But the old
painter-theologian, though indeed he showed the right hand of Christ
lifted, and the left hand laid across His breast, had another meaning
in the actions. The fingers of the left hand are folded, in both the
figures; but in Michael Angelo's as if putting aside an appeal; in
Orcagna's, the fingers are bent to draw back the drapery from the right
side. The right hand is raised by Michael Angelo as in anger; by
Orcagna, only to show the wounded palm. And as, to the believing
disciples, He showed them His hands and His side, so that they were
glad,--so, to the unbelievers, at their judgment, He shows the wounds
in hand and side. They shall look on Him whom they pierced.
[Footnote: I found all this in M. Didron's Iconographie, above quoted;
I had never noticed the difference between the two figures myself.]
257. And thus, as we follow our proposed examination of the arts of the
Christian centuries, our understanding of their work will be absolutely
limited by the degree of our sympathy with the religion which our
fathers have bequeathed to us. You cannot interpret classic marbles
without knowing and loving your Pindar and AEschylus, neither can you
interpret Christian pictures without knowing and loving your Isaiah and
Matthew.
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