique. There is 
 no surer testimony to the feeling that 
 Da Vinci was indeed a soul like Shake- 
 speare, "Not for an age, but for all 
 time." 
 
 The picture of Fritz Von Uhde, a liv- 
 ing German painter, is one of the best 
 known among modern examples. A 
 recent critic has remarked with fine 
 insight that " Von Uhde's simple pathos 
 revives under modern forms the spirit of 
 Rembrandt." Von Gebhardt, another liv- 
 ing German artist, has also contributed an 
 impressive Last Supper to the modern 
 realistic treatment of the subject. 
 
 As to the scene which is a part of the 
 Supper, the Washing of the Disciples' 
 Feet, as epitomising and it may be said 
 apotheosising our Lord's humility, the 
 keystone of the Christian creed, we
 
 158 CHRIST IN ART. 
 
 have it from the early sarcophagi down 
 to the present day. The roll-call is one 
 of important names. One loves to linger 
 on them. 
 
 All the fragrance of the earliest, the 
 simplest, undoubtedly the most genuine, 
 period of religious art clusters around 
 the memory of Giotto, of Duccio, of 
 Ghiberti, of Fra Angelico. No finer 
 example for the truly religious spirit is 
 offered than here. Giotto has it in the 
 series to which he devoted his best years, 
 the Arena Chapel at Padua. It is in 
 the bright chaplet of Duccio's fame, the 
 immortal Christ series of the Cathedral of 
 Sienna. It is a panel of the marvellous 
 gates of Ghiberti. The gentle spirit of 
 Fra Angelico first instituted the idea 
 of humility in the disciples in the 
 scene. Peter shrinks away with a de- 
 precating gesture, drawing his feet under 
 him. There is a spirit of reverence in
 
 CHRIST AS MARTYR. 159 
 
 all the early examples which it is good 
 to behold. 
 
 A picture by Morando, in the Verona 
 Gallery, that was formerly attributed to 
 his master, Moroni, renders the scene 
 best of all the earlier pictures. All 
 mawkishness in the idea is pretermitted 
 utterly in this portrayal, the sense of 
 which is the true key-note of the theme, 
 " If I wash thee not, thou hast no part 
 with Me," at once utter subjection to, 
 and complete triumph over, all things 
 earthly ! 
 
 Tintoretto, who lived a long life of 
 tremendous energy and great accom- 
 plishment as a painter, insomuch that 
 he was nicknamed " The Robust," and 
 who was more faithful than other mas- 
 ters of the Venetian school in that he 
 rendered nearly, if not quite, every 
 scene from our Lord's life, has an 
 example which is preserved in the Na-
 
 I6O CHRIST IN ART. 
 
 tional Gallery of London. Lucas Cra- 
 nach, one of the early German realists, 
 and a most precious and important 
 painter, has a good picture now in the 
 Royal Gallery at Berlin. 
 
 Franz Francken II., the most conspicu- 
 ous name in the family of Fame of all the 
 Franckens, which included no less than 
 eleven painters and engravers of the six- 
 teenth and seventeenth centuries, has a 
 double composition in the Berlin Gallery, 
 of the Lord's Supper and the Washing of 
 Peter's Feet, the latter taking place in the 
 foreground. This is, to my mind, the 
 most exact treatment of the subject if the 
 Scriptural record is followed. Ford Madox 
 Brown, the most notable modern painter 
 of the scene, follows this general idea, 
 although the disciples, most of whom are 
 behind the table, are so far in the back- 
 ground that they seem to be ridiculously 
 subordinate to the scene, mere shadowy
 
 CHRIST AS MARTYR. l6l 
 
 figures with no direct meaning or expres- 
 sion, while the attention is all concentrated 
 on the burly yet beautiful figure of Peter 
 and the seriously impressive Christ in the 
 foreground. The original was bought 
 by some admirer of the pre-Raphaelite 
 school and presented to the National 
 Gallery, London, in 1893. 
 
 As representing the Saviour's Last 
 Discourse to His Disciples, the beau- 
 tiful words recorded only by John, we 
 have a picture by Bonifazio II. that can- 
 not be slighted in any category of sacred 
 art. It is a deeply impressive religious 
 composition, handled in an alluring and 
 distinctive manner. In the face of the 
 Christ there is seen an expression of 
 divinity that is finely contrasted with the 
 half-divinity that constant intercourse 
 with Him had given to the mien of His 
 disciples. Philip is entirely earnest in 
 his plea, " Lord, show us the Father,"
 
 1 62 CHRIST IN ART. 
 
 while the Christ seems utterly divorced 
 from earthly considerations as He yet 
 answers in propria persona. It is some- 
 thing like a second Transfiguration that 
 Bonifazio, one of the lesser masters of the 
 Venetian school, exhibits to the careful 
 student in this picture. The work hangs 
 in the Venice Academy. 
 
 The true Agony, to the general reader, 
 begins with the night in Gethsemane. 
 Here Jesus was wont to repair from 
 Jerusalem during those last stormy days 
 for an evening of peace and quiet. Every 
 day the burden of life grew greater. 
 Fresh proofs that the Pharisees and the 
 Sadducees only sought to bring Him 
 under the dominion of the stern Roman 
 government, hourly increased. So he con- 
 secrates a night in lonely Gethsemane to 
 a special prayer for help and deliverance. 
 
 The scene necessarily calls for imagina- 
 tive treatment of the finest quality. Ex-
 
 HOFMANN. CHRIST IN GETHSEMANE.
 
 CHRIST AS MARTYR. 165 
 
 amples, indeed, are found ranging from 
 the Gospel Book of Munich (eleventh 
 century) down to the latest painters; 
 but there are few pictures of this par- 
 ticular event which will hold the modern 
 sense, except the modern ones. Hof- 
 mann's, the lone figure of the Saviour 
 kneeling against a rock, will sufficiently 
 satisfy a popular ideal. A more intense 
 attitude and expression is that rendered 
 by Liska, the picture having been painted 
 at Rome in 1880. In both of these, as 
 also in the picture by Bruni in the Her- 
 mitage Gallery in St. Petersburg, the 
 double sense of present agony and spirit- 
 ual triumph is intimately conveyed. 
 
 The scene of the Betrayal in the 
 Garden, of which the chief motive in 
 artistic representation has always been 
 the Kiss of Judas, is found even in the 
 very beginnings of Art history. It occurs 
 in the mosaics of San Apollinare, at
 
 1 66 CHRIST IN ART. 
 
 Ravenna, and in the panels of the early 
 Cologne school, now preserved in the 
 Berlin Gallery. Giotto and Duccio, of 
 the first Italian schools, painted it, and 
 Ghiberti devotes thereto a panel of his 
 Bronze Gates of the Baptistery at Flor- 
 ence. 
 
 Giotto (in the Arena Chapel, Padua) 
 depicts Judas as a brutal rascal, in whom 
 crass stupidity is more evident than cun- 
 ning or even hatred. This is by no 
 means the modern conception of the 
 character, although the picture is inter- 
 esting. 
 
 Duccio, in his great series of the Opera 
 del Duomo, in Sienna, with a more en- 
 lightened sense gives us the type of Judas 
 that the popular mind has usually con- 
 ceived, a man of deep craft and cun- 
 ning, the ideal traitor. 
 
 Fra Angelico, who never apparently 
 allowed the thought of evil to enter his
 
 CHRIST AS MARTYR. 167 
 
 soul, you will search in vain through 
 his works for a single inharmonious note 
 in the general accord of goodness in the 
 expressions and actions of his person- 
 ages, avoids the evident difficulty by 
 presenting a rear view of the figure of 
 Judas. This is also the attitude in 
 Ghiberti's panel. 
 
 Durer divided the subject into two 
 scenes. We have the Kiss of Judas in 
 his Little Passion series, and Christ 
 Taken Captive, being led away by the 
 soldiers, in the Greater Passion. Lucas 
 Van Leyden presents a vigorous scene 
 in his realistic manner, which shows us 
 the Capture and the Kiss as taking place 
 simultaneously. 
 
 Schongauer, who was half a century 
 before Durer, and painted and engraved 
 with even more painful realism, makes an 
 important contribution in his characteristic 
 manner to the series. Van Dyck was
 
 1 68 CHRIST IN ART. 
 
 attracted to the subject, as indeed he was, 
 generally speaking, to the closing scenes 
 rather than the earlier ones in the life of 
 our Lord, and his picture hangs to-day in 
 the Gallery of the Prado, at Madrid. He 
 has idealised the Saviour utterly in this 
 work, representing Him with radiant face, 
 an apotheosis of divine triumph at the 
 very close turning-point of His earthly 
 career. 
 
 Hofmann, of recent masters, has a paint- 
 ing outside of his Bible series which 
 hangs in the Darmstadt Museum. Ary 
 Scheffer, after the manner of his Christ 
 and the Devil, in his great picture of the 
 Temptation, painted a picture, showing 
 only Christ and Judas, that is a proper 
 concession to the modern spirit of subjec- 
 tivity. It is a study of the characters of 
 the two men, and a successful rendition, 
 like his Temptation, of the meaning of 
 the supreme moment.
 
 CHRIST AS MARTYR. 169 
 
 A rather fine picture of the . Kiss of 
 Judas in the same general style has been 
 exhibited only recently by C. Aug. Guger, 
 a German artist. 
 
 Owing to the conditions of Roman rule 
 at Jerusalem, the circumstance that the 
 ruling race had very little in common 
 with the Jews, either in religion or morals, 
 there was some difficulty in securing the 
 conviction of Jesus. Five times was He 
 held for examination, once before Annas 
 and Caiaphas, once before Herod, and 
 twice .before the direct representative of 
 Caesar, Pontius Pilate. These are impor- 
 tant scenes to the painter, the great figure 
 of the chief actor, of the ruler, and the 
 accessories of spectators in varied groups 
 and costumings, affording excellent picto- 
 rial opportunity. 
 
 Of the first hearing before Annas, 
 recorded by John, Dlirer has a picture in 
 his Little Passion series. As was often
 
 I/O CHRIST IN ART. 
 
 the case with this very earnest man, in 
 order to be wholly impressive, he here 
 finds it necessary to degenerate into posi- 
 tive brutality. Annas is represented as 
 seated on a canopied throne in the back- 
 ground, while the accused is dragged up 
 a stairway in the foreground by two 
 ferocious soldiers in mediaevial costume. 
 
