The Divine Comedy by Dante Alighieri (13 inch ebook reader .txt) 📕

first words of Psalm 51, “a Psalm of David, when Nathan the prophet came unto him.” ↩

The saints of the Old Testament. ↩

The saints of the New Testament. ↩

John the Baptist, seated at the point of the mystic Rose, opposite to the Virgin Mary. He died two years before Christ’s resurrection, and during these two years was in the Limbo of the Fathers. ↩

The row of seats which divides the Rose horizontally, and crosses the two vertical lines of division, made by the seat of the Virgin Mary and those of the other Hebrew women on one side, and on the other the seats of John the Baptist and of the other saints of the New Testament beneath him. ↩

That is to say, by the faith of their parents, by circumcision, and by baptism, as explained line 76 et seq. ↩

Festinata gente, dying in infancy, and thus hurried into the life eternal. Shakespeare, King Lear, III 7:⁠—

“Advise the Duke, where you are going, to a most festinate preparation.”

↩

Jacob and Esau. Genesis 25:22:⁠—

“And the children struggled together within her.”

And Romans 9:11:⁠—

“For the children being not yet born, neither having done any good or evil, that the purpose of God, according to election, might stand, not of works, but of him that calleth.”

↩

Buti comments thus:⁠—

“As it pleased God to give black hair to one, and to the other red, so it pleased him to give more grace to one than to the other.”

And the Ottimo says:⁠—

“One was red, the other black; which colors denote the temperaments of men, and accordingly the inclination of their minds.”

↩

The keenness of vision with which they are originally endowed. ↩

From Adam to Abraham. ↩

From Abraham to Christ. Genesis 17:10:⁠—

“This is my covenant, which ye shall keep, between me and you, and thy seed after thee: Every man-child among you shall be circumcised.”

↩

The face of the Virgin Mary. Didron, in his Christian Iconography, I 242, devotes a chapter to the “History of the Portraits of God the Son.” Besides the Veronica and the Santo Volto, attributed to Nicodemus, he mentions others which tradition traces back to Pilate and St. Luke, and a statue erected to Christ by the woman who was cured of the bloody flux. In the following extract several others are referred to:⁠—

“Abgarus, king of Edessa, having learnt, says Damascenus, the wonderful things related of our Saviour, became inflamed with Divine love; he sent ambassadors to the Son of God, inviting him to come and visit him, and should the Saviour refuse to grant his request, he charged his ambassadors to employ some artist to make a portrait of our Lord. Jesus, from whom nothing is hidden, and to whom nothing is impossible, being aware of the intention of Abgarus, took a piece of linen, applied it to his face, and depicted thereon his own image. This very portrait, continues Damascenus, is in existence at the present day, and in perfect preservation.

“At the same epoch, a minute verbal description of the appearance of Christ was in circulation. The following description, which is of great importance, was sent to the Roman Senate by Publius Lentulus, Proconsul of Judaea, before Herod. Lentulus had seen the Saviour, and had made him sit to him, as it were, that he might give a written description of his features and physiognomy. His portrait, apocryphal though it be, is at least one of the first upon record; it dates from the earliest period of the Church, and has been mentioned by the most ancient fathers. Lentulus writes to the Senate as follows: ‘At this time appeared a man who is still living and endowed with mighty power; his name is Jesus Christ. His disciples call him the Son of God; others regard him as a powerful prophet. He raises the dead to life, and heals the sick of every description of infirmity and disease. This man is of lofty stature, and well-proportioned; his countenance severe and virtuous, so that he inspires beholders with feelings both of fear and love. The hair of his head is of the color of wine, and from the top of the head to the ears straight and without radiance, but it descends from the ears to the shoulders in shining curls. From the shoulders the hair flows down the back, divided into two portions, after the manner of the Nazarenes; his forehead is clear and without wrinkle, his face free from blemish, and slightly tinged with red, his physiognomy noble and gracious. The nose and mouth faultless. His beard is abundant, the same color as the hair, and forked. His eyes blue and very brilliant. In reproving or censuring he is awe-inspiring; in exhorting and teaching, his speech is gentle and caressing. His countenance is marvellous in seriousness and grace. He has never once been seen to laugh; but many have seen him weep. He is slender in person, his hands are straight and long, his arms beautiful. Grave and solemn in his discourse, his language is simple and quiet. He is in appearance the most beautiful of the children of men.’

“The Emperor Constantine caused pictures of the Son of God to be painted from this ancient description.

“In the eighth century, at the period in which Saint John Damascenus wrote, the lineaments of this remarkable figure continued to be the same as they are to this day.

“The hair and the beard, the color of which is somewhat undetermined in the letter of Lentulus, for wine may be pale, golden, red, or violet color, is distinctly noted by Damascenus, who also adds the tint of the complexion; moreover, th e opinion of Damascenus, like that of Lentulus, is