. 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. her lap ; the Mag-dalen the feet, next which she had formerly found such grace ;others stood around, all making great lamentations—all weepingfor Him as bitterly as for a first-born. The Greek formula differs little from the picture thus suggested,except that the Virgin kneels and leans over Him, the Christ being6 etendu sur une grande pierre carree. It is also more passionate inexpression, for the Maries sarrachent les cheveux—a relic ofant
. 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. her lap ; the Mag-dalen the feet, next which she had formerly found such grace ;others stood around, all making great lamentations—all weepingfor Him as bitterly as for a first-born. The Greek formula differs little from the picture thus suggested,except that the Virgin kneels and leans over Him, the Christ being6 etendu sur une grande pierre carree. It is also more passionate inexpression, for the Maries sarrachent les cheveux—a relic ofantique custom of which only Donatello in the Italian school, here-after to be mentioned, furnishes an example. A specimen of a Pietaby a Greek painter (1250), with the Virgin kneeling at the headof the body and fainting in that position (woodcut, 205, over leaf),while the Saviour lies straight on an oblong raised stone, is in thattemple of early Italian Art, the Church of S. Francesco, at Cimabue, treating the same subject, in the upper part of thesame church, places the Christ already on the lap of the Virgin, 228 HISTORY OF OUR 205 Greek Pieta. though adhering to the Greek formula in making St, John kiss thehand. There is no vehemence of passion, however, except on thepart of the angels aboye, one of whom tears its cheeks. Giotto has the subject in his treasure-house, the Arena , instead of the Virgin, a male figure apparently supports, leansover, and embraces the head and shoulders of the Lord. The in-juries, however, passive and active, which these frescoes have re-ceived, may account for this change of parts. The figure is notSt. John, whose gesture of anguish, as he stands over the body,remains, after the treatment of the Pieta by many generationsof artists, unrivalled in dramatic force. Ambrogio Lorenzettis picture in the Academy at Siena, ofwhich we give an etching, is one which strikingly illustrates thewords of S. Buonaventura. From the m
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