 That there may be no doubt which of 
 the hearings is represented, Lucas Van 
 Leyden in his picture engraves the name 
 of Annas on his throne, in the same 
 manner that the newspaper cartoonist of 
 to-day labels his characters. 
 
 The chief value of these early Northern 
 masters as a help to religious inspiration 
 is the deep sincerity sometimes we can 
 almost imagine it to be prayerful with 
 which they worked out their strange 
 scenes. Canon Farrar observes, in this 
 connection, with wise insight, 1 " In Art, 
 
 1 The Life of Christ in Art."
 
 CHRIST AS MARTYR. 171 
 
 insincerity and unreality become certain 
 of detection when they try to pass them- 
 selves off as religion." 
 
 The first really important hearing, see- 
 ing that Annas was a man of influence 
 and not of authority, was that before 
 Caiaphas, his son-in-law, and the high 
 priest of the Jews. St. Matthew gives 
 the scene in fullest detail, and it is 
 of most importance in religious paint- 
 ing, next to the hearing before Pilate, 
 which has been rendered oftenest of 
 all. 
 
 The tribunal of Caiaphas is found even 
 on the remains of early Christian sar- 
 cophagi away back in the fifth and sixth 
 centuries. Giotto and all the early Italian 
 and Northern masters have examples. 
 Holbein, to mention an infrequent painter 
 of sacred subjects, produced a drawing 
 during his earlier years at Basle, and it 
 is preserved in the museum there to-day,
 
 172 CHRIST IN ART. 
 
 where are hung the most important of 
 his few religious works. 
 
 The Mocking of Christ, immediately 
 following the Examination before Cai- 
 aphas, also affords ready opportunity to 
 all the early religious painters. Domenico 
 Morelli, a very talented contemporary 
 artist, is one of the few moderns who has 
 been attracted by the spirit of the scene. 
 
 Only the short roll of painters who, with 
 fervent zeal, depicted about everything 
 that could be presented in the life of 
 Christ, give the scene of the first appear- 
 ance before Pilate, and the same may be 
 remarked of the hearing before Herod. 
 Albert Durer's is, perhaps, the best known 
 and the most valuable representation of 
 the latter. This is a part of the Little 
 Passion series. 
 
 The last appearance before Pilate, the 
 culmination of the Trial scenes, the hour 
 of final judgment, has, as stated, been
 
 MUNKACSY CHRIST BEFORE PILATE (DETAIL).
 
 CHRIST AS MARTYR. 175 
 
 painted oftenest of all. It has been 
 popular from the earliest times, while the 
 latest contribution to the subject, the 
 masterly rendering of Munkacsy, is a work 
 of only yesterday. This picture, which 
 was publicly exhibited first in Europe and 
 then in this country only a few years ago, 
 was finally added to the treasures of 
 American art through the liberality of 
 Mr. John Wanamaker, of Philadelphia. 
 
 The Venetian school here comes into 
 notice through the important picture of 
 Tintoretto, which is a part of his series 
 of frescoes in the Church of San Rocco, 
 at Venice. Pilate, a venerable man with 
 a long beard, undoubtedly a portrait of 
 some Venetian noble, is seated in state 
 amid a scene of architectural grandeur. 
 Before him, having just ascended a flight 
 of steps leading to the throne of the ruler, 
 appears the Christ, clad in a long white 
 robe, which, with the glowing halo encir-
 
 176 CHRIST IN ART. 
 
 cling His head, throws a striking contrast 
 upon the scene. The background is 
 crowded with an assemblage of handsome, 
 dignified, and yet sufficiently interested 
 men and women. Pilate laves his hands 
 rather ostentatiously from a splendid ser- 
 vice of plate, as he turns his head with a 
 bland aspect toward the humbled Saviour. 
 The moment chosen is the final expression 
 of his good-will to the Christ, as recorded 
 by Matthew : " He took water and washed 
 his hands before the multitude, saying, ' I 
 am innocent of the blood of this just per- 
 son. See ye to it.' " 
 
 The Flagellation of Christ, which imme- 
 diately followed, is regarded by Renan 1 
 as a mere excuse on the part of Pilate, 
 with the hope of satisfying the mob. At 
 the same time he remarks that this punish- 
 ment usually preceded a crucifixion. The 
 scene was seized on by the early religious 
 
 1 " The Life of Jesus."
 
 CHRIST AS MARTYR. 177 
 
 painters, and, especially by the Northern 
 masters, is rendered with something more 
 than necessary fidelity. The Italian paint- 
 ers likewise often take pains to suggest 
 extreme cruelty. Pilate is usually a part 
 of the picture, seated in appropriate state, 
 and thus a strong point of contrast is 
 effected. The opportunity to present the 
 rabid fever of the spirit that hurried the 
 Saviour to his doom was plainly seen by 
 all early painters, and so fully taken ad- 
 vantage of that pictures of the Flagella- 
 tion, down to the end of the sixteenth 
 century, are nowise pleasant to look 
 upon. 
 
 Immediately following this period there 
 is at least one great portrayal of the theme 
 by Velasquez, but it is great only as a 
 work of art, and so entirely admirable in 
 this sense that it quite banishes religious 
 feeling. This important example of Spain's 
 greatest painter is called Christ at the
 
 178 CHRIST IN ART. 
 
 Column, and is now in the National 
 Gallery, London. 
 
 The Crowning with Thorns is the sub- 
 ject of two great conceptions by Titian 
 done in a somewhat cruel spirit but 
 nevertheless grand works as to general 
 treatment. One of these hangs in the 
 Louvre, Paris, and the other is in the 
 Munich Gallery. Of the former, the tra- 
 dition runs that it was painted at the age 
 of ninety. 
 
 Having scourged Jesus, Pilate brought 
 Him forth to the people maimed and 
 bleeding, in the hope, as seems plausible 
 enough from his whole attitude through- 
 out the trial, that the mob might call 
 for a suspension of final judgment. It 
 is a great moment for the painter. But 
 only in modern art do we find representa- 
 tions of the Ecce Homo that at all 
 satisfy the modern sense of the scene. So 
 great a master as Titian painted Christ
 
 CHRIST AS MARTYR. 179 
 
 lying on the ground, exhausted with 
 suffering, with Pilate standing over Him 
 as he pronounces the words of extenua- 
 tion. The picture is in the Prado Gallery, 
 Madrid. 
 
 All the early painters accentuated this 
 idea of physical suffering in the chief 
 figure, at the expense of the greater motive 
 which modern artists have conceived for 
 the scene. That of Ciseri, for instance, 
 an Italian of our own day, who has painted 
 religious themes with considerable power, 
 represents the Christ as looking down 
 upon the mob, subdued by suffering, but 
 calm in the strength of spiritual triumph. 
 
 To return to earlier times, Rembrandt, 
 who has engraved some religious subjects 
 with unforgetable power, has an etching 
 of this one made in 1636. The leading 
 motif in this work is also the spiritual 
 victory of Christ at the moment of His 
 degradation.
 
 l8o CHRIST IN ART. 
 
 Benjamin West, who gave to his de- 
 lineation of the scene the title Christ 
 Rejected, is conceded to have produced 
 his best picture in the effort. The 
 painting is in our own country, at the 
 Academy of Fine Arts, Philadelphia. 
 Munkacsy, whose Christ before Pilate is 
 so well known among us, pays particular 
 attention to the excited populace in his 
 picture. 
 
 Correggio's Ecce Homo hangs in the 
 National Gallery, London. The easel 
 picture of Guide Reni, representing the 
 despairing head of the Saviour crowned 
 with thorns is one of the best known 
 and most popular of all religious works 
 of art. The knowledge that he is said 
 to have painted a large number of dupli- 
 cates will perhaps detract somewhat from 
 this general estimate. Murillo also ren- 
 dered the subject in much the same 
 style.
 
 GUIDO RENI. ECCE HOMO.
 
 CHRIST AS MARTYR. 183 
 
 The journey to Calvary is known in 
 the history of the Roman Catholic Church, 
 which is largely the history of sacred art, 
 as the Stations of the Cross. The idea 
 originated in the mind of a wealthy 
 burgher of Nuremberg, one Martin Kotzel, 
 who made a pilgrimage to the Holy Land 
 in 1477. Tradition had long preserved a 
 certain path over the hills as the Via 
 Dolorosa, the road which Jesus took on 
 His way to crucifixion. Piecing the nar- 
 ratives together for his purpose, on his 
 return home Kotzel employed Adam 
 Kraft, a friend of Diirer, to paint seven 
 scenes, culminating in a Crucifixion, at 
 regular stations on the way between his 
 own house and the Church of St. John, 
 where he was a regular worshipper. The 
 scenes in order were: I. Christ Bearing 
 the Cross. 2. He Falls. 3. He meets 
 the Virgin. 4. He Falls Again. 5. St. 
 Veronica Lends Him Her Handkerchief.
 
 184 CHRIST IN ART. 
 
 6. He Falls a Third Time. 7. The 
 Entombment. 
 
 The subject in a general sense is a 
 repulsive one and has been employed 
 wholly as a religious emblem. There is 
 scarcely a Catholic church of any pre- 
 tensions that has not its series. The 
 tradition of St. Veronica's napkin was 
 indeed painted earlier than the above 
 mentioned series, and there is an example 
 recorded as the work of Meister Wilhelm 
 of Cologne, about the year 1380. Of this 
 napkin of St. Veronica, who, according to 
 the legend, offered her handkerchief to 
 the Saviour to wipe His brow as He toiled 
 up the Mount of Calvary, under the bur- 
 den of the cross, and who, on receiving 
 it again, found the divine countenance 
 stamped thereon, there have been many 
 paintings. The original napkin, or what 
 remains of it, is treasured in St. Peter's, 
 Rome, an unapproachable relic. This
 
 GABRIEL MAX. NAPKIN OF ST. VERONICA.
 
 CHRIST AS MARTYR. 187 
 
 was long claimed as the earliest and only 
 authentic portrait of the Christ, but must 
 be regarded as wholly legendary. Cor- 
 reggio has a striking attempt to portray 
 the idea, a shadowy face of the Saviour 
 crowned with thorns on a painted napkin. 
 There is a strong touch of very early 
 German realism in Ittenbach's reproduc- 
 tion of the Veronica napkin, although the 
 canvas bears the date 1876 in one corner. 
 The picture is in Berlin. 
 
 There is a strength of suffering in the 
 theme of the Cross-bearing that has been 
 the key-note of all representations of it, 
 and they are many and important. This 
 was carried by the earlier masters in some 
 instances to the pitch of revolting cruelty. 
 
