The Meridian times. (Meridian, Idaho) 1909-1938, 1916-04-21

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laws which attach US to this earth.
ihis now becomes the characteristic
feature of all resurrection pictures.
1addeo Gaddi adheres to this in his
magnificent fresco, and SO does Peru
gino.
Among the many disciples of Giotto
there was but one great artist. the
painter-monk, Fra Angelica of Fiesole
There Is an indescribable sweetness in
his virgins and angels, enhanced by
his exquisite drawing and delicate. LII.
m1nous color. but his very sweetness
often pals upon our modern taste. As
Reinach says: We long for a few
wolves In this impeccabIe sheepfold.
Fra Angelica treated the resurrection
subject several times. IL one of his
pictures he still has the pre-renaissance
reserve. He shows us the wondering
women and the angels at the sepuL
cher. In another he combines the old
version with the new. IN the third
picture he shows the actual resurrec.
ton scene.
Fra Bartolomeo, the teacher of An.
drea del Sarto, though not a master Of
the nrst rank, treated this subject with
great success in his picture, which is
now in the Pitt palace, Florence. Ra.
Iael also painted it. In his picture the
keepers are not sleeping, but they are
witnesses of the resurrection. Ami
pale Carraci goes a step further. He
was not satisfied to prove by a wit
ness that Christ really arose from the
dead. He sets out to show that he
arose in miraculous manner. He not
only paints closed tomb. which is
scrlpturally correct, for the Gospels
describe the great earthquake and the /
rolling away Of the stone as taking |
place after the act of resurrection. bnt |
<arraci places a sleeping guard. lying
full length across the top of the altar.
Ike tomb. There can thus be no doubt
hat the Savior who scars above must
nave miraculously passed this double
barrier.
It Is a relief to turn from the con-
emplation of such ridiculous puerili.
les to the strength of Martin Schoen.
sauer's engraving. Albrecht Duerer's
esurrection in his Smaller Passion
cries of wood cuts is rather empty:
us Larger Passion shows us a much
more worthy and noble composition.
rembrandt also treated this subject.
IS usual with him the great problem
7as the treatment of light. He does
ot show the Savior, but he selects the
loment or the great earthquake and
ne appearance of the angel as the sub
ect for a most wonderful etching.
Iherein he again, as Couture says,
with black and white makes color"
whenever the risen Lord is shown
THESE resurrection pictures, he ap-
ears as the victorious conqueror OF
cath and the grave. This conception
as also passed into hymnology. for
he Lutheran hymn writer, Paul Ger
ard, sings:
They in a grave did sink him,
The foe held jubilee;
6sIore he can bethink him. g
Lo, Christ again is free ,
And "yictory!" he cries. '
and waveth toward the skies =
ms banner, for the field
Is by the hero held. [
ferhaps the most natural and. there :
re- the most common representation :
the resurrection is the picture of the :
omen at the empty sepulcher. Like !.
e kings who came to adore the infant :
lFior, their number is always three. =
g md them in the very earliest res 4
rectlon pictures and carvings, as :
sH as in the richly illuminated Cos :
is or the tenth and eleventh cen. Z
ries: Duccio's treatment Of this sub Y
u Is fne. especially the expression I
awe in the women, and the action of I
angel. who points to the empty :
nb.-Christian Herald. "