In his "Paradiso" (c. x.x.xii.), Dante represents Eve, Rachel, Sara, Ruth, Judith, as seated at the feet of the Virgin Mary, beneath her throne in heaven; and next to Rachel, by a refinement of spiritual and poetical gallantry, he has placed his Beatrice.
In the beautiful frescoes of the church of St. Apollinaris at Remagen, these Hebrew women stand together in a group below the throne of the Virgin.
Of the Prophets and the Sibyls who attend on Christ in his character of the Messiah or Redeemer, I shall have much to say, when describing the artistic treatment of the history and character of Our Lord.
Those of the prophets who are supposed to refer more particularly to the Incarnation, properly attend on the Virgin and Child; but in the ancient altar-pieces, they are not placed within the same frame, nor are they grouped immediately round her throne, but form the outer accessories, or are treated separately as symbolical.
First, MOSES, because he beheld the burning bush, "which burned and was not consumed." He is generally in the act of removing his sandals.
AARON, because his rod blossomed miraculously.
GIDEON, on whose fleece descended the dew of heaven, while all was dry around.
DANIEL, who beheld the stone which was cut out without hands, and became a great mountain, filling the earth. (ch. ii. 45.)
DAVID, as prophet and ancestor. "Listen, O daughter, and incline thine ear."
ISAIAH, "Behold a virgin shall conceive and bear a son."
EZEKIEL, "This gate shall be shut." (ch. xliv. 2.)
Certain of these personages, Moses, Aaron, Gideon, Daniel, Ezekiel, are not merely accessories and attendant figures, but in a manner attributes, as expressing the character of the Virgin. Thus in many instances, we find the prophetical personages altogether omitted, and we have simply the attribute figuring the prophecy itself, the burning bush, the rod, the dewy fleece, &c.
The Sibyls are sometimes introduced alternately with the Prophets. In general, if there be only two, they are the Tiburtina, who showed the vision to Augustus, and the c.u.mean Sibyl who foretold the birth of our Saviour. The Sibyls were much the fashion in the cla.s.sic times of the sixteenth century; Michael Angelo and Raphael have left us consummate examples.
But I must repeat that the full consideration of the Prophets and Sibyls as accessories belongs to another department of sacred art, and they will find their place there.
The Evangelists frequently, and sometimes one or more of the Twelve Apostles, appear as accessories which a.s.sist the theological conception. When other figures are introduced, they are generally either the protecting saints of the country or locality, or the saints of the Religious Order to whom the edifice belongs: or, where the picture or window is an _ex-voto_, we find the patron saints of the confraternity, or of the donor or votary who has dedicated it.
Angels seated at the feet of the Madonna and playing on musical instruments, are most lovely and appropriate accessories, for the choral angels are always around her in heaven, and on earth she is the especial patroness of music and minstrelsy.[1] Her delegate Cecilia patronized _sacred_ music; but _all_ music and musicians, all minstrels, and all who plied the "gaye science," were under the protection of Mary. When the angels are singing from their music books, and others are accompanying them with lutes and viols, the song is not always supposed to be the same. In a Nativity they sing the "Gloria in excelsis Deo;" in a Coronation, the "Regina Coeli;"
in an enthroned Madonna with votaries, the "Salve Regina, Mater Misericordiae!" in a pastoral Madonna and Child it may be the "Alma Mater Redemptoris."
[Footnote 1: The picture by Lo Spagna, lately added to our National Gallery, is a beautiful example.]
In all the most ancient devotional effigies (those in the catacombs and the old mosaics), the Virgin appears as a majestic woman of mature age. In those subjects taken from her history which precede her return from Egypt, and in the Holy Families, she should appear as a young maiden from fifteen to seventeen years old.
In the subjects taken from her history which follow the baptism of our Lord, she should appear as a matron between forty and fifty, but still of a sweet and gracious aspect. When Michael Angelo was reproached with representing his Mater Dolorosa much too young, he replied that the perfect virtue and serenity of the character of Mary would have preserved her beauty and youthful appearance long beyond the usual period.[1]
[Footnote 1: The group in St. Peter"s, Rome.]
