12. Joseph is erecting a fence round a garden; Jesus, a.s.sisted by the angels, is fastening the palings together; while Mary is weaving garlands of roses.
Justin Martyr mentions, as a tradition of his time, that Jesus a.s.sisted his foster-father in making yokes and ploughs. In Holland, where these prints were published, the subst.i.tution of the boat-building seems very natural. St. Bonaventura, the great Franciscan theologian, and a high authority in all that relates to the life and character of Mary, not only described her as a pattern of female industry, but alludes particularly to the legend of the distaff, and mentions a tradition, that, when in Egypt, the Holy Family was so reduced by poverty, that Mary begged from door to door the fine flax which she afterwards spun into a garment for her Child.
As if to render the circle of maternal duties, and thereby the maternal example, more complete, there are prints of Mary leading her Son to school. I have seen one in which he carries his hornbook in his hand. Such representations, though popular, were condemned by the highest church authorities as nothing less than heretical. The Abbe Mery counts among the artistic errors "which endanger the faith of good Christians," those pictures which represent Mary or Joseph instructing the Infant Christ; as if all learning, all science, divine and human, were not his by intuition, and without any earthly teaching, (v. Theologie des Peintres.) A beautiful Holy Family, by Schidone, is ent.i.tled, "The Infant Christ learning to read"
(Bridgewater Gal.); and we frequently meet with pictures in which the mother holds a book, while the divine Child, with a serious intent expression, turns over the leaves, or points to the letters: but I imagine that these, and similar groups, represent Jesus instructing Mary and Joseph, as he is recorded to have done. There is also a very pretty legend, in which he is represented as exciting the astonishment, of the schoolmaster Zaccheus by his premature wisdom.
On these, and other details respecting the infancy of our Saviour, I shall have to say much more when treating of the History of Christ.
THE DISPUTE IN THE TEMPLE.
_Ital._ La Disputa nel Tempio. _Fr._ Jesus au milieu des Docteurs.
The subject which we call the Dispute in the Temple, or "Christ among the Doctors," is a scene of great importance in the life of the Redeemer (Luke ii. 41, 52). His appearance in the midst of the doctors, at twelve years old, when he sat "hearing them and asking them questions, and all who heard him were astonished at his understanding and his answers," has been interpreted as the first manifestation of his high character as teacher of men, as one come to throw a new light on the prophecies,--
"For trailing clouds of glory had he come From heaven, which was his home;"
and also as instructing as that those who are to become teachers of men ought, when young, to listen to the voice of age and experience; and that those who have grown old may learn lessons of wisdom from childish innocence. Such is the historical and scriptural representation. But in the life of the Virgin, the whole scene changes its signification. It is no longer the wisdom of the Son, it is the sorrow of the Mother which is the princ.i.p.al theme. In their journey home from Jerusalem, Jesus has disappeared; he who was the light of her eyes, whose precious existence had been so often threatened, has left her care, and gone, she knows not whither. "No fancy can imagine the doubts, the apprehensions, the possibilities of mischief, the tremblings of heart, which the holy Virgin-mother feels thronging in her bosom. For three days she seeks him in doubt and anguish." (Jeremy Taylor"s "Life of Christ.") At length he is found seated in the temple in the midst of the learned doctors, "hearing them, and asking them questions." And she said unto him, "Son, why hast thou thus dealt with us? behold, I and thy father have sought thee sorrowing." And he said unto them, "How is it that ye sought me? Wise ye not that I must be about my Father"s business?"
Now there are two ways of representing this scene. In all the earlier pictures it is chiefly with reference to the Virgin Mother: it is one of the sorrowful mysteries of the Rosary. The Child Jesus sits in the temple, teaching with hand uplifted; the doctors round him turn over the leaves of their great books, searching the law and the prophets.
Some look up at the young inspired Teacher--he who was above the law, yet came to obey the law and fulfil the prophecies--with amazement.
Conspicuous in front, stand Mary and Joseph, and she is in act to address to him the tender reproach, "I and thy father have sought thee sorrowing." In the early examples she is a princ.i.p.al figure, but in later pictures she is seen entering in the background; and where the scene relates only to the life of Christ, the figures of Joseph and Mary are omitted altogether, and the Child teacher becomes the central, or at least the chief, personage in the group.
In a picture by Giovanni da Udine, the subject is taken out of the region of the actual, and treated altogether as a mystery. In the centre sits the young Redeemer, his hand raised, and surrounded by several of the Jewish doctors; while in front stand the four fathers of the Church, who flourished in the interval between the fourth and sixth centuries after Christ; and these, holding their books, point to Jesus, or look to him, as to the source of their wisdom;--a beautiful and poetical version of the true significance of the story, which the critics of the last century would call a chronological mistake.
(Venice, Academy.)
