devices, found out that of carving in wood, in which, bj means of three blocks, the light, shadow, and middle tint can equally be given, and drawings in chiaro-scuro imitated exactly. Without doubt a very beautiful and fanciful invention,[1] which has since been largely extended, as will be related at greater length in the Life of Marcantonio of Bologna.
For the Monks of Monte Oliveto, Raphael executed a picture of Christ Bearing his Cross, to be placed in their • Monastery at Palermo, called Santa Maria dello Spasmo; this is considered to be a most admirable work, and is remarkable, among other characteristics, for the force with which the master has rendered the cruelty of the executioners, who are dragging the Redeemer to his death on Mount Calvary, with all the evidences of a furious rage. The Saviour himself, grievously oppressed by the torment of the death towards which he is approaching, and borne down by the weight of the Cross, has fallen to the earth faint with heat and covered with blood, he turns towards the Maries who are jveeping bitterly. Santa Veronica is also among those who surround him, and, full of compassion, she extends her arms towards the Sufferer, to whom she presents a handkerchief with an expression of the deepest sympathy. There are besides vast numbers of armed men on horseback and on foot, who are seen pouring' forth from the Gate of Jerusalem, bearing the ensigns of justice in their hands, and all in attitudes of great and varied beauty.
This picture was entirely finished, but had not yet been fixed in its place, when it was in great danger and on the point of coming to an unhappy end. The matter was on this wise: The painting, according to what I have heard related, was shipped to be taken to Palermo, but a frightful tempest arose which drove the vessel on a rock, where it was beaten to pieces, men and merchandize being lost together, this picture alone excepted, which, secured in its packings, was carried by the sea into the Gulf of Genoa. Here it was picked up and borne to land, when, being seen to be so beautiful a thing, it was placed in due keeping, having
- ↑ It is now well known that Lucas Cranach, Hans Grün, and other German engravers, practiced the art of wood engraving long before the time of Hugo da Carpi.
