[Footnote 1: "C"est ce que l"on a juge a propos d"appeler _La Compa.s.sion_ de la Vierge, autrement _Notre Dame de Pitie_."--Vide _Baillet_, "Les Fetes Mobiles."]
In a Deposition thus dramatically treated, there are always from four to six or eight figures. The princ.i.p.al group consists of the dead Saviour and his Mother. She generally holds him embraced, or bends over him contemplating his dead face, or lays her cheek to his with an expression of unutterable grief and love: in the antique conception she is generally fainting; the insensibility, the sinking of the whole frame through grief, which in the Crucifixion is misplaced, both in regard to the religious feeling and the old tradition, is here quite proper.[1] Thus she appears in the genuine Greek and Greco-Italian productions of the thirteenth and fourteenth centuries, as well as in the two finest examples that could be cited in more modern times.
[Footnote 1: The reason given is curious:--"_Perche quando Gesu pareva tormentato essendo vivo, il dolore si partiva fra la santissima madre e lui; ma quando poi egli era morto, tutto il dolore rimaneva per la sconsolata madre._"]
1. In an exquisite composition by Raphael, usually styled a Pieta, but properly a Deposition, there are six figures: the extended form of Christ; the Virgin swooning in the arms of Mary Salome and Mary Cleophas; Mary Magdalene sustains the feet of Christ, while her sister Martha raises the veil of the Virgin, as if to give her air; St. John stands by with clasped hands; and Joseph of Arimathea looks on the sorrowing group with mingled grief and pity.[1]
[Footnote 1: This wonderful drawing (there is no _finished_ picture) was in the collection of Count Fries, and then belonged to Sir T.
Lawrence. There is a good engraving by Agricola.]
2. Another, an admirable and celebrated composition by Annibale Caracci, known as the Four Marys, omits Martha and St. John. The attention of Mary Magdalene is fixed on the dead Saviour; the other two Marys are occupied by the fainting Mother. (Castle Howard.) On comparing this with Raphael"s conception, we find more of common nature, quite as much pathos, but in the forms less of that pure poetic grace, which softens at once, and heightens the tragic effect.
Besides Joseph of Arimathea, we have sometimes Nicodemus; as in the very fine Deposition by Perugino, and in one, not loss fine, by Albert Durer. In a Deposition by Ambrogio Lorenzetti, Lazarus, whom Jesus raised from the dead, stands near his sister Martha.
In a picture by Vand.y.k.e, the Mother closes the eyes of the dead Redeemer: in a picture by Rubens, she removes a thorn from his wounded brow:--both natural and dramatic incidents very characteristic of these dramatic painters.
There are some fine examples of this subject in the old German school.
In spite of ungraceful forms, quaint modern costumes, and worse absurdities, we often find _motifs_, unknown in the Italian school, most profoundly felt, though not always happily expressed, I remember several instances in which the Madonna does not sustain her Son; but kneeling on one side, and, with clasped hands, she gazes on him with a look, partly of devotion, partly of resignation; both the devotion and the resignation predominating over the maternal grief. I have been asked, "why no painter has ever yet represented the Great Mother as raising her hands in thankfulness that her Son _had_ drank the cup--_had_ finished the work appointed for him on earth?" This would have been worthy of the religions significance of the moment; and I recommend the theme to the consideration of artists.[1]
[Footnote 1: In the most modern Deposition I have seen (one of infinite beauty, and new in arrangement, by Paul Delaroche), the Virgin, kneeling at some distance, and a little above, contemplates her dead Son. The expression and att.i.tude are those of intense anguish, and _only_ anguish. It is the bereaved Mother; it is a craving desolation, which is in the highest degree human and tragic; but it is not the truly religious conception.]
The entombment follows, and when treated as a strictly historical scene, the Virgin Mother is always introduced, though here as a less conspicuous figure, and one less important to the action. Either she swoons, which is the ancient Greek conception; or she follows, with streaming eyes and clasped hands, the pious disciples who bear the dead form of her Son, as in Raphael"s wonderful picture in the Borghese Palace, and t.i.tian"s, hardly less beautiful, in the Louvre, where the compa.s.sionate Magdalene sustains her veiled and weeping figure;--or she stands by, looking on disconsolate, while the beloved Son is laid in the tomb.
All these fine and important themes belong properly to a series of the History of Christ. In a series of the Life of the Virgin, the incidents of the Pa.s.sion of our Lord are generally omitted; whereas, in the cycle of subjects styled the ROSARY, the Bearing of the Cross, the Crucifixion, and the Deposition, are included in the fourth and fifth of the "Sorrowful Mysteries." I shall have much more to say on these subjects when treating of the artistic representations from the History of Christ. I will only add here, that their frequency as _separate_ subjects, and the preeminence given to the figure of the Virgin as the mother of Pity, are very suggestive and affecting when we come to consider their _intention_ as well as their significance.
