. 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. scene, divested of all gratuitous painfulness. Our Lord islying on the Cross, with one hand already in the grasp of Hisexecutioners. The other lies calmly across Him. His sacredPerson is still inviolate from the nail, but the hammer is uplifted,and the eye turns away. The unutterable pathos of this scene is enhanced by the sup-position, entertained by some commentators, that the prayer ofdivinest pity and love, Father, forgive them, they kno
. 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. scene, divested of all gratuitous painfulness. Our Lord islying on the Cross, with one hand already in the grasp of Hisexecutioners. The other lies calmly across Him. His sacredPerson is still inviolate from the nail, but the hammer is uplifted,and the eye turns away. The unutterable pathos of this scene is enhanced by the sup-position, entertained by some commentators, that the prayer ofdivinest pity and love, Father, forgive them, they know not whatthey do, was uttered while in the act of being pierced by the tense in which this is spoken—6 they know not what they do—justifies this idea. The same instinct to recoil from the act, and yet approach itsvery brink, is seen in Gaudenzio Ferrari, who takes it back amoment earlier. This is a fresco, the 17th compartment in thechurch at Yarallo. Our Lord, divested of His garments, iskneeling with folded hands beside the recumbent instrument ofour salvation. The thieves stand behind Him with bound hands. 134 HISTORY OF OUR 179 The Nailing to the Cross. (Speculum. M. lierjcau.) Next the Saviour, and looking at Him with downcast, pitying eye,stands one of those daughters of Jerusalem whom Gaudenziomakes so pathetically beautiful. She holds a little child by thehand, who, by an apparent accident, is standing unconsciously onthe very centre of the Cross ; thus prefiguring the innocence of theVictim about to be laid on it. The Elevation of the Cross. The crucifying, properly speaking, of our Lord, has now takenplace; but the tremendous spectacle of the Crucifixion is not yetbefore us. The elevation of the Cross comes between. It is a latersubject in Art, being reserved for times of greatly diminishedearnestness of feeling, but equally developed powers of anatomical
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