- scape with a city. Painted about 1549.
Formerly in Fesch and Coningham galleries.—C. & C., N. Italy, i. 382; Waagen, Treasures, ii. 178.
By Johann Friedrich Overbeck, Hamburg Hospital; canvas, H. 11 ft. × 7 ft. The Saviour kneeling, his head bowed in anguish, his hands raised in ecstasy; below, the three disciples lying asleep; above, in a glory amid clouds, an angel bearing the cross.—Atkinson, 63.
By Pietro Perugino, Florence Academy; wood, H. 4 ft. × 4 ft. 3 in. Christ kneeling in prayer while an angel brings the cup; the three apostles asleep in foreground, and Judas bringing the soldiers in background. Painted in 1495 for the convent of the Gesuiti, Florence, as a companion to the Pietà of Florence Academy. Engraved by Chiossone.—Vasari, ed. Mil., iii. 573; C. & C., Italy, iii. 199; Gall. dell' Accad. di Firenze, Pl. 52.
By Raphael, Stanstead House, Sussex, Eng.; wood, H. 2 ft. × 2 ft. 3 in. Christ kneels upon a hillock, against which lean the three sleeping disciples; above, at left, an angel descending with the cup; in distance, at right, Judas with six soldiers; background, a landscape with hills and a town. Painted for Duke Guidobaldo of Urbino about 1504. Formerly in Palazzo Gabrielli, Rome, whence stolen in 1820, and sold for 40 scudi; but recovered and sold to the Woodburns for 4000 scudi; bought from Coningham Collection by Mr. Maitland of Stanstead House for £787. Engraved by L. Grüner for German edition of Passavant, Pl. x.—Vasari, ed. Mil., iv. 323; Passavant, ii. 20; Waagen, Treasures, iii. 4.
By Tintoretto, Scuola di S. Rocco, Venice; canvas. The most hastily painted of all the S. Rocco pictures. Christ represented sleeping, the angel with the cup appearing to him as a dream; James and John also asleep, and Peter wakening and turning his head toward Judas approaching with the troop.—Ruskin, Stones of Venice, iii. 337.
By Titian, Escorial, Spain; canvas, figures half life-size. Christ, kneeling, looks to the left, where an angel is descending, while Peter and the sons of Zebedee sleep on the grass. Painted in 1562 for Philip II. of Spain; placed in the Sala Prioral of the Escorial, where it became nearly ruined from neglect. Imitation of similar picture by Correggio, now at Apsley House, England.—C. & C., Titian, ii. 320.
Subject treated also by Giotto, Uffizi, Florence; Gentile da Fabriano, Cluny Museum; Garofalo, National Gallery, London; Brusasorci, Louvre; Schidone, Lyons Museum; Daniele Crespi, Berlin Museum; Annibale Carracci, Madrid Museum; Anton van Dyck, ib.; Chimenti da Empoli, ib.; Juan de Juanes, ib.; Fr. Trevisani, Dresden Gallery; Lanfranco, Munich Gallery; Leandro Bassano, Venice Academy; Jacopo Bassano, ib.; Murillo, Louvre; Memling, Lübeck Cathedral; Wohlgemuth, Munich Gallery; Lucas Cranach, Berlin Museum, Vienna Museum; Adrian van der Werf, Munich Gallery; Hans Burgkmair, Augsburg Gallery; Éugène Delacroix (Salon, 1827); Ary Scheffer (Salon, 1839); Théodore Chassêriau (Salon, 1844); M. de Rudder (Salon, 1863).
CHRIST IN GLORY, AND SAINTS,
Domenico Ghirlandajo, Palazzo Pubblico,
Volterra. Christ, in a glory of angels, gives
a blessing from the heavens; below, SS.
Romualdo and Benedict stand looking upward,
and SS. Attinia and Greciniana kneel
in ecstasy; in right corner, a Camaldolensian
monk at prayer. Painted about 1486
by order of Lorenzo de' Medici for the
Badia or Abbey of S. Giusto, Volterra. Injured
by restoring in oil. Engraved (1583)
by Diana Ghisi.—Vasari, ed. Mil., iii. 273;
C. & C., Italy, ii. 487.
CHRIST THE GOOD SHEPHERD,
Murillo, Baron Rothschild, Gunnersbury,
near London; canvas, H. 5 ft. 5 in. × 3 ft. 6
in. The Saviour, about six years old, wearing
a sheepskin garment, standing, with a
crook in his hand, looking up; on his right,
a sheep lying down; on his left, two
sheep standing, his hand on the head of
