. Legends of the monastic orders : as represented in the fine arts. the wall of the church, is seen in one corner; in the backgroundis represented one of the legends of the locality. It is relatedthat when the masons were raising a column, the ropes gaveway, and the column would have fallen on the heads of theassistants, had not one of the monks, full of faith, sustainedthe column with his single strength. One of the lesser compartments represents another Madonna appears in a glorious vision to St. Nilus and in this very Grotta Ferrata, and presents to thema golden app
. Legends of the monastic orders : as represented in the fine arts. the wall of the church, is seen in one corner; in the backgroundis represented one of the legends of the locality. It is relatedthat when the masons were raising a column, the ropes gaveway, and the column would have fallen on the heads of theassistants, had not one of the monks, full of faith, sustainedthe column with his single strength. One of the lesser compartments represents another Madonna appears in a glorious vision to St. Nilus and in this very Grotta Ferrata, and presents to thema golden apple, in testimony to her desire that a chapel shouldrise on this spot. The golden apple was reverently buried inthe foundation of the belfry, as we now bury coins and medals,when laying the foundation of a public edifice. Opposite is the fresco, which ranks as one of the finest andmost expressive of all Domenichinos compositions. A poorepileptic boy is brought to St. Nilus to be healed; the saint,after beseeching the divine favour, dips his finger into the oil of. St. Nilus heals the Epileptic Boy. (From the fresco at Grotta Ferrata.) LEGENDS OP THE MONASTIC ORDERS. a lamp burning before trie altar, and with it anoints the mouthof the boy, who is instantly relieved from his malady. Theincident is simply and admirably told, and the action of the boy,so painfully true, yet without distortion or exaggeration, hasbeen, and I think with reason, preferred to the epileptic boyin Raphaels Transfiguration. In a high narrow compartment Domenichino has representedSt. Nilus before a crucifix: the figure of our Saviour extendsthe arm in benediction over the kneeling saint, who seems tofeel, rather than perceive, the miracle. This also is beautiful. St. Nilus having been a Greek monk, and the convent con-nected with the Greek order, we have the Greek fathers in theirproper habits,—venerable figures portrayed in niches round thecornice. The Greek saints, St. Adrian and St. Natalia; andthe Ro
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Keywords: ., booksubjectchristianartandsymbolism, booksubjectmonasticismandr
