1. Half-figure of Christ, with the hand extended in benediction; in the other hand the Gospel. 2. David. 3. Isaiah. 4, 5, 6, 7. The four Evangelists standing. 8. 9, 11, 12. Scenes from the Life of St.
Francis and St. Clara. 10. The Descent of the Holy Ghost. 13. The Last Judgment.
It is to be regretted that so many of these altar-pieces have been broken up, and the detached parts sold as separate pictures: so that we may find one compartment of an altar in a church at Rome, and another hanging in a drawing-room in London; the upper part at Ghent, the lower half at Paris; one wing at Berlin, another at Florence. But where they exist as a whole, how solemn, significant, and instructive the arrangement! It may be read as we read a poem. Compare these with the groups round the enthroned Virgin in the later altar-pieces, where the saints elbow each other in att.i.tudes, where mortal men sit with unseemly familiarity close to personages recognized as divine.
As I have remarked further on, it is one of the most interesting speculations connected with the study of art, to trace this decline from reverence to irreverence, from the most rigid formula to the most fantastic caprice. The gradual disappearance of the personages of the Old Testament, the increasing importance given to the family of the Blessed Virgin, the multiplication of legendary subjects, and all the variety of advent.i.tious, unmeaning, or merely ornamental accessories, strike us just in proportion as a learned theology replaced the unreflecting, undoubting piety of an earlier age.
The historical subjects comprise the events from the Life of the Virgin, when treated in a dramatic form; and all those groups which exhibit her in her merely domestic relations, occupied by cares for her divine Child, and surrounded by her parents and kindred, subjects which a.s.sume a pastoral and poetical rather than an historical form.
All these may be divided into Scriptural and Legendary representations. The Scriptural scenes in which the Virgin Mary is a chief or important personage, are the Annunciation, the Visitation, the Nativity, the Purification, the Adoration of the Magi, the Flight into Egypt, the Marriage at Cana, the Procession to Calvary, the Crucifixion (as related by St. John), and the Descent of the Holy Ghost. The Traditional and Legendary scenes are those taken from the apocryphal Scriptures, some of which have existed from the third century. The Legend of Joachim and Anna, the parents of the Virgin, with the account of her early life, and her Marriage with Joseph, down to the Ma.s.sacre of the Innocents, are taken from the Gospel of Mary and the Protevangelion. The scenes of the Flight into Egypt, the Repose on the Journey, and the Sojourn of the Holy Family at Hieropolis or Matarea, are taken from the Gospel of Infancy. The various scenes attending the Death and a.s.sumption of the Virgin are derived from a Greek legendary poem, once attributed to St. John the Evangelist, but the work, as it is supposed, of a certain Greek, named Meliton, who lived in the ninth century, and who has merely dressed up in a more fanciful form ancient traditions of the Church. Many of these historical scenes have been treated in a devotional style, expressing not the action, but the event, taken in the light of a religious mystery; a distinction which I have fully explained in the following pages, where I have given in detail the legends on which these scenes are founded, and the religious significance conveyed by the treatment.
A complete series of the History of the Virgin begins with the rejection of her father Joachim from the temple, and ends with the a.s.sumption and coronation, including most of the events in the History of our Lord (as for example, the series painted by Giotto, in the chapel of the Arena, at Padua); but there are many instances in which certain important evens relating to the Virgin only, as the princ.i.p.al person, are treated as a devotional series; and such are generally found in the chapels and oratories especially dedicated to her. A beautiful instance is that of the Death of the Virgin, treated in a succession of scenes, as an event apart, and painted by Taddeo Barrolo, in the Chapel of the Palazzo Publico, at Siena. This small chapel was dedicated to the Virgin soon after the terrible plague of 1848 had ceased, as it was believed, by her intercession; so that this munic.i.p.al chapel was at once an expression of thanksgiving, and a memorial of death, of suffering, of bereavement, and of hope in the resurrection. The frescoes cover one wall of the chapel, and are arranged in four scenes.
