68 THE ALTAR-PIECE OF SAINT 



surrounded by women is seen fainting at the foot of the 

 cross in the broadest light and the most vivid colors, 

 conveying in this casual episode the interest from the 

 grand mysterious transaction to one which, although 

 perfectly natural, is not even dignified or historical. 

 Now in the selection of the group, the disposition, and 

 the action given by Mr. Ball to his picture of the 

 Crucifixion, we think that he has achieved a novel and 

 thoroughly original composition, avoiding both the 

 single figure and the unconnected or distracting unmps 

 of other artists, he has selected a moment of time in 

 the Mystery when the Saviour addressed to his mother 

 and St. John the impressive words (John xix.) " Wo- 

 man behold thy Son ! then saith he to the disciple, 

 behold thy mother !" mixing evident cause for all the 

 action observed in the attendant personages. These 

 consist of the three Marys and the younir K\ an.rlist, 

 whose fervour and anxious d< \ to the, com- 



mands of his divine Master, is vigorously expressed by 

 the more than necessary elevation of his face, his 

 hands crossed high upon the breast and his rapid step 

 forwards, shewing the promptness of his assent, the 

 almost joyful emotion which excites his youthful heart 

 to more than a sedate attitude of obedience. On the 

 opposite side stands the mother of Christ, her counten- 

 ance beaming with beauty, while it shews withal an 

 agony exalted and dignified, yet still attentive to the 

 words of the Redeemer, her clasped hands concealed 

 beneath the veil add to the pathos and assist in con- 

 veying the expression of fortitude and submission. 

 This figure is a type of strength above the lot of a mere 

 mother. Mary, the wife of Cleophas, shews more 

 violent, more human and therefore less exalted grief, 

 but still the high and noble features of her countenance 

 bespeak power and energy, her attitude corresponding 

 with this character; on hearing the sacred words sin 

 evinces solicitude for the Virgin, and her arm is extend- 

 ed to support her. But Mary Magdalene's whole 

 *oul is absorbed in affliction, she clings to the foot of 

 the cross, and her attitude bordering on weakness 



