Identifier: legendsofmonasti1867jame (find matches)
Title: Legends of the monastic orders : as represented in the fine arts. Forming the second series of Sacred and legendary art
Year: 1867 (1860s)
Authors: Jameson, Mrs. (Anna), 1794-1860
Subjects: Saints Monasticism and religious orders Christian art and symbolism
Publisher: London : Longmans, Green, and Co.
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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but the grossest example—the mostoffensive—is the marble group of Bernini, in the Santa Mariadella Vittoria at Rome. The head of St. Theresa is that of alanguishing nymph ; the angel is a sort of Eros; the whole hasbeen significantly described as a parody of Divine love. Thevehicle, white marble,—its place in a Christian church,—en-hance all its vileness. The least destructive, the least prudishin matters of art, would here willingly throw the first stone. Other representations of St. Theresa exhibit her looking up inrapture at the holy dove, which expresses the claim to directinspiration made for her—never by her. And sometimes sheholds a heart with the name of Jesus, the I.H.S., engraved onit; as in this figure (83), by Bramantino, which, like all theother Italian figures of St. Theresa, is wholly uncharacteristic. An excellent work of Ribalta adorns the saloon of the Artists ofValencian Academy of San Carlos. It represents St. Theresa 422 LEGENDS OF THE MONASTIC ORDERS. ^
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St. Theresa. (Prom a Spanish picture formerly in the Louvre.) seated at table and writing from the dictation of the Holy Spirit,hovering at her ear in the likeness of a snow-white dove: hercountenance beaming with heavenly light. The finest picture I have seen of St. Theresa is by Rubens, ST. THERESA. painted for the Petits Cannesat Antwerp, and now in the Museeof that city. It represents the saintpleading at the feet of the Saviourin behalf of sinners in purgatory.In the Rubens-religious style, incolour, and character, and life, thispicture is as fine as possible; andit must accomplish its purpose inpoint of expression, for, as I wellrecollect, I could not look on itwithout emotion. Theannexedetch-ing will give some faint idea of itsbeauty as a composition. Eubens,who had been in Spain, has heregiven a real and characteristic por-trait of the saint. The features arelarge and heavy, yet bright with en-thusiastic adoration and benignity.Another picture by the samepainter represents St.

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