But those representations which come under our especial consideration at present, are such as represent the moment in which Mary appears before her Son. The earliest instance of this treatment is a group by Giotto. Dante cites the deportment of the Virgin on this occasion, and her mild reproach, "_con atto dolce di madre_," as a signal lesson of gentleness and forbearance. (Purgatorio, c. xv.) It is as if he had transferred the picture of Giotto into his Vision; for it is as a picture, not an action, that it is introduced. Another, by Simon Memmi, in the Roscoe Collection at Liverpool, is conceived in a similar spirit. In a picture by Garofalo, Mary does not reproach her Son, but stands listening to him with her hands folded on her bosom.
In a large and fine composition by Pinturicchio, the doctors throw down their books before him, while the Virgin and Joseph are entering on one side. The subject is conspicuous in Albert Durer"s Life of the Virgin, where Jesus is seated on high, as one having authority, teaching from a chair like that of a professor in a university, and surrounded by the old bearded doctors; and Mary stands before her Son in an att.i.tude of expostulation.
After the restoration of Jesus to his parents, they conducted him home; "but his mother kept all these sayings in her heart." The return to Nazareth, Jesus walking humbly between Joseph and Mary, was painted by Rubens for the Jesuit College at Antwerp, as a lesson to youth.
Underneath is the text, "And he was subject unto them."[1]
[Footnote 1: It has been called by mistake "The Return from Egypt"]
THE DEATH OF JOSEPH.
_Ital._ La Morte di San Giuseppe. _Fr._ La Mort de St. Joseph _Ger._ Josef"s Tod.
Between the journey to Jerusalem and the public appearance of Jesus, chronologers place the death of Joseph, but the exact date is not ascertained: some place it in the eighteenth year of the life of our Saviour, and others in his twenty-seventh year, when, as they a.s.sert, Joseph was one hundred and eleven years old.
I have already observed, that the enthusiasm for the character of Joseph, and his popularity as a saint and patron of power, date from the fifteenth century; and late in the sixteenth century I find, for the first time, the death of Joseph treated as a separate subject. It appears that the supposed anniversary of his death (July 20) had long been regarded in the East as a solemn festival, and that it was the custom to read publicly, on this occasion, some homily relating to his life and death. The very curious Arabian work, ent.i.tled "The History of Joseph the Carpenter," is supposed to be one of these ancient homilies, and, in its original form, as old as the fourth century.[1]
Here the death of Joseph is described with great detail, and with many solemn and pathetic circ.u.mstances; and the whole history is put into the mouth of Jesus, who is supposed to recite it to his disciples: he describes the pious end of Joseph; he speaks of himself as being present, and acknowledged by the dying man as "Redeemer and Messiah,"
and he proceeds to record the grief of Mary:--
"And my mother, the Virgin, arose, and she came nigh to me and said, "O my beloved Son now must the good old man die!" and I answered and said unto her, "O my most dear mother, needs must all created beings die; and death will have his rights, even over thee, beloved mother; but death to him and to thee is no death, only the pa.s.sage to eternal life; and this body I have derived from thee shall also undergo death.""
[Footnote 1: The Arabic MS. in the library at Paris is of the year 1299, and the Coptic version as old as 1367. Extracts from these were become current in the legends of the West, about the fifteenth century.--See the "Neu Testamentlichen Apokryphen," edited in German by Dr. K.F. Borberg.]
And they sat, the Son and the mother, beside Joseph; and Jesus held his hand, and watched the last breath of life trembling on his lips; and Mary touched his feet, and they were cold; and the daughters and the sons of Joseph wept and sobbed around in their grief; and then Jesus adds tenderly, "I, and my mother Mary, we wept with them."
Then follows a truly Oriental scene, of the evil angels rising up with Death, and rejoicing in his power over the saint, while Jesus rebukes them; and at his prayer G.o.d sends down Michael, prince of the angelic host, and Gabriel, the herald of light, to take possession of the departing spirit, enfold it in a robe of brightness thereby to preserve it from the "dark angels," and carry it up into heaven.
This legend of the death of Joseph was, in many forms, popular in the sixteenth century; hence arose the custom of invoking him as Intercessor to obtain a blessed and peaceful end, so that he became, in some sort, the patron saint of death-beds; and it is at this time we find the first representations of the death of Joseph, afterwards a popular subject in the churches and convents of the Augustine canons and Carmelite friars, who had chosen him for their patron saint; and also in family chapels consecrated to the memory or the repose of the dead.
The finest example I have seen, is by Carlo Maratti, in the Vienna Gallery. St. Joseph is on a couch; Christ is seated near him; and the Virgin stands by with folded hands, in a sad, contemplative att.i.tude.
I am not aware that the Virgin has ever been introduced into any representation of the temptation or the baptism of our Saviour. These subjects, so important and so picturesque, are reserved till we enter upon the History of Christ.
THE MARRIAGE AT CANA IN GALILEE.
_Ital._ Le Nozze di Cana. _Fr._ Les Noces de Cana. _Ger._ Die Hochzeit zu Cana.