 A resurrection of this early manner, 
 and a most startling bit of realism, about 
 which nine persons out of ten will fall 
 into cavil at once, is Jean Beraud's Le 
 Chemin de la Croix, which was painted
 
 1 88 CHRIST IN ART. 
 
 in Paris in 1894. When exhibited, the 
 picture provoked a tumult of comment as 
 somewhat in advance even of the realism 
 which had marked such a considerable 
 innovation in religious painting for a gen- 
 eration. The figure of the Saviour bend- 
 ing to the point of prostration beneath 
 the weight of the cross was deemed 
 pathetic and proper from a conventional 
 standpoint, but the Parisian mob in nine- 
 teenth century clothes that followed him 
 was regarded as somewhat unholy. 
 
 There is in this group almost every type 
 of modern Parisians, who, as the faces 
 keenly indicate, belong to the skeptical 
 persuasions. There is the philosopher, 
 the mystic, the anarch, the Jew, and the 
 freethinker. In the rear are seen a lady 
 and gentleman in full evening dress, un- 
 doubtedly representing the mere votaries 
 of pleasure, who apparently are just 
 returning from an entertainment, and
 
 CHRIST AS MARTYR. 189 
 
 have stopped to jeer with the mob. Great 
 stones are flung, and those immediately 
 behind press the -burden down upon the 
 Christ's back. The sense of brutal per- 
 secution of the central figure is almost 
 intolerable. 
 
 As a contrast to this scene, however, 
 the painter has introduced a group of a 
 very different character, who await the 
 Cross-bearer at the right hand of the 
 road. It is a crowd quite as motley 
 in composition, but also of the one gen- 
 eral character. In the immediate fore- 
 ground an aged man in the throes of 
 death is supported by a young priest who 
 calls upon him to rally for a last look 
 upon the suffering Saviour, an ideal 
 death indeed ! A young bride in her veil 
 and flowers kneels beside her husband 
 and invokes the benediction. A wounded 
 soldier just behind the pair stretches forth 
 imploring hands. Beside him, a criminal
 
 CHRIST IN ART. 
 
 with chains dangling from his arms has 
 the same gesture. A widow, full-suited 
 in weeds, bends humbly in the throng. 
 Two little boys supported by a nun are 
 being taught to pray as the Saviour 
 passes by. Artisans and menials are 
 seen in the background in attitudes of 
 reverence. 
 
 Whatever may be denied to this re- 
 markable work as religious art, it cannot 
 be studied long without calling forth 
 all the meaning of the theme. It is up 
 to the present moment the most strik- 
 ing adventure in realism the nineteenth 
 century has known, and it is difficult to 
 conceive while in its presence how the 
 genre can be extended very much farther. 
 
 The earliest painters of the procession 
 to Calvary usually took their choice be- 
 tween Jesus and Simon as the bearer of 
 the cross. If it was desired to impress 
 the beholder with the dignity of Christ's
 
 CHRIST AS MARTYR. 1 91 
 
 presence in this one of His very darkest 
 hours, Simon was introduced. If the idea 
 of supreme suffering was sought to be 
 made prominent, our Lord was seen toil- 
 ing beneath the burden. The latter has 
 been the choice of most painters. Some- 
 times, however, as in the early examples 
 of Giotto in the Arena Chapel frescoes 
 at Padua, of Ghiberti in his bronze gates, 
 and of Fra Angelico in the Florence 
 Academy of Fine Arts, He is represented 
 as serene and calm under the weight of 
 the tree, and even as comforting the Vir- 
 gin, the Magdalen, and the other weeping 
 women who walk beside Him, overcome 
 with sorrow. 
 
 The serenity of the first great painters 
 in the handling of this scene was almost 
 rudely disturbed very shortly after the 
 true Renaissance began. An entirely new 
 type of picture that specially accentuated 
 the note of mental and physical suffering
 
 192 CHRIST IN ART. 
 
 in the principal actor was now developed. 
 The Italian painters, and those of the 
 Northern schools who usually followed 
 the lead of the Southern masters in the 
 general motif, seemed almost to vie with 
 one another in representing the extreme 
 degradation of the Saviour on His way to 
 crucifixion. There is a typical example of 
 this manner of treatment in the Verona 
 Gallery, by Morando. Lucas Van Leyden 
 goes the length of realism in depicting 
 one of the soldiers striking the Saviour, 
 who has fallen prone upon the ground, 
 while another one is handling Him 
 roughly. 
 
 To illustrate to what remarkable ex- 
 tremes religious art is sometimes carried, 
 albeit in a somewhat opposite direction 
 to the one just recorded, I would call 
 attention to a" remarkable piece, entitled 
 Calvary, by Aertszen, in the Gallery at 
 Berlin, which many of my readers may
 
 CHRIST AS MARTYR. 193 
 
 have had the good fortune to see. The 
 landscape is a beautiful German country, 
 winding slowly up to an eminence on 
 which the cross is planted. In the right 
 foreground is a group of country people 
 in and about a wain loaded with good 
 things, who have come out as if to a 
 spectacle or merrymaking. The horses 
 have been taken out and are tethered, and 
 the company are settling themselves as 
 for a day's outing. In the left foreground, 
 one of the thieves is seen approaching, 
 with bowed head, on a very stupid and 
 unwilling ass, which is being forced along 
 by a stout centurion, whose Roman cos- 
 tume strikes a very incongruous note as 
 the only one of the period in the whole 
 foreground of the composition. Near the 
 centre of the picture, another thief, nearly 
 naked, reclines in a cart driven by a man 
 in a Middle Age costume. Higher up, 
 the Christ has just fallen under the weight
 
 IQ4 CHRIST IN ART. 
 
 of the cross, and is being beaten by two 
 lusty centurions with enormous staves. 
 The rest of the way to the summit is 
 strewn with monks, sightseers, and ped- 
 dlers of eatables and drinkables. It is a 
 crowded and vivid composition, doubtless 
 all human enough and all true enough in 
 a sense, but as far from suggesting con- 
 ventional religious sentiment as any of 
 the pictures painted by a certain class 
 of Venetian masters to please the vanity 
 and satisfy the taste of the nobles. 
 
 There are pictures of the Ascent to Cal- 
 vary by several of the great masters. One 
 that is notable by Tintoretto is in the 
 series of frescoes in the Cathedral of San 
 Rocco, Venice ; one, attributed to Ra- 
 phael, a somewhat formal composition for 
 that great master, whose location I am 
 unable to give ; and one in the Brussels 
 Museum, by Rubens. 
 
 Of easel pictures after the type of the
 
 PIOMBO. CHRIST BEARING THE CROSS.
 
 CHRIST AS MARTYR. 197 
 
 Ecce Homo, a large number were made 
 during the Renaissance. These present 
 usually the solitary figure of the Saviour, 
 crowned with thorns, and grasping the 
 cross on His shoulder. 
 
 The very first representation of the 
 crucifixion itself, of which undoubtedly 
 more pictures have been painted than of 
 any other single subject in Art, is in 
 ivory, a carving on a small tablet that 
 is preserved as a priceless relic in the 
 British Museum. This is attributed to 
 about the fifth century. One of the il- 
 luminated manuscripts of the Dark Ages, 
 the Syriac Gospel, contains a well worked 
 out scene for so early a period. The 
 book is in the Laurentian Library, Flor- 
 ence. 
 
 It will not do to pass by in this connec- 
 tion the picture known to the masses of 
 civilisation as the Elevation of the Cross, 
 which, in its permanent place in the Ant-
 
 198 CHRIST IN ART. 
 
 werp Cathedral, has been for three cen- 
 turies one of the chief glories of the 
 Flemish people, as it is also conceded to 
 be one of the greatest works of Rubens. 
 
 Crucifixion was the general punish- 
 ment among the Romans for slaves who 
 committed theft, and was always con- 
 ducted by a detail of the soldiery. The 
 hands and feet of the victim were nailed 
 to the cross, with a supporting bar be- 
 tween the legs at the middle of the body. 
 Death was supposed to come in about 
 three days from lesions brought about 
 by the horribly unnatural position of the 
 body. Renan, in his " Life of Jesus," 
 however, estimates that Christ, who was 
 of a highly sensitive organisation, and 
 already much worn by the Agony, died 
 at the end of three hours from the rupture 
 of a blood-vessel. 
 
 In most of the early Crucifixions, in- 
 cluding a large number of the finest altar-
 
 CHRIST AS MARTYR. 199 
 
 pieces painted for Italian churches of 
 the fifteenth and sixteenth centuries espe- 
 cially, the scene always occupies the cen- 
 tral place of honour, and is surrounded 
 frequently with a detail of saints. Angels 
 are always introduced as poised beneath 
 the arms of the cross, holding in out- 
 stretched hands a cup to catch the blood 
 from the nailed hands of the Saviour. 
 Sometimes four angels are represented, 
 each holding a cup to one of the wounds. 
 Again the angel at the left arm performs 
 the double office of catching the blood 
 both from the hand and the left side. 
 
 In the Gospel Books, in the mosaics, 
 and in all representations up to the 
 thirteenth century, the figure of the 
 Christ on the cross is invariably draped 
 from the loins downward. 
 
 To the preachings of that inspired 
 monk and man of miracles, St. Francis 
 of Assisi, is attributed a special develop-
 
 2OO CHRIST IN ART. 
 
 ment of interest in the subject as an 
 art motive. Very soon after his time we 
 begin to find genuine historical represen- 
 tations. All the figures spoken of in the 
 Gospels are introduced, much promi- 
 nence being given to the Virgin, and even 
 the soldiers are seen in the foreground 
 casting lots for the garments of the Cru- 
 cified One. And since the very earliest 
 examples we find one or more groups 
 of hovering angels also. The aspect of 
 the Christ in each and all of the first 
 Crucifixions painted was that of intense 
 suffering. No note of the final triumph 
 is at all suggested. The Renaissance 
 added to this general ideal a careful 
 attention to anatomy in the figure of the 
 Saviour, and occasionally a more en- 
 lightened idea in His expression, sug- 
 gesting sometimes the pathos of great 
 resignation. 
 
 The picture of Bernardino Luini, at
 
 PERUGINO. CRUCIFIXION (CENTRAL PANEL).
 
