. 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. is probably first seen in the13th century, and then under forms of great reverence and simpli-city. The great facts to be conveyed were the Lords prayer andthe divine answer to it. How that answer was conveyed was notdeemed so important to show as the higher fact of whence it pro-ceeded. Thus, in lieu of the angelic messenger, it is not unusualto see the hand of the Father, or even the head of the First Person,appearing from a cloud, in toke
. 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. is probably first seen in the13th century, and then under forms of great reverence and simpli-city. The great facts to be conveyed were the Lords prayer andthe divine answer to it. How that answer was conveyed was notdeemed so important to show as the higher fact of whence it pro-ceeded. Thus, in lieu of the angelic messenger, it is not unusualto see the hand of the Father, or even the head of the First Person,appearing from a cloud, in token of assistance to the afflicted also, in ivories of the 14th century, not three disciplesonly, but all eleven, lie asleep around the kneeling figure of Christ, VOL. II. e 26 HISTORY OF OUR LORD. like a flock of sheep—the Shepherd soon to be smitten, and thesheep scattered. Sometimes even these innocent solecisms gave way to a literalrendering of the text, as seen in our illustration (No. 145), from aGreco-Latin miniature of the 13th century taken from DAgincourt,pi. xcvi. Here the angel stands close to our Lord—the staff, the. 145 The Agony in the Garden. (Early Greek miniature. DAgincourt.) true symbol of support, in his hand—where the outstretched armsof the Sufferer show the need for it. The lower compartment ofthis miniature gives the intervening moment, when, coming to Hisdisciples, He finds them sleeping. Occasionally, also, the Agony in the Garden is imaged forth bythe sole figure of our Lord, as in our etching from Mr. BoxallsItalian Speculum of the 14th century. Here nothing further thanthe ideas of suffering, prayer, and heavenly succour are given, thescroll in the hands of the angel being meant to convey the words THE AGONY IN THE GARDEN. 27 of comfort of which he is the bearer. These were the naive con-ceptions of early times; but as Art improved, the treatment ofthis subject declined, both in arrangement and intention. Let usexamine, first,
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