. 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. ng his horse, withuplifted club, while they disperse at full speed in all directions, onewoman holding both hands up to her head. Another group, ofremarkable effect, is that of the Magdalen, a tall and lovely creature,with long fair hair and slim Florentine figure, who, with her beauti-ful hands raised, is addressing a Roman horseman clothed in , like a true cavalier, is bending low and listening courteouslyto her. She appeals to him
. 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. ng his horse, withuplifted club, while they disperse at full speed in all directions, onewoman holding both hands up to her head. Another group, ofremarkable effect, is that of the Magdalen, a tall and lovely creature,with long fair hair and slim Florentine figure, who, with her beauti-ful hands raised, is addressing a Roman horseman clothed in , like a true cavalier, is bending low and listening courteouslyto her. She appeals to him with a modest confidence and dignity,as if to say, Can nothing be done for our misery, and for thatMother who stands so piteously there ? For the Virgin, with thehigher feeling of this unknown master, is not fainting here, butstands, with hands folded, low, the very attitude of sorrow andresignation. The Maries with her are magnificent beings ; and infront, gazing upon her, is St. John. The centurion holding up bothmailed hands is there, with two horsemen behind him, leaning for-ward with piously folded arms, as if catching the sacred infection of. THI CDHLlDrcSIIIFlISnKDl^oG-GOLcLeruzio JFeJr7~car-L. S. Crista foro. Ve^ceZLi/. THE CRUCIFIXION CONSIDERED AS A WHOLE. 211 his conversion—this being also a strictly Scriptural feature; for says (xxvii. 54) : l And they that were with him. Thescene is thronged with horsemen, with flags and banners, and, inin the absence of all the more barbarous features, assumes a kind ofsplendour seldom associated with the Crucifixion. Indeed the Italian Crucifixion has always a certain grandeur,and though seldom conceived with so elevated a feeling as in thisinstance, yet may be always said to be without caricature. Allthe personages—whether on the left or right side—are alike of afine race, and lend themselves to the true characteristics of highArt. The Crucifixion in this full dramatic sense is a rare subject afterthe 15th cent
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