Fraternity-Testvériség, 1963 (40. évfolyam, 1-12. szám)
1963-10-01 / 10. szám
8 FRATERNITY and hands raised in blessing. A serpent and flowers are at the Virgin’s feet. The entire scene is touched by rays of divinie light from above. The scenes of the Original Sin and of the Expulsion from Paradise are presented with Michelangelo-like force. The figures, executed in a strongly rounded form, reflect the significance of the act with few but essential movements. The serpent, coiled around the trunk of the apple tree, its demonic head peering through the branches, the entire field into two parts: the left illustrates the commission of the Original Sin, the right shows the Expulsion, which Finta executed with a tragic and dynamic force. The Archangel Michael, a halo around his head, is strictly enforcing God’s command. His wings are portrayed in perfect detail. Pointing ahead with the forefinger of his left hand, he holds a sword in his right hand and shuts off the view toward the background with his wings. Crushed by the burden of their guilt, Adam and Eve step out from the eternal happiness of the Garden into the sufferings of life on earth. Mankind, however, is redeemed from its plight by Christ. The third field on the cover of the chest symbolizes this Redemption. Christ is portrayed in a vertical position, poised between Heaven and earth. A cross above His head signifies His sacrifices to redeem the world. Accompanied by rays of heavenly light, a messenger descends from Heaven to Limbo, bringing glad tidings to the suffering souls. Varying the rounded effects of the composition, Finta underscored the essential parts of the scenes and intimated the consequences of the main acts. The strong firm lines in the figure of Christ dominate, while the less-rounded figures of the souls in Limbo and of the angel blend more into the smoothness of the background. Although the lines of the subordinate characters are less distinct, their figures are nevertheless carved out with great detail. (To be continued)