 CHRIST AS MARTYR. 203 
 
 Lugano, is one of the first examples 
 that satisfies the modern sense of treat- 
 ment. It is indeed considered one of 
 the great religious paintings of all time, 
 and has for several generations been the 
 object of special pilgrimages by students 
 of religious art. 
 
 On the walls of the great churches in 
 Italy, the Crucifixion was frequently rep- 
 resented in a more idealised style, the 
 artist choosing such single figures or 
 groups as best suited his particular con- 
 ception of the theme for adoration by 
 the people. The Virgin, the Magdalen, 
 and one or more saints are usually seen 
 in such representations. A valuable ex- 
 ample of this class is the famous fresco 
 by Perugino in the Church of Santa 
 Maria Maddalena dei Pazzi, in Florence. 
 This consists of three arched panels, the 
 figure of the Christ stretched upon the 
 cross in the central one, at the right the
 
 2O4 CHRIST IN ART. 
 
 Virgin and St. Bernard, and in the other 
 space St. Benedict and St. John, and will 
 answer the general description of a large 
 number of Crucifixions thus painted in 
 the Italian churches at the time of the 
 Renaissance. 
 
 Fra Angelico's Crucifixion, his grand 
 fresco for the Sala del Capitolo, now pre- 
 served in the Museum of San Marco at 
 Florence, is calm, gloomy, yet full of 
 sincere pietistic feeling. The thieves, to 
 point the contrast with the central figure, 
 who is in the last stages of emacia- 
 tion, are plump, well-conditioned fellows. 
 There is no attempt at a dramatic por- 
 trayal of the scene. It is a severely re- 
 ligious piece, containing, besides Mary 
 and the Disciples in stereotyped attitudes, 
 a number of the martyrs of the early 
 Church. This is, however, like any of 
 Fra Angelico's pieces, a work that will 
 induce a markedly devout impression in
 
 CHRIST AS MARTYR. 2O5 
 
 every observer so long as it remains de- 
 cipherable, and its immediate effect when 
 it was first unveiled must have been very 
 powerful. It is semi-circular in shape, 
 and was probably employed as a lunette. 
 
 Michael Angelo painted a Crucifixion 
 after the manner which has since be- 
 come so stereotyped, the single figure 
 stretched upon the cross. There is noth- 
 ing in any sense unusual in the work, 
 either in conception or treatment, except 
 a skull reposing between two thigh-bones 
 at the foot of the cross. But the influ- 
 ence that this, one of the very earliest 
 of the single figure conceptions, coming 
 from so great a hand, must have had on 
 future painters, was doubtless very great. 
 It may have set the pattern, for nearly 
 every succeeding master has at least one 
 Crucifixion in this style, down to the 
 seventeenth century. 
 
 Durer's single figure of the Crucifixion
 
 2O6 CHRIST IN ART. 
 
 is, in the attitude, and especially in the 
 carefully studied countenance of the 
 Saviour, one of the very best render- 
 ings of the whole theme. Canon Farrar 
 remarks, from the standpoint of the 
 churchman, 1 " If it be lawful to paint 
 this subject at all it could hardly be 
 done better than Diirer has done it." 
 This artist also has two crowded and 
 unforgetable scenes representing the Cru- 
 cifixion in his Greater and Lesser Passion 
 series. 
 
 Tintoretto found in the scene on Cal- 
 vary his most splendid opportunity as a 
 religious painter. No less than three 
 great pictures are known to have been 
 painted by this master, all of which are 
 in Venice. He regarded the theme from 
 the standpoint of high tragedy, and has 
 given us stirring and awful compositions. 
 The fresco of San Rocco seems to be by 
 
 1 " The Life of Christ in Art."
 
 CHRIST AS MARTYR. 2O/ 
 
 general consent of all authorities the most 
 important one. Ruskin sums up his de- 
 scription by saying, " I must leave this 
 picture to work its will on the spectator, 
 for it is beyond all analysis and above all 
 praise." Although the cross bearing the 
 Saviour is alone elevated, and the sacrifice 
 of the thieves is in active preparation, 
 there is a gloom pervading the whole 
 scene that suggests the "darkness that 
 fell" only after the crosses had been for 
 some time set up. It is this special feel- 
 ing that is the key-note of its power, which 
 is well sustained in every detail as the eye 
 wanders from group to group. 
 
 It is a crowded and various composi- 
 tion, the supreme note of which is the 
 shadow of awful tragedy. Of all the old 
 masters, Tintoretto has unquestionably 
 best succeeded in rendering this impor- 
 tant, one might almost say final, motive 
 in the handling of one of the crowning
 
 2O8 CHRIST IN ART. 
 
 themes of religious art. There is little 
 space in this brief summary to dilate on 
 great pictures, but it seems to me one 
 could not exhaust in a whole day spent 
 before it the feeling of power that is 
 conveyed by this superb work. 
 
 The Crucifixion of Rubens (not the 
 single figure reproduced here, but a 
 composition of which there are several 
 replicas), as might be expected of this 
 master in whom the sense of life was 
 like the ever-swollen joyous flood of a 
 mighty river, is first of all a robust and 
 splendid figure of the Christ Himself. 
 But a glance at the countenance, seri- 
 ous in the depth of agony, only again 
 sets the seal on the genius of Rubens. 
 The muscular, splendid figure is not 
 forgotten, but an ineffable sense of the 
 supremest possible human woe is also 
 unforgetably stamped upon the beholder. 
 Here is the power of Rubens, which was
 
 RUBENS. CRUCIFIXION.
 
 CHRIST AS MARTYR. 211 
 
 never for one moment of a distinctly 
 religious cast. He is to most of us of 
 the earth, earthy, and as such he satis- 
 fies. The agony of the thieves is well 
 rendered. The Christ is dead, with the 
 pathos of great suffering set upon His 
 countenance. But the thieves live, and 
 each is writhing in dire agony. The 
 contrasting groups below, assembled with 
 a masterly sense of effect in the arrange- 
 ment of attitude and line, are a couple of 
 soldiers on horseback, one of whom lifts a 
 spear to pierce the side of the lorn Sa- 
 viour; and the Virgin, another female 
 figure, and John, who are depicted in 
 beautifully despairing attitudes of grief. 
 Mary Magdalen, the ideal figure, 
 with long showering blonde tresses, is 
 kneeling at the bleeding feet of the 
 Saviour. 
 
 The pictures of Rubens considered as 
 religious art belong in a class by them-
 
 212 CHR'IST IN ART. 
 
 selves. Concerning the great for till 
 the colours fade out entirely it will remain 
 so in a very opulent sense Descent 
 from the Cross, in the Antwerp Cathe- 
 dral, there has always been much debate, 
 many for generations past even going so 
 far as to declare that it has no fitting 
 place in an edifice dedicated to religious 
 worship. But the work of Rubens is so 
 remarkably human that it can never be 
 lost sight of, will always remain a glory 
 of Art, and certainly it cannot by even 
 the most devout dogmatist be honestly set 
 down against this master that he endeav- 
 oured to serve religion. In his own par- 
 ticular sphere Rubens has conveyed his 
 own important message. To all the 
 world with a trumpet voice he has pro- 
 claimed the splendour, the power, of the 
 human form, and the sense of the opu- 
 lence of life lived as his own was 
 from beginning to end on the grand
 
 GUIDO RENI. CRUCIFIXION (DETAIL).
 
 CHRIST AS MARTYR. 215 
 
 plane. It is a sufficient service, and his 
 message even as a religious painter will 
 undoubtedly grow in power and impor- 
 tance with the centuries. 
 
 Van Dyck, his greatest pupil, painted 
 several Crucifixions. To the last scenes 
 in the life of Christ he seems somehow 
 to have been inevitably attracted. His 
 religious subjects do not sustain his 
 fame, however. But of interest to the 
 visitor is at least one important example 
 of the Crucifixion, now preserved in the 
 Antwerp Museum. 
 
 The Renaissance, in its impassioned 
 search for the ideal, early fixed on the 
 simple figure stretched on the cross as 
 the highest form of representation. So 
 Guido Reni and all the seventeenth cen- 
 tury masters following the time painted 
 it. His best example is in the Church 
 of San Lorenzo in Lucina, Rome, a 
 grand work.
 
 2l6 CHRIST IN ART. 
 
 A very few modern masters have dared 
 to return to the earliest style of crowded 
 composition. Of these the paintings of 
 Verestchagin and Munkacsy most readily 
 occur. The rendering of the latter is, 
 like Tintoretto's, a scene of gloom. The 
 " darkness " has fallen ; the crowd is pre- 
 paring to leave ; the Son of Man is 
 slowly dying upon the tree ; the thieves 
 are beginning to feel the awful physical 
 pangs of the torture. The chiefs of 
 the sects are seen retiring in the fore- 
 ground, discussing the event with solemn 
 faces. The soldier who has pierced His 
 side holds his spear at rest, gazing with 
 sad, serious face upon the Saviour. The 
 group at the foot of the cross are in an 
 agony of still suffering. The note is 
 quiet, intense, and dramatic in the ex- 
 treme, but more than all, gloomy, as 
 was the essential cast of mind of pos- 
 sibly the greatest genius in modern re-
 
 CHRIST AS MARTYR. 21 7 
 
 ligious painting, now, alas ! clouded 
 for ever. 
 
 The Crucifixion of A. Morot, a French- 
 man, painted within a few years, is a most 
 admirable piece of execution. The figure 
 is tied, not nailed, to the cross, and is 
 evidently copied direct from the living 
 model. 
 
 That intense spirit of realism that is 
 one of the basic elements of American- 
 ism has carried the idea of the single 
 figure crucifixion so far in our own coun- 
 try that at least two notable examples of 
 photography direct from the living person 
 are known to connoisseurs. These have 
 been produced within the past five years, 
 and, aided by the recent rapid progress 
 in the discovery of the physical laws gov- 
 erning photography, which have indeed 
 advanced it to something like the plane 
 of an art, they possess a very genuine 
 value.
 
 2l8 CHRIST IN ART. 
 
 Short indeed is the roll of American 
 artists who have attempted the great 
 theme of the Crucifixion. The painting 
 of that name by Thomas Eakins will be 
 recalled by art lovers of the past genera- 
 tion. This is a single figure piece in the 
 Philadelphia Academy of Fine Arts. It 
 is a bit of realism in flesh painting that 
 stamps itself unforgetably upon the be- 
 holder. Equally memorable is the strong 
 sentiment conveyed by the glaring sun 
 upon the lone figure set in a waste of 
 sand. This is a powerful work, and atones 
 for much shortcoming in religious art in 
 Arfierica.
 
