. 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. assigned toher by Scripture, though not improbable as a fact; also instanceswhere all the Maries are present with her. But no master,as far as we know, ventured on the fine action of Giotto,which links his fresco with the grand sentiment of the earlytimes. Perugino has left a magnificent picture, in point of Art, of thesubject. It was painted in 1495, for the high altar of S. PietroMaggiore, at Perugia, was presented by Pope Pius VII. to the
. 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. assigned toher by Scripture, though not improbable as a fact; also instanceswhere all the Maries are present with her. But no master,as far as we know, ventured on the fine action of Giotto,which links his fresco with the grand sentiment of the earlytimes. Perugino has left a magnificent picture, in point of Art, of thesubject. It was painted in 1495, for the high altar of S. PietroMaggiore, at Perugia, was presented by Pope Pius VII. to thecity of Lyons, and is now the chief attraction of the publicmuseum there. Here, by a change of conception—which substitutesa lingering earthly sentiment for the impatient foretaste of heavenlybliss—the sublimity of the upper part of the picture is greatly i S. Buonaventura, Vita Christi, p. 416. 2 In later days, when tradition and feeling were alike lost, the angels have been repre-sented as carrying the Lord in their own hands—the same also in the is a manifest impropriety, on which Zani is very indignant (vol. ix. p. 82).. seiom/. Lyons THE ASCENSION. 311 sacrificed. Our Lord, surrounded by a mandorla, or almond-shapedglory, is occupied only with those He leaves, Messing them withone hand, and directing their attention to heaven by pointingupward with the forefinger of the other. The mandorla is composedof winged cherub heads, on one of which, to all appearance atender infants skull, the Saviours left foot most inappropriatelyrests. And thus supported, He stands perfectly still, like a meretableau suspended for the sight of those below. Two angels on eachside, playing on musical instruments, stand also formally on littleplatforms of clouds, equally as motionless, the flutter of theirdrapery, and of the Lords, being caused by no wind but that whichalways blows at the command of Peruginesque convention. Theinterest lies with the group below, where the ch
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