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And here let me say that, although I furnished you at the time of their discovery with a description of the frescoes and the ruder drawings which overlay them, you can scarcely imagine the grotesque and astonishing coup d'oeil presented by the two series. To begin with the frescoes, or original series. One, as you know, represented the Crucifixion.
Centuries of tradition governed the arrangement of such subjects as the Crucifixion and the Last Judgment, so that even the free painters of the Renaissance had deviated but little from it. In Tintoret the freedom of the Renaissance reached its height. For him tradition had no fetters.
But whether the charges were believed or not by those who made them, here were Jews disclaiming their nation's dearest hope, and, like the yelling crowd at the Crucifixion, declaring they had no king but Caesar. The degradation of Israel was completed by these fanatical upholders of its prerogatives. But, again, the charges were true in a far other sense than their bringers meant.
The peg tankards of ancient date, a very fine example originally belonging to the Abbey of Glastonbury, afterwards in the possession of Lord Arundel of Wardour, held two quarts, the pegs dividing its contents into half-pints according to the Winchester standard. On that remarkable cup the twelve Apostles were carved round the sides, and on the lid was the scene at the Crucifixion.
On the contrary, they gloried in the name; Paul, a slave and an apostle; a slave, and so eligible for the honour of crucifixion; an apostle, and so sent with the good news of life. Respect of persons holds not in heaven; none there will criticise the clay out of which the first raiment of your soul was made. Let us have done with such classifications.
Imagine a being free of a three-dimensional world trying to converse with a being still limited to a two-dimensional world, and we have a clew to what I think may have happened after the crucifixion of Jesus. The three-dimensional body would behave in a manner altogether unaccountable to the two-dimensional watcher.
He asked me to read him a chapter in the New Testament. I complied, and ask'd him what I should read. He said, "Make your own choice." I open'd at the close of one of the first books of the evangelists, and read the chapters describing the latter hours of Christ, and the scenes at the crucifixion. The poor, wasted young man ask'd me to read the following chapter also, how Christ rose again.
On the inside thorns were fastened, with the points downward, so that a very slight pressure would cause them to pierce the skin. This I suppose is intended to imitate the crown of thorns which our Saviour wore upon the cross. But what will it avail them to imitate the crucifixion and the crown of thorns, while justice and mercy are so entirely neglected?
Only too soon the rulers were to persuade the crowds to cry out for his crucifixion, and we are reminded that religious feeling unaccompanied by conviction may soon be chilled into indifference and hate. There were those, however, like the disciples, who never forgot this scene of triumph.
But then, he says, the other things are fables, such as that the odor goes away all at once when they're baptized, and that every one of the ten tribes, mind you, all the ten being concerned in the crucifixion, has got a particular punishment over and above the smell: Asher, I remember, has the right arm a handbreadth shorter than the left, and Naphthali has pig's ears and a smell of live pork.
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