1. Mary is reclining in her last sickness, and around her are the Apostles, who, according to the beautiful legend, were _miraculously_ a.s.sembled to witness her departure. To express this, one of them is floating in as if borne on the air. St. John kneels at her feet, and she takes, with an expression exquisitely tender and maternal, his two hands in hers. This action is peculiar to the Siena school.[1]
[Footnote 1: On each side of the princ.i.p.al door of the Cathedral at Siena, which is dedicated to "Beata Virgine a.s.sunta," and just within the entrance, is a magnificent pilaster, of white marble, completely covered from the base to the capital with the most luxuriant carving, arabesques, foliage, &c., in an admirable and finished style. On the bases of these two pilasters are subjects from the Life of the Virgin, three on each side, and arranged, each subject on one side having its pendant on the other.
1. The meeting of Joachim and Anna. 2. The Nativity of Mary. 3. Her sickness and last farewell to the Apostles; bending towards St. John, she takes his hands in hers with the same tender expression as in the fres...o...b.. Taddeo Bartola. 4. She lies dead on her couch. 5. The a.s.sumption. 6. The Coronation.
The figures are about a foot in height, delicately carved, full of that sentiment which is especially Sienese, and treated with a truly sculptural simplicity.]
2. She lies extended on her couch, surrounded by the weeping Apostles, and Christ behind receives the parting soul,--the usual representation, but treated with the utmost sentiment.
3. She is borne to the grave by the Apostles; in the background, the walls of the city of Jerusalem. Here the Greek legend of St. Michael protecting her remains from the sacrilegious Jew is omitted, and a peculiar sentiment of solemnity pervades the whole scene.
4. The resurrection of the Virgin, when she rises from the tomb sustained by hovering angels, and is received by Christ.
When I first saw these beautiful frescoes, in 1847, they were in a very ruined state; they have since been restored in a very good style, and with a reverent attention to the details and expression.
In general, however, the cycle commences either with the legend of Joachim and Anna, or with the Nativity of the Virgin, and ends with the a.s.sumption and coronation. A most interesting early example is the series painted in fres...o...b.. Taddeo Gaddi, in the Baroncelli Chapel at Florence. The subjects are arranged on two walls. The first on the right hand, and the second, opposite to us as we enter.
1. Joachim is rejected from the Temple.
2. He is consoled by the Angel.
3. The meeting of Joachim and Anna.
4. The Birth of the Virgin.
5. The Presentation of the Virgin. She is here a child of about five years old; and having ascended five steps (of the fifteen) she turns as if to bid farewell to her parents and companions, who stand below; while on the summit the High Priest, Anna the prophetess, and the maidens of the Temple come forward to receive her.
6. The Marriage to Joseph, and the rage and disappointment of the other suitors.
The second wall is divided by a large window of the richest stained gla.s.s, on each side of which the subjects are arranged.
7. The Annunciation. This is peculiar. Mary, not throned or standing, but seated on the ground, with her hands clasped, and an expression beautiful for devotion and humility, looks upwards to the descending angel.
8. The Meeting of Mary and Elizabeth.
9. The Annunciation to the Shepherds.
10. The Nativity.
11. The Wise Men behold the Star in the Form of a Child.
12. They approach to Worship. Under the window is the altar, no longer used as such; and behind it a small but beautiful triptych of the Coronation of the Virgin, by Giotto, containing at least a hundred heads of saints, angels, &c.; and on the wall opposite is the large fresco of the a.s.sumption, by Mainardi, in which St. Thomas receives the girdle, the other Apostles being omitted. This is of much later date, being painted about 1495.
The series of five subjects in the Rinuccini Chapel (in the sacristy of the same church) has been generally attributed to Taddeo Gaddi, but I agree with those who gave it to a different painter of the same period.
The subjects are thus arranged:--1. The Rejection of Joachim, which fills the whole arch at the top, and is rather peculiarly treated.
On the right of the altar advances a company of grave-looking Elders, each with his offering. On the left, a procession of the matrons and widows "who had been fruitful in Israel," each with her lamb. In the centre, Joachim, with his lamb in his arms and an affrighted look, is hurrying down the steps. 2. The Lamentation of Joachim on the Mountain, and the Meeting of Joachim and Anna. 3. The Birth of the Virgin. 4. The Presentation in the Temple. 5. The Sposalizio of the Virgin, with which the series concludes; every event referring to her divine Son, even the Annunciation, being omitted. On comparing these frescoes with those in the neighbouring chapel of the Baroncelli, the difference in _feeling_ will be immediately felt; but they are very _nave_ and elegant.
