Sacred and legendary art, volume 1 (of 2) / Containing legends of the angels and archangels, the evangelists, the Apostles, the doctors of the church, and St. Mary magdalene, as represented in the fine arts.

by Mrs. Jameson

[304] Munich Gallery, No. 266. There is an inferior repetition in the Royal Gallery at Turin.

[305] The great picture formerly in the Durazzo Palace is now in the Royal Gallery at Turin. It is wonderful for life and colour, and dramatic feeling—a masterpiece of the painter in his characteristic style.

[306] Bottari, Tab. xxx.

[307] Santa Croce, Florence.

[308] This beautiful and valuable picture has been bequeathed by the poet to the National Gallery.

[309] The print by Edelinck is considered as the masterpiece of that celebrated engraver.

[310] Dresden Gal.

[311] See p. 379, note.

[312] There are about 150 churches in England dedicated in honour of Mary Magdalene.

[313] There is a fine series of frescoes from the life of Mary Magdalene by Gaudenzio Ferrari, in the church of St. Cristoforo at Vercelli. 1. Mary and Martha are seated, with a crowd of others, listening to Christ, who is preaching in a pulpit. Martha is veiled and thoughtful: Mary, richly dressed, looks up eagerly.—Half destroyed. 2. Mary anoints the feet of the Saviour: she lays her head down on his foot with a tender humiliation: in the background the Maries at the sepulchre and the Noli me tangere.—This also in great part ruined. 3. The legend of the Prince of Provence and his wife, who are kneeling before Lazarus and Mary. Martha is to the left, and Marcella behind. In the background are the various scenes of the legend:—the embarkation; the scene on the island; the arrival at Jerusalem; the return to Marseilles with the child. This is one of the best preserved, and the heads are remarkably fine. 4. Mary Magdalene sustained by angels, her feet resting between the wings of one of them, is borne upwards. All the upper part of the figure is destroyed. In the background are the last communion and burial of the Magdalene. I saw these frescoes in October 1855. They suffered greatly from the siege in 1638, when several bombs shattered this part of the wall, and will soon cease to exist. They are engraved in their present state in Pianazzi’s ‘Opere di Gaudenzio Ferrari,’ No. 19.