Because some of the Greek pictures and carved images had become black through extreme age, it was argued by certain devout writers, that the Virgin herself must have been of a very dark complexion; and in favour of this idea they quoted this text from the Canticles, "I am black, but comely, O ye daughters of Jerusalem." But others say that her complexion had become black only during her sojourn in Egypt. At all events, though the blackness of these antique images was supposed to enhance their sanct.i.ty, it has never been imitated in the fine arts, and it is quite contrary to the description of Nicephorus, which is the most ancient authority, and that which is followed in the Greek school.
The proper dress of the Virgin is a close red tunic, with long sleeves;[1] and over this a blue robe or mantle. In the early pictures, the colours are pale and delicate. Her head ought to be veiled. The fathers of the primeval Church, particularly Tertullian, attach great importance to the decent veil worn by Christian maidens; and in all the early pictures the Virgin is veiled. The enthroned Virgin, unveiled, with long tresses falling down on either side, was an innovation introduced about the end of the fifteenth century; commencing, I think, with the Milanese, and thence adopted in the German schools and those of Northern Italy. The German Madonnas of Albert Durer"s time have often magnificent and luxuriant hair, curling in ringlets, or descending to the waist in rich waves, and always fair. Dark-haired Madonnas appear first in the Spanish and later Italian schools.
[Footnote 1: In a famous Pieta by Raphael, engraved by Marc Antonio, the Virgin, standing by the dead form of her Son, has the right arm apparently bare; in the repet.i.tion of the subject it is clothed with a full sleeve, the impropriety being corrected. The first is, however, the most perfect and most precious as a work of art.--_Bartsch_, xiv.
34, 35.]
In the historical pictures, her dress is very simple; but in those devotional figures which represent her as queen of heaven, she wears a splendid crown, sometimes of jewels interwoven with lilies and roses.
The crown is often the sovereign crown of the country in which the picture is placed: thus, in the Papal States, she often wears the triple tiara: in Austria, the imperial diadem. Her blue tunic is richly embroidered with gold and gems, or lined with ermine, or stuff of various colours, in accordance with a text of Scripture: "The King"s daughter is all glorious within; her clothing is of wrought gold. She shall be brought unto the King in a vesture of needlework."
(Ps. xlv. 13.) In the Immaculate Conception, and in the a.s.sumption, her tunic should be plain white, or white spangled with golden stars.
In the subjects relating to the Pa.s.sion, and after the Crucifixion, the dress of the Virgin should be violet or gray. These proprieties, however, are not always attended to.
In the early pictures which represent her as nursing the divine Infant (the subject called the _Vergine Lattante_), the utmost care is taken to veil the bust as much as possible. In the Spanish school the most vigilant censorship was exercised over all sacred pictures, and, with regard to the figures of the Virgin, the utmost decorum was required.
"What," says Pacheco, "can be more foreign to the respect which we owe to our Lady the Virgin, than to paint her sitting down with one of her knees placed over the other, and often with her sacred feet uncovered and naked? Let thanks be given to the Holy Inquisition, which commands that this liberty should be corrected." For this reason, perhaps, we seldom see the feet of the Virgin in Spanish pictures.[1] Carducho speaks more particularly on the impropriety of painting the Virgin unshod, "since it is manifest that, our Lady was in the habit of wearing shoes, as is proved by the much venerated relic of one of them from her divine feet at Burgos."
[Footnote 1: Or in any of the old pictures till the seventeenth century "Tandis que Dieu est toujours montre pieds nus, lui qui est descendu a terre et a pris notre humanite, Marie au contraire est constamment representee les pieds perdus dans les plis trainants, nombreux et legers de sa robe virginale; elle, qui est elevee au dessus de la terre et rapprochee de Dieu par sa purete. Dieu montre par ses pieds nus qu"il a pris le corps de l"homme; Marie fait comprendre en les cachant qu"elle participe de la spiritualite de Dieu."]
The Child in her arms is always, in the Greek and early pictures, clothed in a little tunic, generally white. In the fifteenth century he first appears partly, and then wholly, undraped. Joseph, as the earthly _sposo_, wears the saffron-coloured mantle over a gray tunic.
In the later schools of art these significant colours are often varied, and sometimes wholly dispensed with.