 V. 
 
 CHRIST DEAD AND ARISEN
 
 " Tis the weakness in strength that I cry for ! my 
 
 flesh that I seek. 
 In the Godhead ! I seek and I find it ! Oh ! Saul 
 
 it shall be, 
 A face like my face that receives thee ; A man like 
 
 to me, 
 Thou shalt love, and be loved by for ever ; a Hand 
 
 like this hand, 
 Shall throw open the gate of new life to thee ! see 
 
 the Christ stand ! " 
 
 BROWNING.
 
 CHAPTER V. 
 
 CHRIST DEAD AND ARISEN. 
 
 HE note of gloom, the still note 
 of tragedy, is somehow the dom- 
 inant one in nearly all the pic- 
 tures of the Entombment. The sufferings 
 of the Saviour are ended. The simple 
 and beautiful narrative of the begging of 
 the body by St. Joseph of Arimathea 
 comes on the soul like a restful calm. 
 " It is finished " was the last cry of the 
 Cross, and is the first honest note of 
 the Pieta. 
 
 But this does not seem to be the 
 dominant idea with most religious paint- 
 ers. The Deposition or Descent from 
 the Cross was the scene chosen by
 
 222 CHRIST IN ART. 
 
 many of the earlier artists. Duccio, in 
 his Passion series (Sienna Cathedral), to 
 mention a very important first master 
 of the art of painting, chose this part of 
 the subject. Daniele Da Volterra, a 
 pupil of Michael Angelo, and who is 
 classed among the Decadents of the Re- 
 naissance, made his masterpiece of a De- 
 scent from the Cross. It is in the Church 
 of the Trinita de Monti, Rome. Niccolo 
 Pisano, who, to go back in the record of 
 time a century or so, revived the art of 
 -sculpture, had a beautiful relief of the 
 theme in a church at Lucca. 
 
 Fra Angelico chose to paint the De- 
 scent from the Cross rather than a 
 gloomy Entombment. The picture, made 
 in 1445 for the Church of Santa Trinita 
 in Florence, is now among the treasures 
 of the Florence Academy. And there are 
 Depositions from the earliest work of the 
 monks of the mediaeval period in mosaic
 
 RUBENS. DESCENT FROM THE CROSS.
 
 CHRIST DEAD AND ARISEN. 225 
 
 and missal, down to the splendid paint- 
 ing of Rubens, the companion piece to his 
 Elevation of the Cross, in the Antwerp 
 Cathedral. 
 
 Mantegna, an early Renaissance master, 
 who is full of the seriousness that is at 
 the basis of true religious feeling, en- 
 graved the Descent. Rembrandt lingered 
 even to etch it. The Dutch master also 
 painted it, a double service which he 
 rendered to many of the sacred subjects 
 to which he was most attracted, and the 
 latter picture is now one of the important 
 works in the Munich Gallery. 
 
 Fra Fiiippo Lippi and Perugino collabo- 
 rated on a work which, under this title, 
 hangs in the Royal Gallery of Florence. 
 It is full of a curious grotesquerie in the 
 disposition and attitudes of the figures, 
 but painted with much feeling and sin- 
 cerity. The characteristic spiritual qual- 
 ity of Perugino's style is manifest here,
 
 226 CHRIST IN ART. 
 
 combined with Fra Lippi's intensity of 
 feeling for the human quality. But there 
 is no solidity to the picture as a whole. 
 It is painted, even as to the countenances, 
 with a confused sense of power, and the 
 sense of activity in the participants, which 
 is almost painful, destroys the true rela- 
 tive meaning of the scene. 
 
 Many of these old masters are of value 
 largely in the historical sense, as contrib- 
 utors to the record of the progress of Art. 
 Their works are the treasured possessions 
 of the galleries of Europe, on account of 
 the high general value to civilisation 
 of the art of painting. And yet, most of 
 them, despite the most glaring faults as 
 measured by the canons of technique 
 to-day, possess a still higher value than 
 this. They are the record of the state 
 of spiritual feeling and thought of the day 
 when they were made. The exact status 
 of current religious feeling can be traced
 
 CHRIST DEAD AND ARISEN. 22Q 
 
 in the canvasses of the masters far easier 
 by those who know how to read it than 
 in any other way. These painters were 
 in an important sense the soul of their 
 time. Their greatest mission is as relig- 
 ious historians ; but they render also 
 contemporary manners, costume, charac- 
 ter, so that there is not one of the most 
 archaic and seemingly grotesque of the 
 older works but has a religious, a his- 
 torical, and a moral significance. This 
 is the essence of the value of painting, 
 it gives us exactly, like poetry, in a simple 
 form the souls of not one man, but of many. 
 It is scarcely too much to say that the 
 whole of the civilisation of his time is in 
 the complete works of every important 
 master. 
 
 Fra Bartolommeo's Deposition, in the 
 Pitti Gallery, is, despite the sorrowful 
 character of the subject, a painting of 
 the rarest attractiveness to all lovers
 
 230 CHRIST IN ART. 
 
 of the beautiful. The sense of the scene 
 is perfectly realised. The attitudes and 
 expressions of the figures (there are only 
 four) are absolutely ideal, full of deep yet 
 chastened grief, while the whole composi- 
 tion shows the hand of a master of style 
 in painting. Not so tragically mournful 
 as many of the other Entombments, the 
 painting is full of the charm of Italian art 
 in its best period. 
 
 One of the great names in Northern 
 art that the Flemings of to-day hold in 
 particular estimation is that of Quentin 
 Matsys, who began his life as a black- 
 smith, and whose picture of the Deposi- 
 tion, now hanging in the Antwerp Gallery, 
 is held to be his chief work. 
 
 Of the Pieta, which is the general term 
 for all pictures of the Dead Christ and 
 His Mother, there is an enormous number 
 and infinite variety of scenes, ranging over 
 five centuries. Giotto, in the immortal (if
 
 CHRIST DEAD AND ARISEN. 23! 
 
 anything in the art of painting can be 
 properly called so) series of frescoes in 
 the Chapel of the Arena at Padua, de- 
 picted the Descent from the Cross and 
 the Entombment together. Fra Angel- 
 ico, in a second painting, followed his 
 example, as did other lesser masters. 
 
 But with the dawn of really great art 
 in painting, and the idealisation of the 
 subject, the easel picture, the En- 
 tombment became a very carefully studied 
 composition. Here again, as often before, 
 it is the roll-call of the great masters in 
 Art that is answered to. 
 
 We begin with Taddeo Gaddi, a con- 
 temporary of Cimabue, whose altar-piece 
 of the subject is preserved to-day in the 
 Florence Academy. Raphael handled the 
 subject, as he seemed to do everything, 
 for the especial benefit of the connoisseur, 
 and has thus a beautiful painting in the 
 Borghese Gallery at Rome. The picture
 
 232 CHRIST IN ART. 
 
 
 
 of Titian is an honestly great contribu- 
 tion to the subject, full of reverence and 
 grief, although suggesting inevitably the 
 splendour of manner of the Venetian 
 school. 
 
 Roger Van Der Weyden has a Lamen- 
 tation that is very serious. He gives us 
 a Christ wasted by sorrows and the agony 
 of the cross to the point of emaciation. 
 From a pathological standpoint his Christ 
 would evidently fulfil every condition. 
 The face expresses in a masterly way the 
 depth of agony that has just passed over. 
 The picture is sorrowful, pathetic in the 
 extreme, especially so far as the central 
 figure is concerned, but appeals to no 
 high sense of character. The Christ is 
 too evidently from a peasant model and 
 totally unvivified by any sense of high 
 impulse. Poignant suffering is alone 
 sought to be represented here. The 
 Dead Christ in the Berlin Gallery is a
 
 CHRIST DEAD AND ARISEN. 233 
 
 replica of this figure. The Mary in this 
 latter composition is a strong figure, evi- 
 dently painted, with great care, from a 
 German matron of commanding beauty. 
 
 Van Der Weyden is wonderful in ren- 
 dering the depths of a wholly human 
 despair in the human countenance. The 
 faces about the cross in his Crucifixion 
 strike the beholder at once. The depth of 
 forlorn sorrow depicted in the countenance 
 of the Christ in this latter work is un- 
 doubtedly equal as a mere achievement 
 to that of any contemporaneous master. 
 
 Caravaggio's Entombment, in the Vati- 
 can Gallery, is a very strong direct human 
 rendering of the subject. There is no 
 waste of material or idea in this example. 
 The figures are all intensely concentrated 
 both in attitude and expression. The 
 grouping is masterful, and the whole com- 
 position beyond praise. The figures are 
 rendered direct from carefully selected
 
 234 CHRIST IN ART. 
 
 models, and the whole feeling is contem- 
 poraneous. It is a scene studied from the 
 current life of the painter, with a power, 
 feeling, and freshness that make of it a 
 masterpiece. 
 
 Carlo Crivelli's Entombment is a curi- 
 ous bit of early realism (Vatican Gallery). 
 The expression common to all four faces 
 in the work is one of strained agony that 
 is grotesque even to the point of exciting 
 humour. The gaping wounds and lean 
 body of the Christ make this a very 
 intense example of the earlier manner. 
 
 One of the earliest Entombments is the 
 Gesu Morte of Girolamo Da Carpi now 
 in the Pitti Gallery. It is a good example 
 of the handling of a certain class of paint- 
 ers of the Renaissance who owed no fixed 
 allegiance to any one particular school. 
 
 Francesco Francia's Entombment, a 
 lunette in one of the Bolognese churches, 
 is after the general manner of Fra Bar-
 
 CARACCI. PIETA.
 
 CHRIST DEAD AND ARISEN. 237 
 
 tolommeo's work. It lacks the depth of 
 feeling, however, and is in no sense so 
 valuable a record of the theme. It is 
 in the stereotyped manner in which so 
 many contemporary Pietas were painted, 
 and one that, it must be admitted, " com- 
 poses " well. The reclining Christ is 
 ministered to by His mother, the scene 
 completed by two angels, one at either 
 extremity. 
 
 Not wholly to slight the moderns, with 
 whom the subject is yet a very scarce one, 
 Professor Hofmann's In the Sepulchre 
 strikes a new note among pictures in the 
 Pieta series. A tall figure, presumably 
 Joseph of Arimathea, stands holding the 
 lifted cloth from the Saviour's face, who 
 reclines on a slab, while His mother, kneel- 
 ing on the other side, lingers for a last 
 look. From the entrance of the rock- 
 hewn cave three figures are seen depart- 
 ing, one of whom is Mary Magdalen.
 