For, in the first place, they were in most instances the votive offerings of those who had lost the being most dear to them, and thus appealed so the divine compa.s.sion of her who had felt that sword "pierce through her own heart also." In this sense they were often suspended as memorials in the chapels dedicated to the dead, of which I will cite one very beautiful and touching example. There is a votive Deposition by Giottino, in which the general conception is that which belonged to the school, and very like Giotto"s Deposition in the Arena at Padua. The dead Christ is extended on a white shroud, and embraced by the Virgin; at his feet kneels the Magdalene, with clasped hands and flowing hair; Mary Salome kisses one of his hands, and Martha (as I suppose) the other; the third Mary, with long hair, and head dropping with grief, is seated in front to the right. In the background, in the centre, stands St. John, bending over the group in profound sorrow; on his left hand Joseph of Arimathea stands with the vase of "spices and ointments," and the nails; near him Nicodemus.
On the right of St. John kneels a beautiful young girl, in the rich Florentine costume, who, with a sorrowful earnestness and with her hands crossed over her bosom, contemplates the dead Saviour. St.
Romeo (or San Remigio) patron of the church in which the picture was dedicated, lays his hand paternally on her head; beside her kneels a Benedictine nun, who in the game manner is presented by St. Benedict.
These two females, sisters perhaps, are the bereaved mourners who dedicated the picture, certainly one of the finest of the Giottesque school.[1]
[Footnote 1: It is now in the gallery of the Uffizii, at Florence. In the Florentine edition of Vasari the name of the church in which this picture was originally placed is called San _Romeo_, who is St. Remi (or Remigio), Bishop of Reims. The painter, Giottino, the greatest and the most interesting, personally, of the Giottesque artists, was, as Vasari says, "of a melancholy temperament, and a lover of solitude;"
"more desirous of glory than of gain;" "contented with little, and thinking more of serving and gratifying others than of himself;"
"taking small care for himself, and perpetually engrossed by the works he had undertaken." He died of consumption, in 1356, at the age of thirty two.]
Secondly, we find that the a.s.sociations left in the minds of the people by the expeditions of the Crusaders and the pilgrimages to the Holy Sepulchre, rendered the Deposition and the Entombment particularly popular and impressive as subjects of art, even down to a late period. "Ce que la vaillante epee des ayeux avait glorieus.e.m.e.nt defendu, le ciscaux des enfans aimait a le reproduire, leur piete a l"honorer." I think we may trace these a.s.sociations in many examples, particularly in a Deposition by Raphael, of which there is a fine old engraving. Here, in the centre, stands a circular building, such as the church at Jerusalem was always described; in front of which are seen the fainting Virgin and the mournful women: a grand and solemn group, but poetically rather than historically treated.
In conclusion, I must notice one more form of the Mater Dolorosa, one of the dramatic conceptions of the later schools of art; as far as I knew, there exist no early examples.
In a picture by Guercino (Louvre), the Virgin and St. Peter lament the death of the Saviour. The Mother, with her clasped hands resting on her knees, appears lost in resigned sorrow: she mourns her Son. Peter, weeping, as with a troubled grief, seems to mourn at once his Lord and Master, and his own weak denial. This picture has the energetic feeling and utter want of poetic elevation which generally characterized Guercino.
There is a similar group by Ludovico Caracci in the Duonio at Bologna.
In a picture by Tiarini, the _Madre Addolorata_ is seated, holding in her hand the crown of thorns; Mary Magdalene kneels before her, and St. John stands by--both expressing the utmost veneration and sympathy. These and similar groups are especially to be found in the later Bologna school. In all the instances known to me, they have been painted for the Dominicans, and evidently intended to ill.u.s.trate the sorrows of the Rosary.
In one of the services of the Pa.s.sion Week, and in particular reference to the maternal anguish of the Virgin, it was usual to read, as the Epistle, a selection from the first chapter of the Lamentations of Jeremiah, eloquent in the language of desolation and grief. The painters seemed to have filled their imagination with the images there presented; and frequently in the ideal _Pieta_ the daughter of Jerusalem "sits solitary, with none to comfort her." It is the contrary in the dramatic version: the devotion of the women, the solicitude of the affectionate Magdalene, and the filial reverence of St. John, whom the scriptural history a.s.sociates with the Virgin in a manner so affecting, are never forgotten.
