File:Monuments of the early church (1901) (14783516445).jpg

Identifier: monumentsofearly00lowr (find matches)
Title: Monuments of the early church
Year: 1901 (1900s)
Authors: Lowrie, Walter, 1868-1959
Subjects: Christian antiquities Christian art and symbolism Church architecture Church history -- Primitive and early church, ca. 30-600
Publisher: New York, The Macmillan Company London, MacMillan & Co.
Contributing Library: New York Public Library
Digitizing Sponsor: MSN

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at earliermonuments existed of which we no longer have the trace, forthe earliest reference in literature to a picture of the Crucifix-ion is in the middle of the sixth century, and it is not tillthe very end of that century there is mention of a carvedimage of it — this in an account by Gregory of Tours, to theeffect that in a church at Narbonne there was a crucifix whichgave offence on account of its nakedness. Though the Crucifixion on the door of S. Sabina is the earli- SCULPTUPiE— The Crucifixion 277 est we know, one can hardly say that it is the beginning of aline of development; the subject was so rare for at least a cen-tury after, that no tradition was established. It is certainlytreated in an unique way in this monument. The backgroundrepresents the wall of Jerusalem, and denotes that the Cruci-fixion was without the city. Christ is placed between the twothieves, who are represented much smaller than he. They areall three naked but for the scantiest loin cloth. Curiously
Text Appearing After Image:
^m&TM-m Fig. 108. — A panel from the doors of S. Sabina. The Crucilixion. enough, there is no cross, though the hands of all are nailedto small blocks of wood. The feet are not nailed. There musthave been some reason for merely hinting at the cross in thisway, but it is puzzling to account for it. It may have something to do with another strange featurewhich we have to observe, namely, the position of the arms;they all three stand in the position of the orans. One cannotreadily suppose that this position was given them for lack ofroom, nor that there was any trait of realism in it. It isstrange, on the other hand, to find Christ represented as an 278 nCTOBIAL ART orans, and the same attitude ascribed to both tliieves. Theposture of the orans suggested especially the petition of thesoul for Gods forgiveness and mercy. Christ is not commonlyrepresented in tliis attitude; a rare if not the solitary excep-tion is constituted by one of the representations of his baptismin the catacom

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