After his temptation and baptism, the first manifestation of the divine mission and miraculous power of Jesus was at the wedding feast at Cana in Galilee; and those who had devoted themselves to the especial glorification of the Virgin Mother did not forget that it was at her request this first miracle was accomplished:--that out of her tender and sympathetic commiseration for the apparent want, arose her appeal to him,--not, indeed, as requiring anything from him, but, looking to him with habitual dependence on his goodness and power. She simply said, "They have no wine!" He replied, "Woman, what have I to do with thee? Mine hour is not yet come." The term _woman_, thus used, sounds harsh to us; but in the original is a term of respect. Nor did Jesus intend any denial to the mother, whom he regarded with dutiful and pious reverence:--it was merely an intimation that he was not yet entered into the period of miraculous power. He antic.i.p.ated it, however, for her sake, and because of her request. Such is the view taken of this beautiful and dramatic incident by the early theologians; and in the same spirit it has been interpreted by the painters.
The Marriage at Cana appears very seldom in the ancient representations taken from the Gospel. All the monkish inst.i.tutions then prevalent discredited marriage; and it is clear that this distinct consecration of the rite by the presence of the Saviour and his mother did not find favour with the early patrons of art.
There is an old Greek tradition, that the Marriage at Cana was that of John the Evangelist. In the thirteenth century, when the pa.s.sionate enthusiasm for Mary Magdalene was at its height, it was a popular article of belief, that the Marriage which Jesus graced with his presence was that of John the Evangelist and Mary Magdalene; and that immediately after the wedding feast, St. John and Mary, devoting themselves to an austere and chaste religious life, followed Christ, and ministered to him.
As a scene in the life of Christ, the Marriage at Cana, is of course introduced incidentally; but even here, such were the monastic principles and prejudices, that I find it difficult to point out any very early example. In the "Manual of Greek Art," published by Didron, the rules for the representation are thus laid down:--"A table; around it Scribes and Pharisees; one holds up a cup of wine, and seems astonished. In the midst, the bride and bridegroom are seated together. The bridegroom is to have "grey hair and a round beard (_cheveux gris et barbe arrondie_); both are to be crowned with flowers; behind them, a servitor. Christ, the Virgin, and Joseph are to be on one side, and on the other are six jars: the attendants are in the act of filling them with water from leathern buckets."
The introduction of Joseph is quite peculiar to Greek art; and the more curious, that in the list of Greek subjects there is not one from his life, nor in which he is a conspicuous figure. On the other hand, the astonished "ruler of the feast" (the _Architriclino_), so dramatic and so necessary to the comprehension of the scene, is scarcely ever omitted. The apostles whom we may imagine to be present, are Peter, Andrew, James, and John.
As a separate subject, the Marriage at Cana first became popular in the Venetian school, and thence extended to the Lombard and German schools of the same period--that is, about the beginning of the sixteenth century.
The most beautiful representation I have ever seen is a fresco, by Luini, in the church of San Maurizio, at Milan. It belongs to a convent of nuns; and I imagine, from its introduction there, that it had a mystic signification, and referred to a divine _Sposalizio_.
In this sense, the treatment is perfect. There are just the number of figures necessary to tell the story, and no more. It is the bride who is here the conspicuous figure, seated in the centre, arrayed in spotless white, and represented as a nun about to make her profession; for this is evidently the intended signification. The bridegroom is at her side, and near to the spectator. Christ, and the Virgin are seated together, and appear to be conversing. A man presents a cup of wine.
Including guests and attendants, there are only twelve figures.
The only fault of this exquisite and graceful composition, is the introduction of a cat and dog in front: we feel that they ought to have been omitted, as giving occasion for irreverent witticisms.[1]
[Footnote 1: This beautiful fresco, which is seldom seen, being behind the altar, was in a very ruined condition when I saw it last in 1855.]
In contrast with this picture, and as a gorgeous specimen of the Venetian style of treatment, we may turn to the "Marriage at Cana" in the Louvre, originally painted to cover one side of the refectory of the convent of _San Giorgio Maggiore_ at Venice, whence it was carried off by the French in 1796. This immense picture is about thirty-six feet in length, and about twenty feet in height, and contains more than a hundred figures above life-size. In the centre Christ is seated, and beside him the Virgin Mother. Both heads are merely commonplace, and probably portraits, like those of the other personages at the extremity of the table. On the left are seated the bride and bridegroom. In the foreground a company of musicians are performing a concert; behind the table is a bal.u.s.trade, where are seen numerous servants occupied in cutting up the viands and serving dishes, with attendants and spectators. The chief action to be represented, the astonishing miracle performed by him at whose command "the fountain blushed into wine," is here quite a secondary matter; and the value of the picture lies in its magnitude and variety as a composition, and the portraits of the historical characters and remarkable personages introduced,--Francis I., his queen Eleanora of Austria, Charles V. and others. In the group of musicians in front we recognize t.i.tian and Tintoretto, old Ba.s.sano, and Paolo himself.