Page:Vasari - Lives of the Most Excellent Painters, Sculptors, and Architects, volume 1.djvu/383

Rh mility. On the same level with these two last mentioned scenes, but on the opposite leaf of the door, is Christ entering Jerusalem, seated on the ass, while the children of the Hebrews cast their garments before Him, and strew the path of the Redeemer with palm leaves and olive branches; the Apostles are also shown, following their Master. Beside this scene is the Last Supper, an admirable composition, and full of beauty in all its parts: the figures are seated at a long table, half placed within and half without the chamber. Above the Transfiguration is the Saviour on the Mount of Olives, where the three Apostles are seen asleep in various attitudes of much truth and beauty. The story beside this is that of Christ betrayed by Judas, and taken by the Jews, which presents many admirable characteristics well meriting attentive consideration. The Apostles, who have been put to flight, exhibit many fine attitudes, while those of the Jews who take the Saviour captive equally display the violence they are using, and the triumph they feel. On the opposite fold of the door, and at the same height with these, is Christ bound to the column, his figure, bent beneath the flagellation, is somewhat contorted by the pain lie suffers, and exhibits an attitude which awakens deep compassion, while a fearful rage and desire for vengeance are manifest in the gestures and faces of the Jews by whom he is tortured. Beside this story is that of Christ conducted before Pilate, who washes his hands, and condemns the Saviour to the cross.

Above the scene in the garden, on the other side, and in the last series of these representations, is Christ bearing his Cross, and led to death by a furious rabble of the soldiery, who, by the violence of their gestures, appear to drag Him forcibly along. The deep grief and bitter wailings of the Maries are also expressed with so much truth and vividness, that those who were present at this mournful spectacle can scarcely have seen it more clearly. Near to this picture is that of Christ crucified, with Our Lady and St. John the Evangelist seated on the earth, overwhelmed with grief and indignation. On the opposite fold of the door is then depicted the Resurrection, where the guards lie, like dead men, in a deep sleep, while the Saviour rises upwards; and such is the grace of his attitude, and the perfection of the beautiful limbs produced by the genius and patience of Lorenzo, that he does