She is rushing up the steps with
open arms towards the High Priest, who is standing at the top. For
her it is nothing alarming; it is the High Priest who appears
frightened; but it will all come right in time. The Virgin seems to
be saying, "Why, don't you know me? I'm the Virgin Mary." But the
High Priest does not feel so sure about that, and will make further
inquiries. The scene, which comprises some twenty figures, is
animated enough, and though it hardly kindles enthusiasm, still does
not fail to please. It looks as though of somewhat older date than
the Birth of the Virgin chapel, and I should say shows more signs of
direct Valsesian influence. In Marocco's book about Oropa it is
ascribed to Aureggio, but I find it difficult to accept this.
The seventh, and in many respects most interesting chapel at Oropa,
shows what is in reality a medieval Italian girl school, as nearly
like the thing itself as the artist could make it; we are expected,
however, to see in this the high-class kind of Girton College for
young gentlewomen that was attached to the Temple at Jerusalem,
under the direction of the Chief Priest's wife, or some one of his
near female relatives. Here all well-to-do Jewish young women
completed their education, and here accordingly we find the Virgin,
whose parents desired she should shine in every accomplishment, and
enjoy all the advantages their ample means commanded.
Pages:
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102
103
104
105
106