“THE HISTORY OF CHRISTIAN ART” 227

Orcagna the only artist who has dared it. We question whether even wrath be intended in the countenance of the principal figure; on the contrary, we think it likely to disappoint at first, and appear lifeless in its exceeding tranquillity; the brow is indeed slightly knit, but the eyes have no local direction. They comprehend all things-are set upon all spirits alike, as in that word-fresco of our own, not unworthy to be set side by side with this, the Vision of the Trembling Man in the House of the Interpreter.¹ The action is as majestic as the countenance-the right hand seems raised rather to show its wound (as the left points at the same instant to the wound in the side), than in condemnation, though its gesture has been adopted as one of threatening-first (and very nobly) by Benozzo Gozzoli, in the figure of the Angel departing, looking towards Sodom-and afterwards, with unfortunate exaggeration, by Michael Angelo.² Orcagna’s Madonna we think a failure, but his strength has been more happily displayed in the Apostolic circle. The head of St. John is peculiarly beautiful. The other Apostles look forward or down as in judgment-some in indignation, some in pity, some serene-but the eyes of St. John are fixed upon the Judge Himself with the stability of love-intercession and sorrow struggling for utterance with awe-and through both is seen a tremor of submissive astonishment, that the lips which had once forbidden his to call down fire from heaven should now themselves burn with irrevocable condemnation.

“One feeling for the most part pervades this side of the composition,-there is far more variety in the other; agony is depicted with fearful intensity and in every degree and character; some clasp their hands, some hide their faces, some look up in despair, but none towards Christ; others seem to have grown idiots with horror:-a few gaze, as if fascinated, into the gulf of fire towards which the whole mass of misery are being urged by the ministers of doom-the flames bite them, the devils fish for and catch them with long grappling-hooks:-in sad contrast to the group on the

¹ [Pilgrim’s Progress, p. 33 (Golden Treasury edition): a description of the Last Judgment.]

²[For Gozzoli’s angel, see the Plate opposite p. 316 in Vol.IV.; the fresco is described, and Michael Angelo’s adoption of the attitude noted, at p. xxx. of the same volume.]

[Version 0.04: March 2008]