Now when an artist makes an ideal representation of Christ, he tries to show us as many as possible of these elements of character combined in one figure.  So we may test the success of Michelangelo’s statue of Christ by searching out these various elements in it.  We must also know what incident the artist had in mind of which the work is an illustration, so to speak.

The statue is called in Italian Cristo Risorto, that is, Christ Risen or Triumphant, because the reference is to a circumstance not recorded of his earthly career, but belonging to the time following his resurrection.  It is connected with a story told by St. Ambrose about the apostle Peter.  St. Peter, it is believed, spent the latter part of his life in Rome, where the cruel emperor, Nero, was doing his best to exterminate the Christians.

“After the burning of Rome, Nero threw upon the Christians the accusation of having fired the city.  This was the origin of the first persecution, in which many perished by terrible and hitherto unheard-of deaths.  The Christian converts besought Peter not to expose his life, which was dear and necessary to the well-being of all; and at length he consented to depart from Rome.  But as he fled along the Appian Way, about two miles from the gates, he was met by a vision of our Saviour, travelling towards the city.  Struck with amazement, he exclaimed, ‘Lord! whither goest thou?’ (Domine, quo vadis?) to which the Saviour, looking upon him with a mild sadness, replied, ’I go to Rome to be crucified a second time,’ and vanished.  Peter, taking this for a sign that he was to submit himself to the sufferings prepared for him, immediately turned back, and reentered the city."[17]

[Footnote 17:  From Mrs. Jameson’s Sacred and Legendary Art, pages 200, 201.]

[Illustration:  CHRIST TRIUMPHANT. Church of S. Maria sopra Minerva, Rome.]

It is this visionary figure of the Christ, appearing and disappearing before the eyes of Peter, that Michelangelo represents in the statue.  He carries a cross not large enough for an actual crucifixion, as that would be out of place here, but tall enough to show its real purpose.  He has also the long reed and the sponge which the soldier used to give him a drink of vinegar and gall when he thirsted on the cross.  A bit of rope is a reminder of the scourging given him by the governor.

All these things he carries with him to Rome for a fresh martyrdom.  It is as if in walking along the way he suddenly meets Peter, and, at the apostle’s astonished question, he pauses, leaning a moment on the cross, as he turns gently to reply.

Now as this is the Christ risen, or triumphant, the Christ who has conquered death and the grave, Michelangelo wanted to do all he could to make a noble-looking figure.  The face is of the handsome type, with regular features, which the Italians like to give to their ideal of Christ.  The expression of reproach is so gentle that one deserving rebuke may well feel ashamed before it.