- seum; Pietro Perugino, Vienna Museum;
Juan Fernandez Navarrete, Madrid Museum; Lorenzo di Credi, Uffizi, Florence; Vincenzo Civerchio, Louvre; Vincenzo Carducho, Madrid Museum.
CHRIST, BETRAYAL OF. See Judas,
Kiss of.
CHRIST, BIRTH OF. See Nativity.
CHRIST AND THE BLIND. See Jericho,
Blind men of.
CHRIST ON CALVARY, Mihail Munkacsy,
Paris; canvas, H. 19 ft. × 25 ft. The
three crosses in foreground, at right, against
a sky black with clouds and illuminated
with lightnings, the city being just discernible
on the horizon; Christ, pale and leaning
forward, has just expired; the Virgin,
Mary Magdalen, and John are kneeling at
the foot of the cross, beside which the Centurion
has dropped in terror; all the remainder
of the canvas filled with the terror-stricken-crowd—Jewish
men and women,
the executioners with their implements, rabbis
discussing the event, Roman cavalry, and
in front Judas—all hastening down the hill.
Painted in 1883-84.
CHRIST ON WAY TO CALVARY. See
Calvary, Procession to.
CHRIST AND THE CENTURION (Matthew,
viii. 5), Paolo Veronese, Madrid Museum;
canvas, H. 6 ft. 3 in. × 9 ft. 6 in.
The centurion kneeling between two soldiers
on the marble pavement of a spacious edifice,
before Christ, who is accompanied by
two apostles and others; background, a
splendid building of Renaissance architecture.
Placed by Philip IV. in the Escorial,
whence brought to the Museum. A smaller
canvas, same subject, in the Museum, from
Collection of Charles II.—Cat. Museo del
Prado.
CHRIST AND THE CHILDREN, Lucas
Cranach, the elder, Baring Collection, London.
The mothers and the children are in
quaint, old German costumes. Other treatments
of the subject, which Cranach painted
several times, are in the Stadtkirche, Naumburg,
and the Paulinerkirche, Leipsic.
By Johann Friedrich Overbeck, Meyer Collection, Hamburg. Christ standing in a landscape, with both hands raised, is blessing the children who are gathered, some kneeling, some standing, around him; at sides, the mothers, and in background, disciples.
Subject treated also by Rembrandt (attributed), National Gallery, London; Jan de Bray, Haarlem Museum; Sebastien Bourdon, Louvre.
CHRIST, CIRCUMCISION OF. See
Circumcision.
CHRIST AT THE COLUMN. See Flagellation.
CHRIST BEARING THE CROSS, Paolo
Morando, Verona Gallery. Christ, with a rope
around his body and led by an executioner,
is bearing the cross on his right shoulder,
aided by Simon of Cyrene, who is holding
up the lower end; background, a rocky
landscape.—Jameson, Hist. Our Lord, ii.
114.
By Raphael. See Spasimo di Sicilia.
By Titian, Scuola di S. Rocco, Venice; canvas. Four figures: Christ, bending under the cross, is dragged by an executioner with a cord, while two persons, one at each side, look on. Painted before 1517; worshipped for the miracles it was supposed to perform, and attracted such offerings that the brethren of S. Rocco were enabled to rebuild their house from the fortune it brought them. Vasari ascribes it both to Titian and to Giorgione.—Vasari, ed. Mil., iv. 97; vii. 437; Sansovino, Ven. desc., 288; C. & C., Titian, i. 60.
Subject treated also by Albrecht Dürer, Bergamo Gallery, Dresden Gallery; Pieter Brueghel, the elder, Uffizi, Florence; Polidoro da Caravaggio, Naples Museum; Garofolo, Palazzo Corsini, Rome, Hermitage, St. Petersburg; Pieter Brueghel, the younger, Antwerp Museum; Titian, Madrid Museum; Paolo Veronese, Louvre, Paris; Luis Morales, Louvre; Eustache Le Sueur, Louvre; Lodovico Carracci, Hermitage, St. Petersburg; Andrea da Solario, Palazzo Borg-