 238 CHRIST IN ART. 
 
 Hofmann's Easter Morning and I 
 quote from him so often because he is, 
 undoubtedly, the modern painter who has 
 most nearly touched the general heart of 
 the religious masses is a most beautiful 
 picture. The scene is in the half light of 
 early morning, with Mary Magdalen a dis- 
 consolate figure at the door of the sepul- 
 chre. A majestic and beautiful apparition 
 of the Saviour appears just in the back- 
 ground. This Presence, however, hardly 
 carries out the idea of the gardener referred 
 to in the only account given of the meet- 
 ing, that by St. John. 
 
 Angelico's so-called Descent from the 
 Cross should evidently have been called 
 an Entombment. There is no cross or 
 suggestion of Calvary in the picture, and 
 the Saviour, supported from behind by a 
 stalwart aureoled male figure, seems just 
 about to be laid in the tomb, which, hewn 
 out of the living rock, is seen just behind.
 
 CHRIST DEAD AND ARISEN. 239 
 
 The drapery that enwraps the lower por- 
 tion of the Christ's body is very remark- 
 able for a painting of this period, and 
 shows that Fra Angelico could paint 
 some things with a master's hand. 
 
 Renan closes his masterly " Life of Jesus" 
 with the Entombment, and is inclined to 
 regard the Resurrection and the follow- 
 ing miraculous scenes from a materialistic 
 standpoint. As a part of the record of 
 sacred art, however, the Resurrection, the 
 Appearance of the Angel to the Women 
 at the Tomb, the Appearance of Christ 
 to Mary Magdalen, the Walk to Emmaus, 
 the Supper at Emmaus, the Incredulity of 
 St. Thomas, and the Ascension have all 
 been treated generally from the beginning. 
 The first really important example of 
 the Resurrection is found in a panel of 
 Ghiberti's Gates of the Baptistery at Flor- 
 ence. The early Renaissance masters, 
 Duccio, Giotto, and the rest, handled the
 
 240 CHRIST IN ART. 
 
 scene with free realism, representing the 
 Christ as actually coming out of the tomb, 
 in some instances as standing on it. With 
 the gradual idealisation of Art, this idea 
 is presented in a more figurative sense. 
 Titian's Christ soars high in mid-air. 
 With some painters, as Perugino (Vatican 
 Gallery, Rome), the tomb is rendered in 
 the most conventional style of architec- 
 ture ; with others, as Leonardo Da Vinci, 
 it is more naturally a rock-hewn cave. 
 The earlier artists, with naive simplicity, 
 always placed a banner in the left hand 
 of the ascending Christ, the emblem of 
 victory over the grave. 
 
 There has always been much contention 
 in the various schools of criticism over the 
 works of the old masters, but an example 
 on which all, from Vasari, the first impor- 
 tant art chronicler, to so late and valued 
 an authority as John Addington Symonds, 
 seem to be united, is the Resurrection of
 
 CHRIST DEAD AND ARISEN. 24! 
 
 Piero Delia Francesca, a fresco in the 
 Palace of the Conservators at Rome. The 
 chief merit of the work, and the one that 
 has secured the recognition of critics of 
 all degrees, is the rare sense of naturalism 
 in the portrayal of a man awakening from 
 death to life, that the painter has suc- 
 ceeded in imparting to the central figure. 
 This is a merit so absolute that it has 
 been quite enough to preserve the work 
 for special acclaim. 
 
 Tintoretto painted the Resurrection a 
 number of times. His best example is a 
 part of his great series of frescoes in the 
 Church of San Rocco, in Venice. An 
 important picture of the Renaissance era 
 is the work of Annibale Caracci, now 
 preserved in the Louvre, Paris. Durer's 
 picture should not be overlooked by any 
 one who cares for this, master. It is one 
 of his most vivid and powerful conceptions. 
 A beautiful example from the hand of
 
 242 CHRIST IN ART. 
 
 Fra Bartolommeo is in the Pitti Gallery, 
 Florence. 
 
 The modern artists who have handled 
 the subject are not many; Burne-Jones, 
 perhaps, alone deserves immediate men- 
 tion. This deep interpreter has made 
 it the subject of a window in Hopton 
 Church, England. 
 
 The Angels at the Tomb will be passed 
 over as having no place in this brief sum- 
 mary of pictures devoted to the portrayal 
 of the Saviour Himself. 
 
 Christ appearing to Mary Magdalen, 
 the theme known in the Catholic Church 
 under the title "Noli Me Tangere," from 
 the words recorded by St. John, " Touch 
 Me not! for I am not yet ascended to My 
 Father," is also a splendid example of the 
 very important labours of Burne-Jones in 
 religious art. 
 
 To return to something like chronolog- 
 ical order, the theme is well known in
 
 CORREGGIO. NOLI ME TANGERE.
 
 CHRIST DEAD AND ARISEN. 245 
 
 mediaeval art. Thence following, we have 
 the pictures of Giotto and Duccio in the 
 two series before often referred to. The 
 example by Mantegna is preserved in the 
 National Gallery, London. Correggio, 
 the essence of whose soul was the dream 
 of the beautiful, could not be restrained 
 from so apposite a subject as this, which 
 included also the Magdalen. His picture 
 hangs in the Prado Gallery, Madrid, and 
 has the special merit of being a truthful 
 conception of the scene according to 
 strict latter-day notions. 
 
 The Walk to Emmaus, also called the 
 Meeting at Emmaus, has been treated by 
 comparatively few painters even down to 
 the latest times. To mention one of the 
 earliest pictures, Era Angelico's, called the 
 Meeting at Emmaus, consists of a very 
 fine and living head of the Christ, who is 
 carrying the staff of a pilgrim. The two 
 men are cowled and shorn monks, and
 
 246 CHRIST IN ART. 
 
 are doubtless brother cloisterers of the 
 painter himself. 
 
 Hofmann has a Walk to Emmaus in 
 his series of Bible illustrations treated 
 in his usual serious, dignified manner. 
 Here the Christ is carefully studied as 
 one newly risen from the dead, and the 
 figure is very impressive. The strangers 
 are both questioning Him earnestly, one 
 having laid his hand upon His shoulder, 
 while the other is grasping Him by the 
 wrist. 
 
 The theme of the Supper at Emmaus 
 seems to have found more favour for 
 very simple and natural reasons; yet it 
 is to the Venetian school alone that we 
 must turn for the first important examples. 
 As in the Adoration of the Kings and 
 the Marriage at Cana, here was an 
 affected opportunity for the portrayal of 
 opulent contemporary life. Far from the 
 mark of general religious feeling is such
 
 CHRIST DEAD AND ARISEN. 247 
 
 an idea, and yet we cannot pass over cer- 
 tain splendid paintings by the Venetian 
 masters, which are important as contribu- 
 tions to the history of Art. It is true 
 that there is nothing in the sacred narra- 
 tive that indicates the environment of the 
 scene, and this fact left Veronese and 
 his contemporaries quite unhampered by 
 ecclesiastical restrictions. We have the 
 simple touching scene, therefore, under 
 the hand of these men of their time, trans- 
 formed into a banquet. 
 
 One of the most restrained of these 
 compositions is the altar-piece of Car- 
 paccio, in the Church of San Salvatore, 
 Venice. Utterly and intentionally ideal 
 from the purest standpoint of Venetian 
 civilisation is the figure of the Christ 
 here. His four companions, attired in 
 varying costumes, are unquestionably con- 
 temporary portrait figures of Venetian 
 nobles. The setting is a simple but splen-
 
 248 CHRIST IN ART. 
 
 did apartment with variegated marble col- 
 umns. The fare is substantial and rich, 
 though not remarkably profuse. The 
 table alone strikes an incongruous note 
 in the general scheme, being only a simple 
 board supported on four meagre sticks of 
 wood, and covered with but a scant cloth. 
 There is certainly religious sentiment of 
 a certain kind in the attitude and mien 
 of the Saviour here, but the rest of the 
 picture is to the modern sense only curi- 
 ous to the point of grotesquerie. 
 
 Veronese quite outdoes Carpaccio. He 
 indeed painted his own household in a 
 superlative setting of magnificence. The 
 painting of Marco Marziale, which hangs 
 in the Venice Academy, is another inter- 
 esting example of this class. 
 
 Titian introduced the Emperor Charles 
 V., the Cardinal Ximenes, and other of 
 his distinguished patrons into the scene. 
 The picture is now in the Louvre, Paris.
 
 CHRIST DEAD AND ARISEN. 251 
 
 Rubens, who yielded naturally to the 
 influence of the Venetian masters, has an 
 example much in their general manner 
 now in the Prado Gallery in Madrid. 
 
 Rembrandt seems to have been hon- 
 estly touched by the legend in its deeper 
 meanings. His painting in the Louvre, 
 Paris, is much the most valuable to gen- 
 eral civilisation of all the early modern 
 works. He also etched the Supper at 
 Emmaus several times. 
 
 Modern painters, generally speaking, 
 seem to have found a ready inspiration in 
 the subject. The works of Carl Miiller, 
 of Ford Madox Brown, and of a living 
 French master, Dagnan-Bouveret, must be 
 mentioned in this connection. There is 
 also a striking and forceful work in the 
 ultra-modern realistic style by L'Hermitte, 
 which is now in the Boston Museum of 
 Fine Arts. 
 
 The Unbelief of Thomas holds quite
 
 252 CHRIST IN ART. 
 
 too important a place in the scheme of 
 Christian morals to have been slighted 
 in the least. There are many and beauti- 
 ful pictures of this beautiful subject. It 
 is to be remarked, however, with some 
 sense of wonder, that none of them are 
 later than Van Dyck. Not a single painter 
 for more than two centuries has set his 
 hand to a delineation of this tradition. 
 
 Among the most noteworthy works are 
 two pictures by Cima da Conegliano, an 
 important painter of the Venetian school. 
 One of these, an altar-piece, now in the 
 Venice Academy, is especially valuable to 
 connoisseurs as a typical example of the 
 artist's style, although it contains, perhaps, 
 but little that would satisfy the ordinary 
 observer. Dlirer's picture in the Little 
 Passion series includes the entire group 
 of the Apostles. The painting of Rubens, 
 in the Antwerp Gallery, contains but three 
 figures, Christ, Thomas, and Peter. It is
 
 CHRIST DEAD AND ARISEN. 253 
 
 a splendid example of this master's style. 
 Van Dyck follows his preceptor closely 
 in composition and general treatment. 
 This example is preserved in the Her- 
 mitage Collection at St. Petersburg. 
 
