The critics declare that Rubens had an absolute
delight in representing pain, and they refer us to that artist's
picture of the "Brazen Serpent" in the National Gallery. The canvas is
full of the pain, the fever, the contortions of the wounded and dying;
the writhing, gasping crowd is everything, and the supreme instrument
of cure, the brazen serpent itself, is small and obscure, no
conspicuous feature whatever of the picture. The manner of the great
artist is so far out of keeping with the spirit of the gospel.
Revelation brings out broadly and impressively the darkness of the
world, the malady of life, the terror of death, only that it may
evermore make conspicuous the uplifted Cross, which, once seen, is
death to ever vice, a consolation in every sorrow, a victory over
every fear.
LORIMER
THE FALL OF SATAN
BIOGRAPHICAL NOTE
George C. Lorimer was born at Edinburgh, Scotland, in 1838. He was
brought up by his stepfather who was associated with the theater,
and in this relation he received a dramatic education and had some
experience on the stage.
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