DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.68668#0055
THE TEMPTATION
27
follows, burdened with household goods.
All the phases of the life of Moses are
brought before us. The strong man, the
defender of his people, the friend of God,
the father and husband, the champion of
the oppressed, and the loveable and chival-
rous helper of women.
Fresco IV.—The Temptation.—Botticelli.
As & pendant to the early life of Moses,
and to his entry upon his life - work,
Botticelli has painted the fresco usually
called the Temptation in the Wilderness,
and here again he has been captivated by
one dramatic conception, so that the osten-
sible subject is entirely overpowered. The
splendid Renaissance building in the middle,
indeed, serves as the pinnacle of the Temple,
from which Satan, in the disguise of a
Capuchin monk, exhorts the Saviour to
cast Himself down. On the left, in the
background, is the appeal to command
that these stones be made bread, and on
the right, in the background, the tempta-
27
follows, burdened with household goods.
All the phases of the life of Moses are
brought before us. The strong man, the
defender of his people, the friend of God,
the father and husband, the champion of
the oppressed, and the loveable and chival-
rous helper of women.
Fresco IV.—The Temptation.—Botticelli.
As & pendant to the early life of Moses,
and to his entry upon his life - work,
Botticelli has painted the fresco usually
called the Temptation in the Wilderness,
and here again he has been captivated by
one dramatic conception, so that the osten-
sible subject is entirely overpowered. The
splendid Renaissance building in the middle,
indeed, serves as the pinnacle of the Temple,
from which Satan, in the disguise of a
Capuchin monk, exhorts the Saviour to
cast Himself down. On the left, in the
background, is the appeal to command
that these stones be made bread, and on
the right, in the background, the tempta-