. The history of Our Lord as exemplified in works of art : with that of His types ; St. John the Baptist ; and other persons of the Old and New Testament. The Crucifixion. (M. Schon.) composition. In early ivories and other routine representations theVirgin is seen, though rarely, with a book also. This is one of thosemistakes to which all such mechanical forms of Art were and greater impropriety we have remarked is, that the head-gear of the Mother has been stained with drops of her Sons requires no comment. In so arbitrary a history as that fur-nished by the legend
. The history of Our Lord as exemplified in works of art : with that of His types ; St. John the Baptist ; and other persons of the Old and New Testament. The Crucifixion. (M. Schon.) composition. In early ivories and other routine representations theVirgin is seen, though rarely, with a book also. This is one of thosemistakes to which all such mechanical forms of Art were and greater impropriety we have remarked is, that the head-gear of the Mother has been stained with drops of her Sons requires no comment. In so arbitrary a history as that fur-nished by the legends of the Virgin, and one so little calculated toexalt her character, it is no wonder that the most unbecoming 158 HISTORY OF OUR LORD. eccentricities have found favour. How low the conception of theVirgin could fall in times when the real sources of Christian Art wereforgotten or troubled, may be gathered from an example of the. 186 Virgin and St. John at Foot of Cross. (Guffins. Church of Notre Dame at S. Nicolas, between Antwerp and Ghent.) Crucifixion, mentioned by Zani, where she is seen lifting up herhands, not in grief, complaint, or protest, but as if the words of themocking Jews, or the impenitent thief, were put into her mouth: If THE CRUCIFIXION WITH THE VIRGIN AND ST. JOHN, 159 thou be the Son of God, come down from the Cross; to which theLord replies that He hangs there to save the human race from ever-lasting Such aberrations, for the credit of Art, arerare, but there are some conceptions of the Virgin, such, for in-stance, as that by Michael Angelo, just illustrated, to which thesewords seem the only natural key. One is tempted to wonder wiryold painters, instead of attempting novel and dangerous ground,did not rather proceed to represent these two sacred figures as com-mencing their new duties, the first being to comfort each other,which is the next natural step in the lives of both
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