Lippi, Vienna Museum; Biliverti, ib.; Paolo Veronese, ib.; Annibale Carracci, ib.; Philippe de Champagne, Caen Museum; also by Bonifazio, Noel Coypel, Gaspard de Crayer, Garofalo, G. Gimignani, Ulrich Mayer, Nicolas Poussin, Bernardo Strozzi, Federigo Zucchero, Alphonse Perin (Salon, 1827), Charles Chasselat (Salon, 1838), Jules Jollivet (Salon, 1839), J. Bellel (Salon, 1841), Auguste Leloir (Salon, 1844), C. de Balthasar (Exposition Universelle, 1855), W. Cooper (Exposition Universelle, 1855), Théodore Maillot (Salon, 1863).
CHRIST, SEPARATION OF, Paolo Veronese,
Pitti, Florence; canvas, H. 3 ft. × 2 ft.
2 in. Christ taking leave of his mother before
the Passion, in the presence of the Magdalene
and Martha. The wife of Zebedee stands at
top of the steps leading into the palace, in
front of which the Virgin sits. Engraved by
Lasinio.—Gal. du Pal. Pitti, ii. Pl. 26.
An image should appear at this position in the text. To use the entire page scan as a placeholder, edit this page and replace "{{missing image}}" with "{{raw image|Cyclopedia of painters and paintings - Volume I.djvu/334}}". Otherwise, if you are able to provide the image then please do so. For guidance, see Wikisource:Image guidelines and Help:Adding images. |
Christ Healing the Sick, Benjamin West, National Gallery, London.
CHRIST HEALING THE SICK, Benjamin West, National Gallery, London; canvas, H. 9 ft. × 14 ft. "And the blind and the lame came to him in the temple, and he healed them." (Matt. xxi. 14.) Christ standing, with his disciples and many Jews behind him; in foreground, the sick being brought in to be cured. Painted for the Friends' Hospital in Philadelphia, but sold for 3,000 guineas to the Directors of the British Institute, who presented it (1826) to the National Gallery. West sent a copy to Philadelphia. Engraved by C. Heath; in small by T. Phillibrown for Jones's National Gallery.—Cat. Nat. Gal.
CHRIST IN THE TEMPLE. See Christ
among the Doctors.
CHRIST CLEARING THE TEMPLE.
See Christ and the Money Changers.
CHRIST, TEMPTATION OF, Tintoretto,
Scuola di S. Rocco, Venice; canvas. Christ
and Satan on the mountain. The picture
owes great part of its effect to the lustre of
the jewels in the armlet of the latter, and
to the beautiful colours of his wings.—Ruskin,
Stones of Venice, iii. 341.
Subject treated also by Sandro Botticelli, Sistine Chapel; Perugino, Sala del Incendio, Vatican; J. König, Pommersfelden Gal-