File: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 (1872) (14582871817).jpg

Identifier: historyofourlord02jame (find matches)
Title: 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
Year: 1872 (1870s)
Authors: Jameson, Mrs. (Anna), 1794-1860 Eastlake, Elizabeth, 1809-1893
Subjects: Jesus Christ Christian art and symbolism
Publisher: London : Longmans, Green, and Co.
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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n it did, we are tempted, from ourProtestant point of view, to infer that a more than common senseof dependence and devotion dictated the order. So seldom isit seen, however, that the unaccustomed eye does not immediatelyrecognise the benign and solemn figure thus terrestrially elevated.The subject is seen by the hands of the Vivarini. A picturein the Venetian Accademia delle Belle Arti, of a very grandorder, shows the Saviour seated on a throne, in the act of benedic-tion, His left hand on an open book (woodcut, No. 268). Onthe left stands St. Francis, with the rules of his Order underhis arm, and a small cross in the right hand. On the right acanonised abbot, reading a book. The figure is known to repre-sent an abbot by the position of the crozier, which, when turnedinwards, denotes cloistral authority; when outwards, external juris-diction. Another instance by Antonio da Murano, the earliest of theVivarini, gives a single devotee at the foot of the throne. The CHRIST ENTHRONED. 373
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1—(rtr-n—i ^-(Hir 268 Christ Enthroned. (L. Vivarini. Belle Arti, Venice.) picture nmst be considered as having been ordered from the painterby the kneeling woman, in a sense expressive of the sacramentalrelation between the Saviour and herself. For Christ is showingHis wounds, and the angels above bear inscriptions: ^the oneon the right, Yenite vos amici mei a me tantum dilecti carnemmeam comedite; that on the left, Yenite dilectissimi mei incellulam vinariam sanguineo meo inebriate vos (woodcut, No. 269,next page.) In more than one instance we have remarked Christ standing ona slightly elevated pedestal between the two saints invoked againstthe plague—St. Sebastian and St. Rock. These were doubtlessvotive pictures, and denote a sense of the Supreme Preserver actingthrough His agents. A picture of this class, of the cinquecentotime, is in the Belle Arti, at Yenice (No. 535). Another is in thecollection of Count Rasponi, at Ravenna. The Virgin is very rarely seen standing in ado

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