In obedience to the last command of his dying Master, John the Evangelist--
"He, into whose keeping, from the cross, The mighty charge was given--"
DANTE.
conducted to his own dwelling the Mother to whom he was henceforth to be as a Son. This beautiful subject, "John conducting the Virgin to his home," was quite unknown, as far as I am aware, in the earlier schools of art, and appears first in the seventeenth century. An eminent instance is a fine solemn group by Zurbaran. (Munich.) Christ was laid in the sepulchre by night, and here, in the gray dawn, John and the veiled Virgin are seen as returning from the entombment, and walking mournfully side by side.
We find the peculiar relation between the Mother of Christ and St.
John, as her adopted son, expressed in a very tender and ideal manner, on one of the wings of an altar-piece, attributed to Taddeo Gaddi.
(Berlin Gal., No. 1081.) Mary and St. John stand in front; he holds one of her hands clasped in both his own, with a most reverent and affectionate expression. Christ, standing between them, lays one hand on the shoulder of each; the sentiment of this group is altogether very unusual; and very remarkable.
HISTORICAL SUBJECTS
PART IV.
THE LIFE OF THE VIRGIN MARY FROM THE RESURRECTION OF OUR LORD TO THE a.s.sUMPTION.
1. THE APPARITION OF CHRIST TO HIS MOTHER. 2. THE ASCENSION. 3.
THE DESCENT OF THE HOLY GHOST. 4. THE DEATH OF THE VIRGIN. 5. THE a.s.sUMPTION AND CORONATION.
THE APPARITION OF CHRIST TO HIS MOTHER.
The enthusiastic and increasing veneration for the Madonna, the large place she filled in the religious teaching of the ecclesiastics and the religious sentiments of the people, are nowhere more apparent, nor more strikingly exhibited, than in the manner in which she was a.s.sociated with the scenes which followed the Pa.s.sion;--the manner in which some incidents were suggested, and treated with a peculiar reference to her, and to her maternal feelings. It is nowhere said that the Virgin Mother was one of the Marys who visited the tomb on the morning of the resurrection, and nowhere is she so represented.
But out of the human sympathy with that bereaved and longing heart, arose the beautiful legend of the interview between Christ and his Mother after he had risen from the dead.
There existed a very ancient tradition (it is mentioned by St.
Ambrose in the fourth century, as being then generally accepted by Christians), that Christ, after his return from Hades, visited his Mother even before he appeared to Mary Magdalene in the garden.
It is not indeed so written in the Gospel; but what of that? The reasoning which led to the conclusion was very simple. He whose last earthly thought was for his Mother would not leave her without that consolation it was in his power to give; and what, as a son, it was his duty to do (for the _humanity_ of Christ is never forgotten by those who most intensely believed in his _divinity_,) that, of course, he did do.
The story is thus related:--Mary, when all was "finished," retired to her chamber, and remained alone with her grief--not wailing, not repining, not hopeless, but waiting for the fulfilment of the promise.
Open before her lay the volume of the prophecies; and she prayed earnestly, and she said, "Thou, didst promise, O my most dear Son!
that thou wouldst rise again on the third day. Before yesterday was the day of darkness and bitterness, and, behold, this is the third day. Return then to me thy Mother; O my Son, tarry not, but come!"
And while thus she prayed, lo! a bright company of angels, who entered waving their palms and radiant with joy; and they surrounded her, kneeling and singing the triumphant Easter hymn, _Regina Coeli laetare, Alleluia!_[1] And then came Christ partly clothed in a white garment, having in his left hand the standard of the cross, as one just returned from the nether world, and victorious over the powers of sin and death. And with him came the patriarchs and prophets, whose long-imprisoned spirits he had released from Hades.[2] All these knelt before the Virgin, and saluted her, and blessed her, and thanked her, because through her had come their deliverance. But, for all this, the Mother was not comforted till she had heard the voice of her Son. Then he, raising his hand in benediction, spoke and said, "I salute thee, O my Mother!" and she, weeping tears of joy, responded, "Is it thou indeed, my most dear Son?" and she fell upon his neck, and he embraced her tenderly, and showed her the wounds he had received for sinful man. Then he bid her be comforted and weep no more, for the pain of death had pa.s.sed away, and the gates of h.e.l.l had not prevailed against him. And she thanked him meekly on her knees, for that he had been pleased to bring redemption to man, and to make her the humble instrument of his great mercy. And they sat and talked together, until he took leave of her to return to the garden, and to show himself to Mary Magdalene, who, next to his glorious Mother, had most need of consolation.[3]
[Footnote 1: