"Regina Coeli laetare Alleluia!
Quia quem meruisti portare, Alleluia!
Resurrexit sicut dixit, Alleluia!
Ora pro n.o.bis Deum, Alleluia!"]
[Footnote 2: The legend of the "Descent into Hades" (or limbo), often treated of in art, will be given at length in the History of our Lord.]
[Footnote 3: I have given the legend from various sources; but there is something quite untranslatable and perfectly beautiful in the navete of the old Italian version. After describing the celestial music of the angels, the rejoicing of the liberated patriarchs, and the appearance of Christ, _allegro, e bello e tutto lucido_, it thus proceeds: "_Quando ella lo vidde, gli and incontro ella ancora con le braccia aperte, e quasi tramort.i.ta per l"allegrazza. Il benedetto Gesu l"abbraccio teneressimamente, ed ella glidesse; "Ahi, figliuolo mio cordialissimo, sei tu veramente il mio Gesu, pur m"inganna l"affetto!" "Io sono il tuo figliuolo, madre mia, dolcissima," disse il Signore: "cessino hormai le tue lagrime, non fare ch"io ti veda piu di mala voglia, Gia son finiti li tuoi e li miei travagli e dolori insieme!" Erano rimase alcune lagrime negli occhi della Vergine....
e per la grande allegrezza non poteva proferire parola alcuna ...
ma quando al fine pote parlare, lo ringrazio per parte di tutto il genere humano, per la redenzione, operata e fatta, per tutto generalmente."--v. Il Perfetto Legendario_]
The pathetic sentiment, and all the supernatural and mystical accompaniments of this beautiful myth of the early ages, have been very inadequately rendered by the artists. It is always treated as a plain matter-of-fact scene. The Virgin kneels; the Saviour, bearing his standard, stands before her; and where the delivered patriarchs are introduced, they are generally either Adam and Eve, the authors of the fall or Abraham and David, the progenitors of Christ and the Virgin. The patriarchs are omitted in the earliest instance I can refer to, one of the carved panels of the stalls in the Cathedral of Amiens: also in the composition by Albert Durer, not included in his life of the Virgin, but forming one of the series of the Pa.s.sion.
Guido has represented the scene in a very fine picture, wherein an angel bears the standard of victory, and behind our Saviour are Adam and Eve. (Dresden Gal.)
Another example, by Guercino (Cathedral, Cento), is cited by Goethe as an instance of that excellence in the expression of the natural and domestic affections which characterized the painter. Mary kneels before her Son, looking up in his face with unutterable affection; he regards her with a calm, sad look, "as if within his n.o.ble soul there still remained the recollection of his sufferings and hers, outliving the pang of death, the descent into the grave, and which the resurrection had not yet dispelled." This, however, is not the sentiment, at once affectionate and joyously triumphant, of the old legend. I was pleased with a little picture in the Lichtenstein Gallery at Vienna, where the risen Saviour, standing before his Mother, points to the page of the book before her, as if he said, "See you not that thus it is written?" (Luke xxiv. 46.) Behind Jesus is St. John the Evangelist bearing the cup and the cross, as the cup of sorrow and the cross of pain, not the mere emblems. There is another example, by one of the Caracci, in the Fitzwilliam Collection at Cambridge.
A picture by Albano of this subject, in which Christ comes flying or floating on the air, like an incorporeal being, surrounded by little fluttering cherubim, very much like Cupids, is an example of all that is most false and objectionable in feeling and treatment. (Florence, Pitti Pal.)
The popularity of this scene in the Bologna school of art arose, I think, from its being adopted as one of the subjects from the Rosary, the first of "the five Glorious Mysteries;" therefore especially affected by the Dominicans, the great patrons of the Caracci at that time.
The ASCENSION, though one of the "Glorious Mysteries," was also accounted as the seventh and last of the sorrows of the Virgin, for she was then left alone on earth. All the old legends represent her as present on this occasion, and saying, as she followed with uplifted eyes the soaring figure of Christ, "My Son, remember me when thou comest to thy kingdom! Leave me not long after thee, my Son!" In Giotto"s composition in the chapel of the Arena, at Padua, she is by far the most prominent figure. In almost all the late pictures of the Ascension, she is introduced with the other Marys, kneeling on one side, or placed in the centre among the apostles.
