Legends of the monastic orders - as represented in the fine arts. Forming the second series of Sacred and legendary art (1867) (14800159303)

Identifier: legendsofmonasti1867jame (find matches)
Title: Legends of the monastic orders : as represented in the fine arts. Forming the second series of Sacred and legendary art
Year: 1867 (1860s)
Authors: Jameson, Mrs. (Anna), 1794-1860
Subjects: Saints Monasticism and religious orders Christian art and symbolism
Publisher: London : Longmans, Green, and Co.
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University



Text Appearing Before Image:
the wall of the church, is seen in one corner; in the backgroundis represented one of the legends of the locality. It is relatedthat when the masons were raising a column, the ropes gaveway, and the column would have fallen on the heads of theassistants, had not one of the monks, full of faith, sustained thecolumn with his single strength. One of the lesser compartments represents another legend.The Madonna appears in a glorious vision to St. Nilus and St.Bartolomeo in this very Grrotta Ferrata, and presents to them agolden apple, in testimony to her desire that a chapel shouldrise on this spot. The golden apple was reverently buried inthe foundation of the belfry, as we now bury coins and medals,when laying the foundation of a public edifice. Opposite is the fresco, which ranks as one of the finest andmost expressive of all Domenichinos compositions. A poorepileptic boy is brought to St. Nilus to be healed; the saint,after beseeching the divine favour, dips his finger into the oil of
Text Appearing After Image:
St. Nilus heals the Epileptic Boy. (From the fresco at Grotta Ferrata.) LEGENDS OF THE MONASTIC ORDERS. a lamp burning before the altar, and with it anoints the mouthof the boy, who is instantly relieved from his malady. Theincident is simply and admirably told, and the action of the boy,so painfully true, yet without distortion or exaggeration, hasbeen, and I think with reason, preferred to the epileptic boy inRaphaels Transfiguration. In a high narrow compartment Domenichino has representedSt. Nilus before a crucifix: the figure of our Saviour extendsthe arm in benediction over the kneeling saint, who seems tofeel, rather than perceive, the miracle. This also is beautiful. St. Nilus having been a Greek monk, and the convent con-nected with the Greek order, we have the Greek fathers in theirproper habits,—venerable figures portrayed in niches round thecornice. The Greek saints, St. Adrian and St. Natalia; andthe Roman saints, St. Agnes, St. Cecilia, and St. Francesca,are painted in