III. DEVOTIONAL AND HISTORICAL REPRESENTATIONS.
In this volume, as in the former ones, I have adhered to the distinction between the devotional and the historical representations.
I cla.s.s as devotional, all those which express a dogma merely; all the enthroned Madonnas, alone or surrounded by significant accessories or attendant saints; all the Mystical Coronations and Immaculate Conceptions; all the Holy Families with saints, and those completely ideal and votive groups, in which the appeal is made to the faith and piety of the observer. I shall give the characteristic details, in particular instances, further on.
The altar-pieces in a Roman Catholic church are always either strictly devotional objects, or it may be, historical subjects (such as the Nativity) treated in a devotional sense. They are sometimes in several pieces or compartments. A Diptych is an altar-piece composed of two divisions or leaves which are united by hinges, and close like a book.
Portable altar-pieces of a small size are generally in this form; and among the most valuable and curious remains of early religious art are the Greek and Byzantine Diptychs, sometimes painted, sometimes carved in ivory[1]. A Triptych is an altar-piece in three parts; the two outer divisions or wings often closing as shutters over the central compartment.
[Footnote 1: Among the "Casts from Ancient Ivory Carvings", published by the Arundel Society, will be found some interesting and ill.u.s.trative examples, particularly Cla.s.s III. Diptych _b_, Cla.s.s VII Diptych _c_ and Triptych _f_, Cla.s.s IX. Triptych _k_.]
On the outside of the shutters or doors the Annunciation was generally painted, as the mystery which opened the gates of salvation; occasionally, also, the portraits of the votaries or donors.
Complete examples of devotional representation occur in the complex and elaborate altar-pieces and windows of stained gla.s.s, which often comprehend a very significant scheme of theology.[1]. I give here plans of two of these old altar-pieces, which will a.s.sist the reader in elucidating the meaning of others.
[Footnote 1: Still more important examples occur in the porches and exterior decoration of the old cathedrals, French and English which have escaped mutilation. These will be found explained at length in the Fourth Series of Sacred and Legendary Art.]
The first is the altar-piece in the Rinuccini Chapel in the church of the Santa Croco of Florence. It is necessary to premise that the chapel was founded in honour of the Virgin and Mary Magdalene; while the church is dedicated to the Holy Cross, and belongs to the Franciscans.
[Ill.u.s.tration: Altar-piece]
The compartments are separated by wood-work most richly carved and gilt in the Gothic style, with twisted columns, pinnacles, and scrolls. The subjects are thus distributed.
A. The Virgin and Child enthroned. She has the sun on her breast, the moon under her feet, the twelve stars over her head, and is attended by angels bearing the attributes of the cardinal virtues. B. St.
John the Baptist. C. St. Francis. D. St. John Evangelist. E. Mary Magdalene. 1. The Crucifixion, with the Virgin and St. John. 2, 3, 4, 5. The four Evangelists with their books: half length. 6, 7. St. Peter and St. Paul: half length. 8, 9, 10, 11. St. Thomas, St. Philip, St.
James, and St. Andrew: half length. PP. The Predella. 12. The Nativity and Adoration of Magi. 13. St. Francis receives the Stigmata. 14.
Baptism of Christ. 15. The Vision of St. John in Patmos. 16. Mary Magdalene borne up by angels. Between the altar-piece and the predella runs the inscription in Gothic letters, AVE DELICISSIMIS VIRGO MARIA, SUCCURRE n.o.bIS MATER PIA. MCCCLXXVIII.
The second example is sketched from an altar-piece painted for the suppressed convent of Santa Chiara, at Venice. It is six feet high, and eight feet wide, and the ornamental caning in which the subjects are enclosed particularly splendid and elaborate.
[Ill.u.s.tration: Altar-piece]
A. The Coronation of the Virgin, treated as a religious mystery, with choral angels. B. The Nativity of our Lord. C. The Baptism. D. The Last Supper. E. The Betrayal of Christ. F. The Procession to Calvary, in which the Virgin is rudely pushed aside by the soldiers. G. The Crucifixion, as an event: John sustains the Virgin at the foot of the cross. H. The Resurrection and the _Noli me tangere_. I. Ascension.