DOI Page / Citation link:
https://doi.org/10.11588/diglit.68668#0150
102
THE ROOF
up-turned face of Eve are full of loveliness.
Without apparent effort, the balance is very
strikingly kept between the two sides of the
picture, with the over-reaching arms, on
either side of Adam, of the Evil One and
the Destroying Angel. The painter has
contrived to fill the figure of Adam, as he
wanders out into the wild, with a world of
remorse and self-reproach; while he gives to
Eve a mean, almost malignant air, and she
turns her head and seems to look back
longingly at the joys she has forfeited: a
not unnatural rendering by one who accepted
the story, in all its details, with undoubting
faith.
7. —The Sacrifice of Noah.
8. —The Deluge.
9. —The Drunkenness of Noah.
Noah’s sacrifice followed the deluge, and
was offered when he and his family came
out of the Ark; but we see very clearly how
much more important the scene of the
Deluge was, and how immediately the
difficulty of making this one of the small,
alternating frescoes must have been realised,
THE ROOF
up-turned face of Eve are full of loveliness.
Without apparent effort, the balance is very
strikingly kept between the two sides of the
picture, with the over-reaching arms, on
either side of Adam, of the Evil One and
the Destroying Angel. The painter has
contrived to fill the figure of Adam, as he
wanders out into the wild, with a world of
remorse and self-reproach; while he gives to
Eve a mean, almost malignant air, and she
turns her head and seems to look back
longingly at the joys she has forfeited: a
not unnatural rendering by one who accepted
the story, in all its details, with undoubting
faith.
7. —The Sacrifice of Noah.
8. —The Deluge.
9. —The Drunkenness of Noah.
Noah’s sacrifice followed the deluge, and
was offered when he and his family came
out of the Ark; but we see very clearly how
much more important the scene of the
Deluge was, and how immediately the
difficulty of making this one of the small,
alternating frescoes must have been realised,