which that acrid venom has caused them. Many are throwing up their arms in agony; some appear to be paralysed: unable to move, they await their coming doom; and in other parts are beautiful heads, giving utterance to cries of desperation, and cast backwards in the horrors of hopeless anguish.
Those who, looking towards the Serpent erected by Moses, perceive their pains to be alleviated, are also admirably depicted. They turn their eyes on their deliverer with infinite emotion, and one of these groups may more particularly be specified, that of a Woman namely, supported by one who sustains her in such a manner that the effectual assistance rendered by him w'ho gives aid is no less manifest than is the pressing need of her who endures that fear and pain. The story of Ahasuerus, reclining in his bed and causing the Chronicles to be read, has equal merit. The figures are very fine, and among them are three men, seated at a table eating, w’ho represent the deliberation of those who sought to free the Jewish people, and to compass the death of Haman. The figure of the latter is likewise seen foreshortened in a very extraordinary manner; the stake which supports his person, and the arm which he stretches before him appearing not to be painted, but really round, and in relief, as does also the leg, which he projects outward, and the portions of the body which are bent inward. This is indeed a figure which, among all beautiful and difficult ones, is certainly the most beautiful and most difiicult.[1]
But it would lead me too far were I to describe all the admirable compositions to be admired in these stories. The Genealogy of the Patriarchs, for example, commencing with the sons of Noah, for the purpose of showing the descent of Our Saviour Christ, and in which we have an indescribable variety of figures, vestments, expressions, and phantasies of various kinds, original as well as beautiful. All bear the impress of genius, many of the figures exhibit the most remarkable foreshortenings, and every one of the details is most admirable. Who could behold without astonishment the powerful figure of Josiah, which is the last in the chapel,
- ↑ “There doubtless must have been infinite difficulty in the execution of this figure,” remarks an Italian commentator, “since it is painted in the angle of the chapel, and is partly on one wall and partly on the other.”
