. Legends of the monastic orders : as represented in the fine arts. Carlo is on the right,—beautiful for devout feeling, besides being a characteristic]portrait. ST. CHARLES BORROMEO. 159 Among the incidents of his life, the two principal are, theplague at Milan, and the attempt to assassinate him. In thesubjects taken from his conduct during the pestilence, he issometimes represented standing amid the dead and dying, andadministering the sacrament—a subject frequently painted;—or, prostrate before the altar, he offers himself a sacrifice forhis afflicted people. Of this last incident, the fin
. Legends of the monastic orders : as represented in the fine arts. Carlo is on the right,—beautiful for devout feeling, besides being a characteristic]portrait. ST. CHARLES BORROMEO. 159 Among the incidents of his life, the two principal are, theplague at Milan, and the attempt to assassinate him. In thesubjects taken from his conduct during the pestilence, he issometimes represented standing amid the dead and dying, andadministering the sacrament—a subject frequently painted;—or, prostrate before the altar, he offers himself a sacrifice forhis afflicted people. Of this last incident, the finest example Iknow is the picture by Le Brim : yet the sentiment, as it seemsto me, is weakened, not enhanced, by the introduction of theattendant behind, who, lifting up the rich robe, shows to hiscompanion the feet, of the saint streaming with blood (he hadwalked barefoot through the streets of Milan). But Le Brunhas always a touch of the theatrical—always painted in a give a sketch from this picture, taken from the celebratedengraving by St. Charles Bonomeo 160 LEGENDS OF THE MONASTIC ORDERS. The procession through the streets of Milan during thepestilence, by Pietro da Cortona, is over the high altar of SanCarlo-ai- Catinari at Rome, where no less than three churchesare dedicated to him. Before I close this brief account of San Carlo, it seems worthrecording that his name is associated with music, as well aspainting and sculpture. In the middle of the sixteenth centurythe style of music performed in the churches had become sosecular and depraved in taste and style, that the Council of Trenttook the matter in hand as a scandal to religion; and Pius IV nominated a commission to advise upon the question, whethermusic was to be permitted in the churches or not. The decisionRanke Hist, was long doubtful. £ The Church required that the wordsi. 5os. °p should be distinctly articulated, and the musical expressionadapted to them. The musicians affirmed that
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