About a hundred years later than these two examples we have the celebrated series painted by Ghirlandajo, in the choir of S. Maria Novella at Florence. There are three walls. On the princ.i.p.al wall, facing us as we enter, is the window; and around it the Annunciation (as a mystery), then the princ.i.p.al saints of the Order to whom the church belongs,--St. Dominic and St. Peter Martyr, and the protecting saints of Florence.
On the left hand (i.e. the right as we face the high altar) is the History of the Virgin; on the opposite side, the History of St. John the Baptist. The various cycles relating to St. John as patron of Florence will be fully treated in the last volume of Legendary Art; at present I shall confine myself to the beautiful set of subjects which relate the history of the Virgin, and which the engravings of Lasinio (see the "Ancient Florentine Masters") have rendered well known to the lovers of art. They cover the whole wall and are thus arranged, beginning from the lowest on the left hand.
1. Joachim is driven from the Temple.
2. The Birth of the Virgin.
3. The Presentation of the Virgin in the Temple.
4. The Marriage of Joseph and Mary.
5. The Adoration of the Magi (this is very much ruined).
6. The Ma.s.sacre of the Innocents. (This also is much ruined.) Vasari says it was the finest of all. It is very unusual to make this terrible and pathetic scene part of the life of the Virgin.
7. In the highest and largest compartment, the Death and a.s.sumption of the Virgin.
Nearly contemporary with this fine series is that by Pinturicchio in the Church of S. Maria del Popolo, at Rome (in the third chapel on the right). It is comprised in five lunettes round the ceiling, beginning with the Birth of the Virgin, and is remarkable for its elegance.
About forty years after this series was completed the people of Siena, who had always bees remarkable for their devotion to the Virgin, dedicated to Her honour the beautiful little chapel called the Oratory of San Bernardino (v. Legends of the Monastic Orders), near the church of San Francesco, and belonging to the same Order, the Franciscans.
This chapel is an exact parallelogram and the frescoes which cover the four walls are thus arranged above the wainscot, which rises about eight feet from the ground.
1. Opposite the door as we enter, the Birth of the Virgin. The usual visitor to St. Anna is here a grand female figure, in voluminous drapery. The delight and exultation of those who minister to the new-born infant are expressed with the most graceful _navete_. This beautiful composition should be compared with those of Ghirlandajo and Andrea del Sarto in the Annunziata at Florence;[1] it yields to neither as a conception and is wholly different. It is the work of a Sienese painter little known--Girolamo del Pacchio.
[Footnote 1: This series, painted by Andrea and his scholars and companions, Franciabigio and Pontormo, is very remarkable as a work of art, but presents nothing new in regard to the choice and treatment of the subjects.]
2. The Presentation in the Temple, by G.A. Razzi. The princ.i.p.al scene is placed in the background, and the little Madonna, as she ascends the steps, is received by the High Priest and Anna the prophetess.
Her father and mother and groups of spectators fill the foreground; here, too, is a very n.o.ble female figure on the right; but the whole composition is mannered, and wants repose and religious feeling.
3. The Sposalizio, by Beccafumi. The ceremony takes place after the manner of the Jews, outside the Temple. In a mannered, artificial style.
4, 5. On one side of the altar, the Angel Gabriel floating in--very majestic and angelic; on the other side the Virgin Annunziata, with that att.i.tude and expression so characteristic of the Siena School, as if shrinking from the apparition. These also are by Girolamo del Pacchio, and extremely fine.
6. The enthroned Virgin and Child, by Beccafumi. The Virgin is very fine and majestic; around her throne stand and kneel the guardian saints of Siena and the Franciscan Order; St. Francis, St. Antony of Padua, St. Bernardino, St. Catherine of Siena, St. Ansano, St. John B., St. Louis. (St. Catherine, as patroness of Siena, takes here the place usually given to St. Clara in the Franciscan pictures.)
7. The Visitation. Very fine and rather peculiar; for here Elizabeth bends over Mary as welcoming her, while the other inclines her head as accepting hospitality. By Razzi.