. Sacred and legendary art . ty hand, holdingthe martyrs crown, isover his head. (Eng. inDAgincourt, pi. 34.) 2. Raphael has treatedthe subject figure of Stephenkneeling, with out-stretched arms, as if heofiered himself as victim,is very fine. The otherfigures look more likeRomans than Jews;Saul, in the dress of aRoman warrior, is seatedunder a tree. [The com-position is one of the series of Raphaels famous tapestries nowin the Vatican.] In the Martyrdom of St. Stephen at Genoa,painted by Giulio Romano {it is said from a cartoon byRaphael), the composition seemed to me confused
. Sacred and legendary art . ty hand, holdingthe martyrs crown, isover his head. (Eng. inDAgincourt, pi. 34.) 2. Raphael has treatedthe subject figure of Stephenkneeling, with out-stretched arms, as if heofiered himself as victim,is very fine. The otherfigures look more likeRomans than Jews;Saul, in the dress of aRoman warrior, is seatedunder a tree. [The com-position is one of the series of Raphaels famous tapestries nowin the Vatican.] In the Martyrdom of St. Stephen at Genoa,painted by Giulio Romano {it is said from a cartoon byRaphael), the composition seemed to me confused, and thepicture when at Paris was shamefully repainted. 3. Cigoli. A composition of eight figures. Stephen, struckdown by a stone, falls backward. The ferocity of the execu-tioners is painfully prominent; one of them kicks him. TheTrinity is seen in a glory above, and an angel descends with acrown and palm. The picture is admirable for vigor and forpathos ; but it is more like a murder than a martyrdom. (Flor-ence Academy.). o> Martyrdom of St. Stephen (Giulio Romano) ST. STEPHEN 525. 4. The martyrdom of St. Stephen, in a fine engraving, byC. Cort (1576), after Marcello Venusti. A little child isbringing stones in its vest to help the executioners. This hasalways appeared to me a fault both of taste and feeling: theintroduction of a child thus employed adds a touch of horror,but is surely unchristian in spirit, and unwarranted by thetext. The incident, however, occurs so frequently in picturesthat it may possibly be founded on some legend of St. Stephenunknown to me. 5. Domenichino. In our National Gallery, a picture inwhich the subject is very dramatically treated. 6. Annibal Caracci has treated the same subject severaltimes with great force of expression. There is a beautifulsketch in the Sutherland Gallery. 7. Le Brun. St. Stephen, lying on the ground, his faceturned towards heaven with an expression of mild trustingfaith, has just received his death-blow; the executione
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