. The art of the Louvre, containing a brief history of the palace and of its collection of paintings, as well as descriptions and criticism of many of the principal pictures and their artists. atelydarkened and faded but it is still impressive even in itspresent state. It must have been a marvel for evenTitians brush when it left his studio. Occupying the very centre of the picture is the deadbody of Christ, borne in the arms of Nicodemus andJoseph of Arimathea. Assisting them, placed between,but on the other side of his master, is John the disciple,and at the left stands the rrtother, support
. The art of the Louvre, containing a brief history of the palace and of its collection of paintings, as well as descriptions and criticism of many of the principal pictures and their artists. atelydarkened and faded but it is still impressive even in itspresent state. It must have been a marvel for evenTitians brush when it left his studio. Occupying the very centre of the picture is the deadbody of Christ, borne in the arms of Nicodemus andJoseph of Arimathea. Assisting them, placed between,but on the other side of his master, is John the disciple,and at the left stands the rrtother, supported by MaryMagdalene. At the right is the open sepulchre and be-hind a mass of dense, shadowed woods and a frowningsky broken by lurid streaks of light. Such is the generalscheme of composition. Not largely different from theconventionally prescribed plan of treatment of the subject,but so vivified, so realized by the mind of the genius thatexecuted it, that the very theme itself seems never tohave been expressed in paint before. The light is so arranged that it falls on the lower partof the body of Jesus, and on his arms, leaving his faceand torso in deep shade. Nicodemus, as he stands. h £ W £ s rt 3Q s H 0 >i H pq £ W Salon Carre 249 back to lifting the shoulders of the Saviour, is in light,his head and neck, however, enveloped in the shadowthat covers his burden. Johns face, raised and gazingat Mary is thrown into relief, the shadow sweeping overhim from his neck down. A half-light breaks overJosephs head, which is in profile, and grows stronger onhis bent right arm as he lifts the helpless limbs of theinert form. Again, the light intensifies over the figuresof the two women standing beside and slightly behindhim. It is to this distribution and massing of light thatmuch of the wonderful impressiveness of the picture isdue. Nothing, for instance, could equal the effect pro-duced by the deep shadow that shrouds the head andtorso of Christ. Beneath the gloom imagination c
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Keywords: ., bookcentury1900, bookdecade1900, booksubject, booksubjectpainting
