those painted in our own day. Near this story is that of the Marriage of the Virgin, when the anger of the suitors is seen to exhale itself in the act of breaking their rods, which do not blossom as does that of Joseph. The figures are in considerable numbers and appear in an appropriate building. In the fifth story, the Magi are seen to arrive in Bethlehem with a vast concourse of men, horses, dromedaries, and many other objects; without doubt a well arranged picture. Near this is the sixth, which represents the cruel wickedness practised by Herod against the Innocents; and here we have a most animated contest of women with the soldiers and horses, who strike and drive them about. Of all the stories we have by Domenico Ghirlandajo, this is certainly the best, since it is executed with great judgment, ability, and art. The impious determination of those who kill those poor children at the command of Herod, without regard to the mothers, is rendered most clearly visible: among the babes is one, still hanging to the breast of the mother, while it'is dying of wounds received in its throat, so that it sucks, not to say drinks, blood no less than milk from the breast; this is a very striking thought, and by the art with which it is represented is well calculated to recall pity to life even in hearts wherein it had been long dead.[1] There is, moreover, a soldier who has forced a child from the mother, and as he is hurrying away with it, he is killing the innocent by crushing its breast; the mother of the babe is seen hanging to his hair, which she has seized with fury, and forces him to bend back till his person forms an arch—in this group three different effects are finely displayed, one the death of the child, who is seen to expire; another, the cruelty of the soldier, who, feeling himself dragged as described, is obviously avenging himself on the infant; and the third is the determination manifested by the mother, who, seeing the death of her child, resolves in her rage and despair that the. murderer shall not depart without suffering: all this is in fact more after the manner of a deeply-thinking philosopher, than of a painter. There are, beside, many other passions and emotions rendered manifest in these stories, insomuch that he who examines them will infallibly perceive this
- ↑ “Qui vive la pietà quando è ben morta.” Dante, Inferno.
