[infant christ and saint john.—boucher.]

The figure of the Christ-child alone does not belong to the early Renaissance, but by the seventeenth century, the subject had found favor with Guido and Franceschini in Italy, and with Murillo and Zurbaran in Spain. With all these artists it was a favorite custom to depict the child Jesus asleep on the cross. Murillo’s Infant Saviour, plaiting a crown of thorns, also belongs to this class. These forms of symbolic illustration have their modern counterpart in the work of several German artists. As the Gospel narrative furnishes no actual incidents of the early childhood of Jesus, he is shown in some attitude which will suggest his divine calling. Painted by Ittenbach, he raises his right hand to point the heavenward way, while with his left he indicates his name inscribed in the letters I. H. S. on the breast of his tunic. In Sinkel’s picture he holds a tablet of the Commandments, with his finger on the fourth, a sweet expression of Sabbath peace on his face.

Professor Deger’s picture expresses a unique and lovely conception of the Christ-child in the fields, communing with his Father, and preparing for his ministry. He is a dreamy-looking boy, of delicate features, and broad, high brow, with fair curls blowing away from his face. Though alone, he lifts his hand in blessing, as if, in his prophetic imagination, the meadows were already peopled with the throngs to whom he is to teach the sweet lessons of the lilies and the sparrow.

[the christ-child.—deger.]

The childhood of Jesus came to an end at the age of twelve, when he awoke to the realization that he must be “about his Father’s business.” It was a great moment in the quiet life of the Nazarene lad. Mary and Joseph having to make their annual journey to Jerusalem to celebrate the Passover, had brought him with them, and allowed him to wander from them. Supposing him to be among the company with which they were travelling, they were well on their homeward way, when they discovered that he was missing. Returning to the city, and seeking him hither and thither, they at length found him in the temple, “sitting in the midst of the doctors, both hearing them, and asking them questions. And all that heard him were astonished at his understanding and answers.”

It was the latter part of this account which the early masters seized as the motif of the Dispute in the Temple, and interpreted as meaning that the boy Christ assumed the position of teacher and preacher to the doctors. In the paintings of Duccio and Giotto, he is sitting on a platform, with the mien and gesture of a learned doctor; while other artists place him on a sort of throne or pulpit. It was left to modern art to conceive the true significance of the event, and to put before us the eager boy, listening and asking questions.