Faith, Love, And Hope,
Presenting To The Virgin Mary A Member Of The Old Venetian Family Of
Concina, Who, After Having Listened To The Doctrines Of The
Reformation, Had Become Reconciled To The Church.
Here is Paul's
piety, naively displayed by giving to the Virgin all the courtly
graces of a high-born signorina.
He paints, too, the Adoration of the
Magi, because it gives such a good opportunity to deal with camels,
jewels, turbans, and all the trappings of Oriental royalty. The Virgin
and Child are a small part of the affair. I like Paul because he is so
innocently unconscious of any thing _deep_ to be expressed; so
honestly intent on clothes, jewels, and colors. He is a magnificent
master of ceremonies, and ought to have been kept by some king
desirous of going down to posterity, to celebrate his royal praise and
glory.
Another room is devoted to the works of Guido. One or two of the Ecce
Homo are much admired. To me they are, as compared with my conceptions
of Jesus, more than inadequate. It seems to me that, if Jesus Christ
should come again on earth, and walk through a gallery of paintings,
and see the representations of sacred subjects, he would say again, as
he did of old in the temple, "Take these things hence!"
How could men who bowed down before art as an idol, and worshipped it
as an ultimate end, and thus sensualized it, represent these holy
mysteries, into which angels desired to look?
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