. An illustrated and descriptive guide to the great railways of England and their connections with the Continent . the sense oftrusting obedience, peculiarly characteristic ot early childhood, and it em-bodies it in a form at once simple, touching, and true. Quite apart from itsmere artistic excellence, the sentiment which underlies the picture appealsto a wide and still growing public. Men who are unable to trace the subtletiesof art, can yet feel sympathy with the prayer of childhood. The sentiment 36 e)t5- -e^^^ The National Gallery. is sound, and fn the picture well rendered. Reynolds was
. An illustrated and descriptive guide to the great railways of England and their connections with the Continent . the sense oftrusting obedience, peculiarly characteristic ot early childhood, and it em-bodies it in a form at once simple, touching, and true. Quite apart from itsmere artistic excellence, the sentiment which underlies the picture appealsto a wide and still growing public. Men who are unable to trace the subtletiesof art, can yet feel sympathy with the prayer of childhood. The sentiment 36 e)t5- -e^^^ The National Gallery. is sound, and fn the picture well rendered. Reynolds was a great portraitpainter, and devoted special care to giving beauty and force to the eyes ofhis sitters, and thus as a rule giving beauty to the face. The principle of symbolism enters largely into the worship of the RomanCatholic Church, and it is also present in a more or less pronounced formin general artistic work. It must be remembered that the Romish Churchhas throughout its career been a munificent patron of art, and many of thegreatest pictures that the world contains have been painted at its ST. roilX AND THE — . either as altar-pieces or for interior decorations of cathedrals, churches,&c. Under these circumstances, it is ([uite natural that symbolism shouldoccupy a prominent position in the various paintings. In the present illus-tration it is present in its most refined and delicate aspect. The text ofthis great picture is to be found in the words, Behold the Lamb of God,John i. 29. The picture itself is one of Murillos happiest efforts, beingfull of gentle beauty and sympathetic tenderness. The sense of symbolism 37 V^X^- The National Gallery. is almost lost in the great general (jualilies of the work. One of the greatestqualities in Murillos pictures is the entire freedom from artificiality and theprofoundly natural character in all that he produces. They speak for them-selves in the present engraving. Before the introduction
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Keywords: ., bookcentury1800, bookdecade1880, booksubjectrailroa, bookyear1885
