. The Open court. VERONIC.\ WITH THE by Master of Flemalle, 1450. Preserved in the Stadel Institute at Frankfort on the Main.* traditional Byzantine style, is very See op. cit., 676-679. * A drawing of it by Roger van der Weyden exists in the FitzwilliamMuseum at Cambridge and has been made accessible to the general public by A BUDDHIST VERONICA. 653 en surplices, Lenten veils, rood-cloths, palls, sepulchral garments,processional banners, and on altar pieces. It still continues in thehistory of modern art and affords even Protestant painters a motivefor picturing the lugubrio
. The Open court. VERONIC.\ WITH THE by Master of Flemalle, 1450. Preserved in the Stadel Institute at Frankfort on the Main.* traditional Byzantine style, is very See op. cit., 676-679. * A drawing of it by Roger van der Weyden exists in the FitzwilliamMuseum at Cambridge and has been made accessible to the general public by A BUDDHIST VERONICA. 653 en surplices, Lenten veils, rood-cloths, palls, sepulchral garments,processional banners, and on altar pieces. It still continues in thehistory of modern art and affords even Protestant painters a motivefor picturing the lugubrious. In addition to artistic representationsof the Veronica motive, we here insert some examples of the differ-ent stages through which it has passed in the course of Christian art. X>ct^nica. ftannmbzttQi^atbcg«|fett. albabiBanit mHxowbtnmiaidfcnb<bmtbamvibumMiUbimmfdfcn mit gtrogenatiboc^ vnb iomglXFcttatcl)tta bzt mmlid^ mmflet: cmibtbcfcbKibct: ttoc^ jtim^a tiliigbey QAmmm oa fiatt Ctltcie ^cff oU)cifmbit etfttn>e5a:a $(lcjcan2)na obcr iu VERONICA. Woodcut by Michael Wolgemut, inserted in the text of Buck derChroniken. Nuremberg, 1493. A peculiar version of the Veronica legends is found in anAnglo-Saxon manuscript of the eleventh century, preserved in theUniversity Library of Cambridge, the title of which runs NothanisJudaei Legatio, i. e., The Message of the Jew Nathan. Karl Pearson in his F;-o;uVa., Plate VI. The drawing differs in some unim-portant details from the painting. The face expresses more firmness of faiththan grief or sorrow and is certainly the work of a great artist, but in allessential points it remains a faithful copy of the original. In both the suda-rium is translucent and tlie figure and posture are identical. 654 THE OPEN COU
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Keywords: ., bookcentury1800, bookdecade188, booksubjectreligion, bookyear1887