 With the Ascension the scene closes, 
 and the curtain falls on the greatest human 
 panorama of two thousand years. To the 
 true Christian believer it were supere- 
 rogatory to paint this scene ; but it has, 
 nevertheless, been done a number of 
 times. 
 
 The most important work in sculpture 
 is from the hand of Luca Delia Robbia, 
 who rendered all things with that combi- 
 nation of sincerity and feeling which gives 
 him an honest claim to immortality. 
 
 From the idealisers, like Perugino, to 
 the first real romanticists, like Tintoretto, 
 the Ascension includes but a comparative 
 few of the most important names in the 
 history of painting.
 
 254 CHRIST IN ART. 
 
 Canon Farrar, in his copious work, 1 the 
 most important contribution in English 
 to the general subject, treats this motive 
 but scantily, as a dissenting churchman 
 must. 
 
 The great work of Correggio, as all the 
 religious paintings of this master, must 
 ever remain an important example. It is 
 in the Church of San Giovanni Evange- 
 lista, Parma. There is a well-known de- 
 lineation by Andrea Mantegna, preserved 
 in the collection of the Uffizi Gallery, 
 Florence. 
 
 To bridge the span of the centuries, it 
 is an important fact that the most notable 
 work of the greatest religious artist in 
 America, John La Farge, is a grand fresco 
 devoted to this theme in the Church of 
 the Ascension in New York City. This 
 is, as well, the most important religious 
 painting in the Western Hemisphere. 
 
 1 " The Life of Christ as Represented in Art."
 
 MANTEGNA. ASCENSION (DETAIL).
 
 CHRIST DEAD AND ARISEN. 257 
 
 But I must bring to a close this brief 
 essay in a task that is really stupendous. 
 It is enough for my purpose, if I have 
 stirred the soul of the reader only here 
 and there with some reference to a great 
 picture. Enough, if I have in some im- 
 perfect sense added to the record of the 
 great fact, that the ineradicable feeling for 
 the beautiful in mankind, which is the 
 essence of all Art, has for at least five cen- 
 turies been at the complete service of the 
 divine ideal. 
 
 THE END.
 
 BIBLIOGRAPHY. 
 
 VERNON LEE: Studies in the Italian Renaissance. 2 
 vols. Boston (reprint), 1884. 
 
 ERNEST RENAN : The Life of Jesus. New York (re- 
 print), 1864. 
 
 MICHAEL BRYAN: A Biographical and Critical Dic- 
 tionary of Painters and Engravers. London, 1865. 
 
 JOHN C. VAN DYKE: A Text -book of the History of 
 Painting. New York and London, 1894. 
 
 CLARA ERSKINE CLEMENT : Painters, Sculptors, Archi- 
 tects, and Engravers. A Handbook. Cambridge 
 and New York, 1874. 
 
 CANON FARRAR : The Life of Christ as Represented 
 in Art. London and New York, 1 894. 
 
 ESTELLE M. HURLL: The Life of Our Lord in Art. 
 Boston and New York, 1898. 
 
 HENRY VAN DYKE: The Christ-child in Art. New 
 York, 1894. 
 
 CROWE AND CAVALCASELLE : A History of Painting 
 259
 
 260 BIBLIOGRAPHY. 
 
 in Italy. London, 1864. A History of Painting in 
 
 North Italy. London, 1871. 
 GIORGIO VASARI : The Lives of the Painters. Edited 
 
 by A. A. Hopkins and E. H. and E. W. Blashfield. 
 
 New York, 1897. 
 ESTELLE M. HURLL: The Madonna in Art. Boston, 
 
 1898. 
 CLARA ERSKINE CLEMENT : Angels in Art Boston, 
 
 1898. 
 SOULE PHOTOGRAPH Co.: Collections of Photographs 
 
 of early and modern religious works of art. Boston. 
 WILL. H. Low : A Century of Painting. McClure's 
 
 Magazine^ January to May, 1896. 
 TIMOTHY COLE : Old Italian Masters. With notes by 
 
 W. J. Stillman. New York, 1892. 
 BERNHARD BERENSON : The Venetian Painters of the 
 
 Renaissance. New York, 1894. The Florentine 
 
 Painters of the Renaissance. New York, 1894. 
 
 The Central Italian Painters of the Renaissance, 
 
 New York, 1894.
 
 INDEX. 
 
 Aertszen: Calvary, 192-194. 
 
 Angelico, Fra: 23; Flight into Egypt, 51 ; Baptism of Christ, 
 75; Transfiguration, 117; Washing of the Disciples' 
 Feet, 158; Kiss of Judas, 166-167; Christ Bearing the 
 Cross, 191; Crucifixion, 204-205; Descent from the 
 Cross, 222; Descent from the Cross and the Entomb- 
 ment, 231, 238-239 ; Meeting at Emmaus, 245-246. 
 
 Angelo, Michael: 15, 24, 222; Crucifixion, 205. 
 
 Baroccio : II Salvatore, 107. 
 
 Bartolommeo : Deposition, 229-230, 237 ; Resurrection, 242. 
 
 Bellini, Giovanni: Baptism of Christ, 75; Transfiguration. 
 117. 
 
 Beraud, Jean: Chemin de la Croix, 187-190. 
 
 Bida, Alexandre : Discourse with Nicodemus, 90 ; Woman 
 Taken in Adultery, 123; Sermon on the Mount, 128; 
 Entry into Jerusalem, 140, 145. 
 
 Boccacino : Christ with the Doctors, 57. 
 
 Bonifazio: Adoration of the Magi, 42; Cleansing of the 
 Temple, 88. 
 
 Bonifazio (II.) : Last Discourse, 161-162. 
 
 Botticelli : 91 ; Nativity, 37 ; Adoration of the Magi, 41 ; 
 Temptation of Christ, 77-79; Assumption, 78. 
 
 Bouguereau : Adoration of the Magi, 47. 
 
 Brown, Ford Madox: Transfiguration, 118; Washing of 
 Peter's Feet, 160-161 ; Supper at Emmaus, 251. 
 261
 
 262 INDEX. 
 
 Bruni : Night in Gethsemane, 165. 
 
 Barne-Jones, Sir Edward : Nativity, 38 ; Marriage at Cana, 
 84-85 ; Discourse with the Samaritan Woman, 91 ; 
 Christ Preaching from the Ship, 96 ; Miraculous Draught 
 of Fishes, 96; Abnegation of Simon Peter, 96; Resur- 
 rection, 242 ; Noli Me Tangere, 242. 
 
 Caracci, Annibale : Resurrection, 241. 
 
 Caravaggio : Entombment, 233-234. 
 
 Carpaccio : Supper at Emmaus, 247-248. 
 
 Carpi, Girolamo Da : Gesu Morte, 234. 
 
 Cimabue : 231 ; Madonna, 19. 
 
 Cima da Conegliano : Baptism of Christ, 75 ; Unbelief of 
 Thomas, 252. 
 
 Ciseri: Ecce Homo, 179. 
 
 Correggio: La Notte, 37; Ecce Homo, 180; Napkin of St. 
 Veronica, 187 ; Noli Me Tangere, 245 ; Ascension, 254. 
 
 Craeyer, Gaspard de : Miraculous Draught of Fishes, 95. 
 
 Cranach, Lucas (elder): Woman Taken hi Adultery, 120; 
 Christ Blessing Little Children, 131. 
 
 Cranach, Lucas (younger) : Washing of the Disciples' Feet, 
 160. 
 
 Crivelli, Carlo : Entombment, 234. 
 
 Dagnan-Bouveret : Supper at Emmaus, 251. 
 
 Dore, Gustave : 27 ; Entry into Jerusalem, 145. 
 
 Duccio : Frescoes in the Sienna Cathedral, 139; Washing of 
 the Disciples' Feet, 158; Kiss of Judas, 166; Descent 
 from the Cross, 222 ; Resurrection, 239-240 ; Noli Me 
 Tangere, 245. 
 
 Du Mond, F. V. : Baptism of Christ, 75. 
 
 Diirer: 144, 183; Adoration, 36; Sojourn hi Egypt, 51; 
 Entry into Jerusalem, 143 ; Flagellation, 143 ; Last Sup- 
 per, 156; Kiss of Judas, 167; Christ Taken Captive, 
 167; Hearing before Annas, 169-170; Hearing before 
 Herod, 172; Crucifixion, 205-206; Resurrection, 241; 
 Unbelief of Thomas, 252.
 
 INDEX. 263 
 
 Dyck, Van: Tribute Money, 149; Kiss of Judas, 167-168; 
 Crucifixion, 215; Unbelief of Thomas, 252-253. 
 
 Eakins, Thomas: Crucifixion, 218. 
 
 Eastlake, Sir Charles : Christ Blessing Little Children, 132- 
 133 ; Christ Weeping over Jerusalem, 146. 
 
 Fabriano, Gentile da: Adoration of the Kings, 41. 
 
 Francesca, Piero Delia: Resurrection, 241. 
 
 Francia, Francesco : Entombment, 234-235. 
 
 Francken, Franz (II.) : Discourse with Nicodemus, 89-90 ; 
 Woman Taken in Adultery, 120; Last Supper, 160; 
 Washing of Peter's Feet, 160. 
 
 Fubrif e : Return of the Prodigal, 1 26. 
 
 Gaddi, Taddeo : Entombment, 231. 
 
 Gebhardt, Von : Last Supper, 1 57. 
 
 Ghiberti : Bronze Doors of the Baptistery of Florence, 23 ; 
 Baptism of Christ, 75; Temptation of Christ, 77; Cleans- 
 ing of the Temple, 87; Transfiguration, 117; Washing 
 of the Disciples' Feet, 158; Kiss of Judas, 166-167; 
 Christ Bearing the Cross, 191 ; Resurrection, 239. 
 
 Ghirlandajo, Domenico : Adoration of the Shepherds, 46-47 ; 
 Calling of Peter and Andrew, 93 ; Calling of the Sons of 
 Zebedee, 93 ; Miraculous Draught of Fishes, 93. 
 
 Giorgione: 109. 
 
