viour; the other
two Marys are occupied by the fainting Mother. (Castle Howard.) On
comparing this with Raphael's conception, we find more of common
nature, quite as much pathos, but in the forms less of that pure
poetic grace, which softens at once, and heightens the tragic effect.

Besides Joseph of Arimathea, we have sometimes Nicodemus; as in the
very fine Deposition by Perugino, and in one, not loss fine, by Albert
Durer. In a Deposition by Ambrogio Lorenzetti, Lazarus, whom Jesus
raised from the dead, stands near his sister Martha.

In a picture by Vandyke, the Mother closes the eyes of the dead
Redeemer: in a picture by Rubens, she removes a thorn from his wounded
brow:--both natural and dramatic incidents very characteristic of
these dramatic painters.

There are some fine examples of this subject in the old German school.
In spite of ungraceful forms, quaint modern costumes, and worse
absurdities, we often find _motifs_, unknown in the Italian school,
most profoundly felt, though not always happily expressed, I remember
several instances in which the Madonna does not sustain her Son; but
kneeling on one side, and, with clasped hands, she gazes on him with
a look, partly of devotion, partly of resignation; both the devotion
and the resignation predominating over the maternal grief. I have
been asked, "why no painter has ever yet represented the Great Mother
as raising her hands in thankfulness that her Son _had_ drank the
cup--_had_ finished the work appointed for him on earth?" This would
have been worthy of the religions significance of the moment; and I
recommend the theme to the consideration of artists.[1]

[Footnote 1: In the most modern Deposition I have seen (one of
infinite beauty, and new in arrangement, by Paul Delaroche), the
Virgin, kneeling at some distance, and a little above, contemplates
her dead Son. The expression and attitude are those of intense
anguish, and _only_ anguish. It is the bereaved Mother; it is a
craving desolation, which is in the highest degree human and tragic;
but it is not the truly religious conception.]

* * * * *

The entombment follows, and when treated as a strictly historical
scene, the Virgin Mother is always introduced, though here as a less
conspicuous figure, and one less important to the action. Either
she swoons, which is the ancient Greek conception; or she follows,
with streaming eyes and clasped hands, the pious disciples