ch of S. Gregorio upon the Celian hill; where, after
the ceremony, it was honourably buried.

Beatrice was rather tall, of a fair complexion, and she had a dimple on
each cheek, which, especially when she smiled, added a grace to her
lovely countenance that transported every one who beheld her. Her hair
appeared like threads of gold; and, because they were extremely long,
she used to tie it up, and when afterwards she loosened it, the
splendid ringlets dazzled the eyes of the spectator. Her eyes were of a
deep blue, pleasing, and full of fire. To all these beauties she added,
both in words and action, a spirit and a majestic vivacity that
captivated every one. She was twenty years of age when she died.

_The Cenci: Poetical Works of Percy Bysshe Shelley_, edited by
William M. Rossetti (London 1878).

THE TRANSFIGURATION

(_RAPHAEL_)

MRS. JAMESON

The Transfiguration is an early subject in Christian Art, and has gone
through different phases. It is given in the mosaics of S. Apollinare in
Classe, at Ravenna (Sixth Century), in that reticence of form and
emblematical character significant of classic Art. By the uninitiated
the subject would not be readily deciphered. In the centre of the domed
apse is a large jewelled cross, in the middle of which is the head of
Christ. This represents the Lord. On each side are bust-lengths of Moses
and Elijah, while below are three sheep, emblems of the three disciples.

Another form is seen in early miniatures--for instance, in a magnificent
Evangelium preserved in the Cathedral at Aix-la-Chapelle. Here Christ is
seen with three rays above Him; at His side are the full-length figures
of Moses and Elijah; below are the three disciples--two crouching low in
terror, while Peter raises himself, saying "Lord, it is good for us to
be here," etc.

The next form is that given by early Byzantine artists, of a very formal
and conventional character. Christ is in the mandorla, from which five
rays of glory proceed. These five rays touch the prophets at His side,
and the disciples, all three crouching low at His feet. We see Giotto
scarcely emerging from this convention in his series in the Accademia.

Fra Angelico has a more fanciful representation. The Christ has his arms
extended, as a type of the death He was to suffer on the Cross. The
disciples retain the traditional Byzantine positions. At the sides are
the mere heads of the prophets, while the painter's adoration