DOI Page / Citation link:
https://doi.org/10.11588/diglit.68745#0133
SCHEME OF THE SCUOLA
ance into the hand of Thy servant; and now shall I die for
thirst. . . . But God clave an hollow place that was in the jaw, and
there came water thereout; and when he had drunk, his spirit
came again, and he revived.’—Judges xv. 18, 19. The mono-
chrome opposite shows Samuel anointing David. ‘ Then Samuel
took the horn of oil, and anointed him in the midst of his brethren :
and the Spirit of the Lord came upon David from that day
forward.’—1 Sam. xvi. 13. The subject is analogous to that of
St. John baptizing Christ.
The central panel of the ceiling is filled by a large oval painting
of the ‘Brazen Serpent,’ a subject specially appropriate to deliverance
from the horrors of the plague and the type in the Old Testament
of the Crucifixion, the crowning Act of Mercy, which is painted in
the refectory, the door of which opens just below it. The mono-
chromes at this point have to do with the wall paintings. Over
the ‘ Resurrection ’ on the south wall is the ‘ Vision of Ezekiel.’
‘ As I prophesied, there was a noise, and behold a shaking, and the
bones came together, bone to his bone.’—Ezek. xxxvii. 7. And
on the north wall over the ‘ Ascension ’ is ‘ Jacob’s Dream,’ with the
Lord standing above Jacob and promising that the Divine aid
shall accompany and bless him, in harmony with Christ’s parting
words to His disciples.
The plague of serpents and Moses striking the rock on the roof is
divided by a narrow panel, ‘Jonah delivered from the Whale,’ and
balancing the rebellious Jonah is the ‘ Sacrifice of Isaac,’ expressive
both of obedience and the sacrifice of Christ. The monochrome next
to this is ‘ Daniel in the Den of Lions,’ another trial of faith met
by miraculous deliverance. The monochrome on the opposite side
of the sacrifice of Isaac gives ‘ Elijah ascending in the Chariot of
Fire,’ also, of course, typifying the Ascension, and reminding us
that as Elisha succeeded to the supernatural power of his teacher,
so the followers of the new dispensation were able, after the
ascension of their Lord, to perform miracles, and with this, too,
pairs the monochrome of ‘ Samuel anointing David ’; in both the
spirit descends on the newly-chosen servant.
Next upon the south wall comes the ‘ Agony in the Garden,’
the moment of supreme faith, and opposite is the ‘Raising of
Lazarus,’ one of the supreme acts of Christ’s ministry, harmoniz-
71
ance into the hand of Thy servant; and now shall I die for
thirst. . . . But God clave an hollow place that was in the jaw, and
there came water thereout; and when he had drunk, his spirit
came again, and he revived.’—Judges xv. 18, 19. The mono-
chrome opposite shows Samuel anointing David. ‘ Then Samuel
took the horn of oil, and anointed him in the midst of his brethren :
and the Spirit of the Lord came upon David from that day
forward.’—1 Sam. xvi. 13. The subject is analogous to that of
St. John baptizing Christ.
The central panel of the ceiling is filled by a large oval painting
of the ‘Brazen Serpent,’ a subject specially appropriate to deliverance
from the horrors of the plague and the type in the Old Testament
of the Crucifixion, the crowning Act of Mercy, which is painted in
the refectory, the door of which opens just below it. The mono-
chromes at this point have to do with the wall paintings. Over
the ‘ Resurrection ’ on the south wall is the ‘ Vision of Ezekiel.’
‘ As I prophesied, there was a noise, and behold a shaking, and the
bones came together, bone to his bone.’—Ezek. xxxvii. 7. And
on the north wall over the ‘ Ascension ’ is ‘ Jacob’s Dream,’ with the
Lord standing above Jacob and promising that the Divine aid
shall accompany and bless him, in harmony with Christ’s parting
words to His disciples.
The plague of serpents and Moses striking the rock on the roof is
divided by a narrow panel, ‘Jonah delivered from the Whale,’ and
balancing the rebellious Jonah is the ‘ Sacrifice of Isaac,’ expressive
both of obedience and the sacrifice of Christ. The monochrome next
to this is ‘ Daniel in the Den of Lions,’ another trial of faith met
by miraculous deliverance. The monochrome on the opposite side
of the sacrifice of Isaac gives ‘ Elijah ascending in the Chariot of
Fire,’ also, of course, typifying the Ascension, and reminding us
that as Elisha succeeded to the supernatural power of his teacher,
so the followers of the new dispensation were able, after the
ascension of their Lord, to perform miracles, and with this, too,
pairs the monochrome of ‘ Samuel anointing David ’; in both the
spirit descends on the newly-chosen servant.
Next upon the south wall comes the ‘ Agony in the Garden,’
the moment of supreme faith, and opposite is the ‘Raising of
Lazarus,’ one of the supreme acts of Christ’s ministry, harmoniz-
71