use of the
great anguish she suffered, lamenting her Son, whom the cruel Jews had
murdered.[1]

[Footnote 1: "---- tant qu'il n'y a coeur si dur, ni entendement
d'homme qui n'y deust penser. 'Lasse, mon confort! m'amour et ma joye,
que les Juifz ont faict mourir a grand tort et sans cause pour ce
qu'il leur monstrait leurs faltes et enseignoit leur saulvement! O
felons et mauvais Juifz, ne m'epargnez pas! puisque vous crucifiez
mon enfant crucifiez moy--moy qui suis sa dolente mere, et me tuez
d'aucune mort affin que je meure avec luy!'" v. _The old French
Legend_, "_Vie de Notre-Dame la glorieuse Vierge Marie._"]

The first action described in this legend (the afflicted Mother
embracing the arm of her Son) is precisely that which was adopted by
the Greek masters, and by the early Italians who followed them, Nicolo
Pisano, Cimabue, Giotto, Puccio Capanna, Duccio di Siena, and others
from the thirteenth to the fifteenth century. But in later pictures,
the Virgin in the extremity of her grief has sunk to the ground. In an
altar-piece by Cigoli, she is seated on the earth, looking out of the
picture, as if appealing, "Was ever sorrow like unto my sorrow?" while
the crown of thorns lies before her. This is very beautiful; but even
more touching is the group in the famous "Descent from the Cross," the
masterpiece of Daniel di Volterra (Rome, Trinita di Monte): here the
fainting form of the Virgin, extended on the earth, and the dying
anguish in her face, have never been exceeded, and are, in fact, the
chief merit of the picture. In the famous Descent at Antwerp, the
masterpiece of Rubens, Mary stands, and supports the arm of her Son as
he is let down from the cross. This is in accordance with the ancient
version; but her face and figure are the least effective part of this
fine picture.

In a beautiful small composition, a print, attributed to Albert Durer,
there are only three figures. Joseph of Arimathea stands on a ladder,
and detaches from the cross the dead form of the Saviour, who is
received into the arms of his Mother. This is a form of the _Mater
Dolorosa_ which is very uncommon, and must be regarded as exceptional,
and ideal, unless we are to consider it as a study and an incomplete
group.

* * * * *

The DEPOSITION is properly that moment which succeeds the DESCENT from
the Cross; when the dead form of Christ is deposed or laid upon the
ground, resting on the lap of his Mother