Page:Cyclopedia of painters and paintings (IA cyclopediaofpain04cham).pdf/50

hand and pointing up with his right; below, guards sleeping by the tomb. Formerly in Convent of the Merced Calzada, Seville; carried off by Marshal Soult; returned to Madrid in 1814. Engraved by Franch. Study was in Standish Collection.—C. Bermudez, ii. 59; Ponz, Viage, ix. 107; Curtis, 206.

By Pietro Perugino (and Raphael?), Vatican, Rome; wood, arched. Christ, in an almond-shaped glory, with an angel on each side, has risen from the tomb; three soldiers sleeping and one running away. The flying soldier is said to be the portrait of Perugino, and the sleeping youth on the right that of Raphael, who probably had a share in the painting of this picture. Painted for S. Francesco de' Conventuali, Perugia, after 1504. Taken to Paris; returned in 1815.—C. & C., Italy, iii. 219; Pistolesi, Vaticano, vi. Pl. 69; Müntz, 53; Passavant, ii. 4.

By Raffaellino del Garbo, Florence Academy; wood, figures half life-size. Christ rises from the sepulchre, the cover of which has fallen on one of the guards; other soldiers running away in terror; landscape background of a town, ruins, rocks, and trees. Formerly in S. Bartolommeo at Monte Oliveto.—Vasari, ed. Mil., iv. 235; C. & C., Italy, iii. 419.

By Raphael, Vatican; wood, H. 7 ft. 6 in. × 5 ft. 6 in. Christ, supported on a cloud, blesses the world as he rises from the tomb; two guards, thought by some to resemble Raphael and Perugino, sleep near; in distance, two more run away. Attributed to Perugino, but probably by Raphael when under him (1495-1500). Painted for S. Francesco, Perugia; carried to Paris in 1797; sent to Vatican in 1815. Engraved by Graffonara; Rehberg. Studies for the two groups of soldiers in Oxford Collection.—Passavant, ii. 2.

By Rembrandt, Munich Gallery; canvas, arched, H. 2 ft. 10 in. × 2 ft. 2 in. An angel is removing the stone from the entrance to the sepulchre, within which Christ is seen in his grave-clothes; some of the guard have fallen to the ground, others are endeavouring to escape. Engraved by Hess.—Smith, vii. 43.

By Il Sodoma, Naples Museum; wood, signed, dated 1535. Christ, with the banner of victory, rising above the clouds; at the tomb, two angels. Formerly in S. Tommaso, Naples.—Meyer, Künst. Lex., iii. 214, 226.

By Tintoretto, Palazzo Pitti, Florence; canvas, H. 3 ft. 1 in. × 4 ft. Christ rising from the sepulchre, with white banner in his hand; soldiers dazzled by the light, and flying, abandoning their arms; background of military tents. Engraved by Viviani.—Gal. du Pal. Pitti, iv. Pl. 78.

By Tintoretto, S. Cassiano, Venice; canvas, signed, and dated 1565. Not a picture of the Resurrection, but of Saints thinking about the Resurrection; a mass of Renaissance absurdities. On one side of the tomb is S. Cassiano, a bishop in full robes, on the other a female saint, St. Cecilia; beneath it an angel playing on the organ, which a cherub is blowing; above, cherubs flying about with flowers.—Ruskin, Stones of Venice; iii. 290; Zanotto, 383.

By Tintoretto, S. Giorgio Maggiore, Venice; canvas. Christ rising, and some portraits of the Monsini family.—Zanotto, 633.

By Tintoretto, Scuola di S. Rocco, Venice; canvas. "Characteristic of the worst points of Tintoret. Christ bursts out of the tomb like a thunderbolt, and the angels themselves seem likely to be crushed under the rent stones. The best part is the two distant figures of the Marys."—Ruskin, Stones of Venice, iii. 337.

RETHEL, ALFRED, born at Diepenbend House, near Aix-la-Chapelle, May 15, 1816, died at Düsseldorf, Dec. 1, 1859. History painter, pupil of Düsseldorf Academy under Schadow, when a mere lad, and with his earliest compositions excited the admiration of his instructors; visited Munich and the Bavarian Alps in 1835, went in 1837 to Frankfort, where he became an enthu-