Richmond dispatch. [volume] (Richmond, Va.) 1884-1903, 1898-12-25

tire picture was painted about the nfth
century at the earliest.
Above this picture Is q representation,
which Is considered that Of the head or
Christ. 1t is a separate frescc on a much
larger scale than that OF the infant In the
manger and is OF rare beauty.
1t is tho iikenes of a young beardless
man, with large; solemn eyes looking out
toward tho left. with long, flowing hair
falling down on the shoulders, and slight
ly divided on the forehead. There Is a
calm and delicate expression In the mouth
which Is wondrously attractive, and the
artist has evidently felt the greatness OF
his theme, for the lips seem as II about
TO open IN speech. A circular line or
nimbus surrounds the head, and the robe,
on the left side OF which q broad band
| descends, is well designed, with natural
folds
INFANT IN THE MANGER.
That the Infant Christ in the hanger,
| the special artistic characteristic OF the
Christmas season, Is frequently ~sculptured
upon an ancient s%arcophagi is we'll known.
De Rossi has been able to fix the date OF
one Of these marble tombs as the year 3f3.
But paintings of this theme on the walls
OF the subterranean cemeteries are quite
unknown. Hence the Importance Of this
one, which, in it's way, is quite unique.
lAo I1lALgt IOHCkGlt ID ~ ti1nillniliUth
by the presence of the animals in the
scene, as De Rossi notes. but because the
subject Of the Nativity Of the Redeemer
Is absent in the oldest monuments. and
markedly so In the f~rescoes Of the subter-
ranean cemeteries. That subject entered
into the ordinary cycle OF the Gospel
scenes treated by Christian art, when the
triumph OF Christianity was complete and
solemn in the Roman world.
"And II appears TO me-" says the great
master of Christian archaeology, De Ros-
81, that as the arcosOlium Of the Passion
and OF Calvary were ordinarily cautiously
avoided by ancient art, or were yelled by
reverent symbolism, a similar treatment
may have happened regarding the very
humble Nativity"
DRAWING ON a WINDING SHEET.
After a lengthy and detailed examina-
ton Of this picture tho learned master
comes 10 the conclusion that. as this ar
cosolium I'm which the fresco is painted
was cut in the soil and adorned some
time az least before the final disuse and
abandonment OF the catacombs as burial
places, It must have been painted early
In the fifth century. as that abandonment
happened In the year 4t0.
Now the vast majority, IL not all, the
pictures OF Christ in the catacombs and in
tho oldest of the Roman churches have
been made later than this period. 1t fol-
lows that there has been a break in the
continuity OF the typical bearded like
nesses which every student Of the subject
knows so well. T..ere is no doubt hat one
type has prevailed. The winding sheet OF
Christ. exposed to view for ten days in
Turin a few months ago, and which is
contained in the chapel behind the Cathe-
dral Of this city, and which canno be
IaHw.- HNIA.V % - IT,.
bert, bears on it I'm faint lines the IA
miliar likeness Of Christ, with long low
ing hair and beard, such as we know it
Today. The impression of these familiar
features made Upon this winding sheet
has been photographed, and, faint as It
is. 1t sufficiently indicates the lines ~ the
features Of tho face and the outlines of
the form.
A WELL-KNOWN TYPE.
It would be a long task to trace the
continuance Of this well-known type OF
the Christ from the Catacombs down TO
It's latest appearance in art. 1t is con-
stant after the period / have described;
that Is to say, that Of the early part of
the fifth century. IN a fresco of q later
period in the Catacomb Of Saints Peter
and Marcellinus there IS on the vault Of
a cubiculum a picture of Christ giving
the lava frequent subject In the early
Nasilica mosaics. This fresco, unique IN
tho art Of the Catacombs, represents Him
seated and with q nimbus. or glory.
around His head; an open book IS in His
left hand; the right hand is raised I'm
the act Of blessing, and an apostle stands
on either side of Him.
In this picture the Christ IS bearded
and wears long flowing locks, such as we
are familiar with to-day, and the gar
ments, loose and falling in artistic folds.
are also familiar TO US. Beneath this
IS a symbolical representation of the
Lamb Of God standing upon a mountain.
from the base OF which flow the four
rivers OF Paradise. On each side ara two
groups Of saints. Around the head of
the Lamb IS the nimbus, which has now
become consecrated as q distinguishing
mark OF the most sacred p~ersonages.
This marvellous fresco is considered nv
Perate to belong also to the early years
OF the fifth century, and TO inspire or 10
have been Inspired by the mosaics Of the
early Christian basllicas that began to
appear in Rome.
PIOUS IAGAGININGs.
These then are the types that 20
through the ages as the likenesses OF
Christ. No one OF these even Thought ~
be the product OF the pencil Of tho holy
and mystic Fra Angelica, or the won
drous work Of Leonardoda Vinci. tap pre-
tend 70 give a satisfactory image OF the
outward appearance Of the divine figure.
which came on earth in the form Of a
little child at the Christmas season. Yet !
one and all Of them nave something ON
which the pious imaginings Of men build
up an ideal, and which they cherish. Per-
haps even the greatest work. achieved nv
the greatest artist. would fail TO satisfy
the lonsings Of the soul that seeks TO
look upon the outward semblance or
Christ as lie dwelt among men.
And Sir Wyke Bayliss feels that artists
now must return 10 the antioue when
they would portray Christ, and he regards
that as a strange thing. Art is reborn
he says, and yet the greatest PAINTERS
OF the world take up this old tradition Of
the mosaic n metal workers OF the
Dark Ages, and cannot invent for then
selves anything more divine. more worthy
10 represent the face OF Him who is 10
be forever the Sun OF their Easter.