The devotional idealism and realism of the Thirteenth and Fourteenth centuries disputes the field with the power to recreate a spiritual type of Christ. In Italy the tendency was to give prominence to the sufferings of Christ. This is painfully evident in those Crucifixions of the Berlinghicri. of Ma rgaritone, Cavallini. Giovanni Pisano. and other painters and sculptors. The emaciated and distorted body, the drawn face. the gaping wounds arc intended to excite a timental piety. French Gotitie art was more date. The Christ carved for the cathedrals was the Divine Teacher. The statue of the Beau Christ of Amiens is typical of a large class, to be met with in Chartres. Rheims, Paris and elsewhere. Comparing the art of the West, both in its works and in such literary treatises as that of Durand Divinoruni Ufii•ioruni), it is evident that the West is comparatively narrow in its range of representations, and that it lays creasing emphasis on the psychological, even the pathological sidle of Christ's life—a side lightly touched upon in the East. At the same time representations of the three persons of the Trinity becalue common in the \Vest for the first time, often strangely imagined. For the first time, also, the scene of the Virgin and Child is often repeated. NOt that it WaS entirely known in earlier times, but its sudden popularity aceords with the humanitarian and psychological period. We are now met with two important facts: first, the death of the Christian tine) art of the East, which removes the most original and spiritual element in representations of Christ: see cud. the revival of painting under
Giotto and his successors. While painters tinue, in their choice of subjects. to live on earlier traditions, they not only show the effeets of the times by abandoning dog,matie tions of the Saviour for scenes of the Mother and Child and the Crucifixion. but they show it also by the attempt to give physical charm to the portraiture of Christ. While adhering in broad lines to the portrait referred to at the beginning of this article, each painter gave his own inter pretation. and so we have interesting creations of such Italian artists as Gaddi, Orcagna, Alasae eio, Fra Angelieo, Leonardo, Raphael, and other,. There is less and less of religious significance and idealism in these types until we reach such heads as those of Titian, Rubens, Domenichino, Carr:1mi, and Rembrandt. With the departure of faith in the artist the representations lose historic value and are expressions of the individual taste of the artist ratber.than a reflection of the religious ideas of the age. Here, therefore, such a study as this ends.
BunJoGnApnY. (;rinnn, Die corn •r sprung der Christusbildcr (Berlin, 1843) ; Jame son and Eastlake, The History of Our Lord in Works of Art (London. 1865) Wessely, icono graphic Unties und der liciligen (Leipzig, 1874) ; Hauck, Die Entstehung des Christustypus in der abcndbjnclischen Ii u nst ( Heidelberg, 1850) : Din dron, Ilistoire de Dieu, iconographic des per sonncs (urines (Paris, 1843) : Ziemssen. ',Own Christi, naeh Gemiilden beriihniter Meister (Stuttgart. 1892) ; Huell, The Life of Our Lord in Art (Boston, 1S9S).