(1811), £3,300. Copy in Munich Gallery. Engraved by P. de Jode; C. de Méchel.—Smith, iii. 21, 70; Guiffrey; Gal. de Düsseldorf.
By Murillo, Geo. Tomline, Orwell Park, Suffolk; canvas, H. 7 ft. 8 in. × 8 ft. 5 in. Christ, standing in centre, with three disciples on his right, puts forth his hand to raise the paralytic, who, stretched on the ground, with a crutch, a jar, and a dish beside him, implores his aid; on right, a dog approaches the pool; in middle distance, many figures grouped in porch of a temple; above, the angel ascending. Companion to Prodigal Son's Return, Stafford House. Painted in 1670-74 for Hospital of La Caridad; carried off by Marshal Soult; sold to Mr. Tomline (1846), 160,000fr. Engraved by T. Vernon. Considered by Waagen to be the "finest Murillo in England."—Curtis, 192; C. Bermudez, Carta, 74; Stirling, ii. 852; Waagen, iii. 440.
CHRIST SHOWN TO THE PEOPLE.
See Ecce Homo.
CHRIST AND THE PHARISEES. See
Tribute Money.
CHRIST BEFORE PILATE, Gerard
Honthorst, Stafford House, London. Christ
with hands bound, standing at right in an
interior, is interrogated by Pilate, who is
seated behind a table, on which are books,
an inkstand, and a candle, the light of which
illumines the faces of both; in background,
right, several soldiers; left, two attendants.
Painted at Rome for Prince Giustiniani.—Ch.
Blanc, École hollandaise.
By Mihail Munkacsy, Paris. Christ standing before Pilate, who is seated at right upon a dais, in a vaulted chamber, into which the rabble are pressing with threatening cries and gestures; a Roman soldier is keeping them back from the Saviour with his spear; near Pilate, who appears much perplexed, are several Rabbis. Engraved by A. Mongin. Etched (1883) by C. Waltner.—Acad., May 6, 1882, 328; Gaz. des B. Arts (1881), xxiv. 139.
By Tintoretto, Scuola di S. Rocco, Venice; canvas. A very interesting picture, best seen on a dark day, when the white figure of Christ looks almost like a spirit; the Pilate is very mean, perhaps intentionally, and the passionate action of the scribe in lifting his hand to dip the pen into the ink-horn is affected and overstrained.—Ruskin, Stones of Venice, iii. 352.
Subject treated also by Michael Wohlgemuth, Liverpool Gallery; Benedetto Cagliari, Venice Academy; Luigi Benfatto, S. Luca, Venice.
CHRIST AT POOL OF BETHESDA.—See
Christ Healing the Paralytic.
CHRIST, RESURRECTION OF. See
Resurrection.
CHRIST AND ST. JOHN, Murillo, Madrid
Museum; canvas, H. 3 ft. 5 in. × 4 ft.
The Infant Jesus, standing on left, gives
water in a shell to St. John, who kneels,
holding a cross in his left hand; on left, a
lamb lying; above, three cherubs; background,
landscape. From Isabel Farnese
Collection. Engraved by Ledoux; lithographed
by V. Camaron, Lafosse, Mlle. Asselinau.
Sometimes called Los Miños de la
Concha (Children of the Shell).—Dohme;
Curtis, 188; Madrazo, 473.
CHRIST WITH SAINTS, Tintoretto, S.
M. Zobenigo, Venice; canvas, H. about 10
ft. × 8 ft. Christ descending from clouds
between SS. Justina and Augustine, who
are kneeling on the sea-shore. Displays
little power except in general harmony of
colours.—Ruskin, Stones of Venice, iii. 362;
Zanotto, 174.
CHRIST AND SAMARITAN WOMAN,
Guido Reni, Louvre; canvas, H. 1 ft. 11 in.
× 2 ft. 8 in. The woman of Samaria, standing
at right, with a vase or pitcher in her
hand, listens to Christ, who sits leaning on
the curbstone of the well; in distance, city
of Samaria. Collection of Louis XIV. Engraved
by L. Fabri.—Musée Royal, i.; Filhol,
i. Pl. 3; Landon, Musée, iii. Pl. 16;
Ch. Blanc, École bolonaise.
Subject treated also by Annibale Carracci, Brera, Milan; Guido Reni, Louvre; Lorenzo