 Giotto: 117, 133; Frescoes in the Chapel of the Arena at 
 Padua, 20 ; Nativity, 35 ; Flight into Egypt, 51 ; Raising 
 of Lazarus, iio-m, 124; Crucifixion, 139; Washing of 
 the Disciples' Feet, 158; Kiss of Judas, 166; Tribunal 
 of Caiaphas, 171 ; Christ Bearing the Cross, 191 ; Descent 
 from the Cross and the Entombment, 230-231 ; Resur- 
 rection, 239-240 ; Noli Me Tangere, 245. 
 
 Gozzoli, Benozzo : Procession of the Magi, 42-46. 
 
 Guger, C. Aug. : Kiss of Judas, 169. 
 
 Hitchcock, George : 30. 
 
 Hofmann, Heinrich : Disputation, 57, 71; Temptation of 
 Christ, 80 ; Discourse with the Samaritan Woman, 91-
 
 264 INDEX. 
 
 92 ; Behold 1 I Stand at the Door and Knock, 101 ; 
 
 Omnipresence of Christ, 102; Raising of the Daughter 
 
 of Jairus, 102; Mary Anointing the Feet of Jesus, 103; 
 
 Come Unto Me, 103; Woman Taken in Adultery, 123; 
 
 Entry into Jerusalem, 145; Night in Gethsemane, 165; 
 
 Kiss of Judas, 168 ; In the Sepulchre, 237 ; Easter Morn- 
 ing, 238 ; Walk to Emmaus, 246. 
 
 Holbein: Last Supper, 156; Tribunal of Caiaphas, 171. 
 Hunt, Holman : Flight into Egypt, 53 ; Disputation, 58 ; 
 
 Shadow of Death, 70 ; Light of the World, 101. 
 Hunt, William M. : Return of the Prodigal, 126. 
 Ittenbach : Napkin of St. Veronica, 187. 
 Jouvenet : Miraculous Draught of Fishes, 95 ; Christ Heal- 
 ing the Multitude, 97-98. 
 Kraft, Adam: Stations of the Cross, 183-184. 
 La Farge, John : 30 ; Arrival of the Magi at Bethlehem, 47 ; 
 
 Discourse with Nicodemus, 90 ; Ascension, 254. 
 La Garde, Pierre : Flight into Egypt, 53. 
 Le Rolle : Arrival of the Shepherds, 38. 
 Leyden, Lucas Van : Temptation of Christ, 79 ; Last Supper, ' 
 
 156; Kiss of Judas, 167; Hearing before Annas, J7O; 
 
 Christ Bearing the Cross, 192. 
 L'Hermitte: Supper at Emmaus, 251. 
 Lippi, Filippo : Adoration, 37 ; Descent from the Cross, 225- 
 
 226. 
 Lippi, Filippino : Adoration of the Magi, 41 ; Discourse with 
 
 the Samaritan Woman, 91. 
 Liska : Night in Gethsemane, 165. 
 Lorraine, Claude: Sermon on the Mount, 128. 
 Lotto, Lorenzo: Transfiguration, 117; Woman Taken in 
 
 Adultery, 119. 
 Luini, Bernardino : Disputations, 54 ; Virgin and Child with St. 
 
 John, 58 ; Jesus and St. John, 58 ; Crucifixion, 200-203. 
 Mantegna : Descent from the Cross, 225 ; Noli Me Tangere, 
 
 245 ; Ascension, 254.
 
 INDEX. 265 
 
 Marconi, Rocco : Woman Taken in Adultery, 109-11 
 
 Marziale, Marco : Supper at Emmaus, 248. 
 
 Masaccio : Tribute Money, 146. 
 
 Matsys, Quentin: Deposition, 230. 
 
 Memling, Hans : Adoration, 36. 
 
 Mengelburg: The Twelve-year-old Christ on His Way to 
 Jerusalem, 71. 
 
 Merson, Luc Olivier : In the Shadow of Isis, 53. 
 
 Millais, Sir John E. : Christ in the House of His Parents, 
 70-71. 
 
 Morando: Washing of the Disciples' Feet, 159; Christ 
 Bearing the Cross, 192. 
 
 Morelli, Domenico : Woman Taken in Adultery, 123; Mock- 
 ing of Christ, 172. 
 
 Moroni : 1 59. 
 
 Morot, A.: Crucifixion, 217. 
 
 Miiller, Carl : Supper at Emmaus, 251. 
 
 Munier : Christ-child, 65. 
 
 Munkacsy : Christ before Pilate, 175, l8o; Ecce Homo, 180; 
 Crucifixion, 216. 
 
 Murillo : Holy Family, 62 ; Ecce Homo, 180. 
 
 Noort, Adam Van: Christ Blessing Little Children, 131-132. 
 
 Overbeck : Johann Friedrich, 132 ; Christ Healing the Sick, 
 92 ; Entry into Jerusalem, 145. 
 
 Pennachi: Disputation, 57; Transfiguration, 117. 
 
 Perugino : 77 ; Nativity, 37 ; Adoration of the Magi, 41 ; 
 Baptism of Christ, 75; Transfiguration, 118 ; Crucifixion. 
 203-204; Descent from the Cross, 225-226; Resurrec- 
 tion, 240; Ascension, 253. 
 
 Piloty: Wise and Foolish Virgins, 126. 
 
 Pisano, Niccolo : Descent from the Cross, 222. 
 
 Pontes, The Da : Cleansing of the Temple, 87-88. 
 
 Poussin : Woman Taken in Adultery, 120. 
 
 Raphael : 24 ; St. John, 58 ; Madonnas, 61-62 ; Baptism of 
 Christ, 75 ; Miraculous Draught of Fishes, 93-94, 95 ;
 
 266 INDEX. 
 
 Transfiguration, iii-n6, 118; Ascent to Calvary, 194; 
 Entombment, 231. 
 
 Rembrandt : Flight into Egypt, 51 ; Cleansing of the Temple, 
 88-89; Discourse with Nicodemus, 90; Christ Healing 
 the Sick (Hundred Guilders Plate), 97 ; Woman Taken 
 in Adultery, 120; Raising of Lazarus, 124-125; Christ 
 Blessing Little Children, 132; Tribute Money, 149; 
 Last Supper, 156; Ecce Homo, 179; Descent from the 
 Cross, 225; Supper at Emmaus, 251. 
 
 Reni, Guido : Christ and St. John, 61 ; Ecce Homo, 180 ; 
 Crucifixion, 215. 
 
 Robbia, Andrea Delia : Adoration, 36; Baptism of Christ, 72. 
 
 Robbia, Luca Delia: Ascension, 253. 
 
 Rubens: 132; Discourse with Nicodemus, 90; Miraculous 
 Draught of Fishes, 94-95; Christ and the Magdalen, 
 107; Woman Taken in Adultery, 120; Tribute Money, 
 149; Ascent to Calvary, 194; Elevation of the Cross, 
 197-198; Crucifixion, 208-211; Descent from the 
 Cross, 212, 225; Supper at Emmaus, 251; Unbelief of 
 Thomas, 252-253. 
 
 Sarto, Andrea Del : Young St. John, 58. 
 
 Scheffer, Ary : Temptation of Christ, 77, 80, 145, 168; 
 Christus Consolator, 101, 145; Christ Weeping over 
 Jerusalem, 145 ; Kiss of Judas, 168. 
 
 Schongauer : Kiss of Judas, 167. 
 
 Siemiradzki: Woman Taken in Adultery, 123. 
 
 Sillaer, Vincenz: Christ Blessing Little Children, 131. 
 
 Tanner, Henry O. : Raising of Lazarus, 125. 
 
 Thayer, Abbott : 30. 
 
 Teniers: Feast of Dives, 127. 
 
 Tintoretto : 109 ; Frescoes in the Cathedral of San Rocco 
 at Venice, 27 ; Adoration of the Magi, 42 ; Flight into 
 Egypt, 52 ; Temptation of Christ, 79 ; Marriage at Cana, 
 83-84; Transfiguration, 118; Woman Taken in Adul- 
 tery, 119; Last Supper, 155; Washing of the Disciples'
 
 INDEX. 267 
 
 Feet, 159; Christ before Pilate, 175 ; Ascent to Calvary, 
 194; Crucifixion, 206-208, 216; Resurrection, 241; As- 
 cension, 253. 
 
 Tissot, James : 27 ; Temptation of Christ, 80-83 > Discourse 
 with Nicodemus, 90 ; Preaching from the Ship, 96 ; 
 Healing of the Demoniac, 96; Woman Taken in 
 Adultery, 123; Entry into Jerusalem, 145. 
 
 Titian: 24, 109-110; Transfiguration, 117-118; Woman 
 Taken in Adultery, 119, 123; Tribute Money, 149; 
 Last Supper, 155; Crowning with Thorns, 178; Ecce 
 Homo, 178-179; Entombment, 232; Resurrection, 240; 
 Supper at Emmaus, 248. 
 
 Uhde, Fritz Von : Holy Night, 38 ; Sermon on the Mount, 
 128; Christ Blessing Little Children, 133-134; Last 
 Supper, 152, 157. 
 
 Vedder, Elihu : Head of Lazarus, 125. 
 
 Velasquez: Christ at the Column, 177-178. 
 
 Verestchagin : Crucifixion, 216. 
 
 Verocchio : Baptism of Christ, 7 5. 
 
 Veronese, Paolo : 109 ; Adoration of the Magi, 42 ; Baptism 
 of Christ, 75 ; Marriage at Cana, 84 ; Healing the Cen- 
 turion's Servant, 104-105, 108; Jesus Taking Counsel 
 with His Mother, 108 ; Last Supper, 155; Supper at 
 Emmaus, 247, 248. 
 
 Vinci, Leonardo Da: 24; Last Supper, 150-152, 156-157; 
 Resurrection, 240. 
 
 Volterra, Daniele Da : Descent from the Cross, 222. 
 
 West, Benjamin : Raising of Lazarus, 125; Christ Blessing 
 Little Children, 132; Christ Rejected, 180. 
 
 Weyden, Roger Van Der : Nativity, 37 ; Lamentation, 232 ; 
 Dead Christ, 232-233 ; Crucifixion, 233. 
 
 Wilhelm, Meister : Napkin of St. Veronica, 184. 
 
 Wohlgemuth : Christ Calling the Apostles, 92-93. 
 
 Wolff, Otto: Woman Taken in Adultery, 123. 
 
 Zimmerman : Christ Healing the Sick, 98-101.
 
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 UC SOUTHERN REGIONAL LIBRARY FACILITY 
 
 A 000 738 484 5