For example, the Scripture account of the ministration of angels to Jesus, after the Temptation and after the Agony in the Garden, naturally suggests their presence on other occasions of his suffering, and renders their introduction quite permissible. Thus, in the picture of Christ after the Flagellation, in the Monasterio Maggiore in Milan, by Luini, which is full of the wonderful tenderness of that master, there is no angel; while Velasquez, in his picture of the same subject, which is in a private collection in England, introduces such a presence. So in the story of the Ecce Homo no angel is mentioned, and the usual devotional picture represents the half figure of Christ, or the head alone, wearing the crown of thorns. The historical picture portrays the scene before Pilate, with a number of figures. Some artists, however, have presented this subject differently, as in the picture by Moretto, in the Museo Tosi in Brescia. This shows the Saviour seated upon the steps of a building, probably that in which was the “common hall,” in which the soldiers crowned him. He still holds the reed sceptre, though his hands are bound; the cross is on the ground before him, and his head is bowed upon his breast. On the steps behind him, and a little above, stands a weeping angel, holding the garment of Christ as if about to wrap it around him. The expression in the convulsed face of the angel is remarkable. It is as if he endeavored to restrain his tears, but could not. A much later picture by Landelle, called the Angel of Tears, is similar to that of Moretto in sentiment; in it a weeping angel kneels before a crown of thorns, his tears falling over his cheeks. Angels are also represented in pictures of the Crucifixion; in fact, they were never absent in the earliest pictures of this subject, although they were but few in number, and were extremely realistic in their treatment, being precisely like ordinary men with wings added to their shoulders. Later their number was largely increased, and they became less human and extremely passionate in the expression of their sorrow in beholding the agony of Jesus. Giotto and Cavallini introduce an element of absurdity into this momentous scene, by representing extremely human little angels as tearing open their plump little breasts in their despair. This extreme realism was sometimes carried to the extent of picturing angels with chalices, catching the blood which flowed from the hands and side of Jesus. In accordance with true symbolism, a female figure, impersonating the Church, should hold the chalice to the side alone. [Illustration: From a Copley Print, copyright, 1897, by Curtis and Cameron. FRENCH.--DEATH STAYING THE HAND OF THE SCULPTOR.]