. 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. down, andthe tears are falling. Fra Bartolomeo (born 1469) has the simple figure of our Lord—without hands, of a very gentle character. The eyes are down. Itis quite the Lamb of God. Also in the Pitti. Razzi (born about 1479) has painted the Ecce Homo. It is inthe Pitti. Pilate and an attendant are lifting the robe. The Christis of stern character, looking at the spectator neither in distress norpity, but almost in anger. Gaudenzio has not o
. 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. down, andthe tears are falling. Fra Bartolomeo (born 1469) has the simple figure of our Lord—without hands, of a very gentle character. The eyes are down. Itis quite the Lamb of God. Also in the Pitti. Razzi (born about 1479) has painted the Ecce Homo. It is inthe Pitti. Pilate and an attendant are lifting the robe. The Christis of stern character, looking at the spectator neither in distress norpity, but almost in anger. Gaudenzio has not omitted the subject in his series. It formsthe upper compartment of the Flagellation in the Church of theMadonna delle Grazie at Milan, and is a fine specimen of the THE ECCE HOMO. 97 tender feeling of the Lombard school. Two attendants are holdingup the robe. The Lord has His arms crossed on His breast, and islooking down. The figure shows a sad and touching lassitude, andthe colouring helps its ineffable refinement. Correggios picture in the National Gallery is a masterwork, onwhich all praise is superfluous. He has attained that look of earnest. 163 Ecoe Homo. (Gaudenzio Ferrari. Madonna delle Grazie, Milan.) commiseration and sympathy for those before Him, in the head ofChrist, which we have ventured to indicate as the proper expression. VOL. II. o 98 HISTORY OF OUR LORD. The fainting Virgin in front is a novel incident in this piece, and,far from adding pathos, embarrasses the position of the Saviour,whose attention would naturally be concentrated on His is the first time we see this unscriptural passage in the Virginslife: it will often occur as we proceed, and seldom be acceptable tothe feelings. One of the most beautiful pictures of this subject was reserved fora comparatively late master to execute. Cigolis large work in thePitti (born 1559), of which we append an etching, can hardly fail totouch the heart. The feeling of the head is indescribably pathetic
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