The sermon on the Mount is perfectly expressed by the craggy pinnacle in front of Christ, and the high dark horizon. There is curious evidence throughout all these frescos of Simon Memmi's having read the Gospels with a quite clear understanding of their innermost meaning.
I have called this science Practical Theology:—the instructive knowledge, that is to say, of what God would have us do, personally, in any given human relation: and the speaking His Gospel therefore by act. "Let your light so shine before men."
She wears a green dress, like Music her hair in the Arabian arch, with jewelled diadem.
Under David. Medallion, Almsgiving. Beneath her, Peter Lombard,
Technical Points.—It is curious that while the instinct of perspective was not strong enough to enable any painter at this time to foreshorten a foot, it yet suggested to them the expression of elevation by raising the horizon.
I have not examined the retouching. The hair and diadem at least are genuine, the face is dignified and compassionate, and much on the old lines.
XI. DEVOTIONAL THEOLOGY.—Giving glory to God, or, more accurately, whatever feelings He desires us to have towards Him, whether of affection or awe.
This is the science or method of devotion for Christians universally, just as the Practical Theology is their science or method of action.
In blue and red: a narrow black rod still traceable in the left hand; I am not sure of its meaning. ("Thy rod and Thy staff, they comfort me?") The other hand open in admiration, like Astronomy's; but Devotion's is held at her breast. Her head very characteristic of Memmi, with upturned eyes, and Arab arch in hair. Under her, Dionysius the Areopagite—mending his pen! But I am doubtful of Lord Lindsay's identification of this figure, and the action is curiously common and meaningless. It may have meant that meditative theology is essentially a writer, not a preacher.
The medallion, on the other hand, is as ingenious. A mother lifting her hands in delight at her child's beginning to take notice.