The DESCENT OF THE HOLY GHOST is a strictly scriptural subject. I have heard it said that the introduction of Mary is not authorized by the scripture narrative. I must observe, however that, without any wringing of the text for an especial purpose, the pa.s.sage might be so interpreted. In the first chapter of the Acts (ver. 14), after enumerating the apostles by name, it is added, "These all continued with one accord in prayer and supplication, with the women and Mary the mother of Jesus, and with his brethren." And in the commencement of the second chapter the narrative thus proceeds: "And when the day of Pentecost was fully come, they were _all_ with one accord in one place." The word _all_ is, in the Concordance, referred to the previous text (ver. 14), as including Mary and the women: thus they who were constant in their love were not refused a partic.i.p.ation in the gifts of the Spirit. Mary, in her character of the divine Mother of Wisdom, or even Wisdom herself,[1] did not, perhaps, need any accession of intellectual light; but we must remember that the Holy Spirit was the Comforter, as well as the Giver of wisdom; therefore, equally needed by those, whether men or women, who were all equally called upon to carry out the ministry of Christ in love and service, in doing and in suffering.
[Footnote 1: The sublime eulogium of Wisdom (Prov. viii. 22), is, in the Roman Catholic Church, applied to the Virgin Mary.]
In the account of the apostles I have already described at length the various treatment and most celebrated examples of this subject, and shall only make one or two observations with especial reference to the figure of the Virgin. It was in accordance with the feelings and convictions prevalent in the fifteenth century, that if Mary were admitted to be present, she would take the princ.i.p.al place, as Queen and Mother of the Apostles (_Regina et Mater Apostolorum_). She is, therefore, usually placed either in front, or in the centre on a raised seat or dais; and often holding a book (as the _Mater Sapientiae_); and she receives the divine affusion either with veiled lids and meek rejoicing; or with uplifted eyes, as one inspired, she pours forth the hymn, _Veni, Sancte Spiritus_.
I agree with the critics that, as the Spirit descended in form of cloven tongues of fire, the emblem of the Dove, almost always introduced, is here superfluous, and, indeed, out of place.
I must mention here another subject altogether apocryphal, and confined to the late Spanish and Italian schools: The Virgin receives the sacramental wafer from the hand of St. John the Evangelist.
This is frequently misunderstood, and styled the Communion of Mary Magdalene. But the long hair and uncovered head of the Magdalene, and the episcopal robe of St. Maximin, are in general distinguishable from the veiled matronly head of the Virgin Mother, and the deacon"s vest of St. John. There is also a legend that Mary received baptism from St. Peter; but this is a subject I have never met with in art, ancient or modern. It may possibly exist.
I am not acquainted with any representations taken from the sojourn on earth of the Blessed Virgin from this time to the period of her death, the date of which is uncertain. It is, however, generally supposed to have taken place in the forty-eighth year of our era, and about eleven years after the Crucifixion, therefore in her sixtieth year. There is no distinct record, either historical or legendary, as to the manner in which she pa.s.sed these years. There are, indeed, floating traditions alluded to by the early theological writers, that when the first persecution broke out at Jerusalem, Mary accompanied St. John the Evangelist to Ephesus, and was attended thither by the faithful and affectionate Mary Magdalene. Also that she dwelt for some time on Mount Carmel, in an oratory erected there by the prophet Elijah, and hence became the patroness of the Carmelites, under the t.i.tle of Our Lady of Mount Carmel (_La Madonna del Carmine_, or _del Carmelo_).
If there exist any creations of the artists founded on these obscure traditions, which is indeed most probable, particularly in the edifices of the Carmelites in Spain, I have not met with them.
It is related that before the apostles separated to obey the command of their divine Master, and preach the gospel to all the nations of the earth, they took a solemn leave of the Virgin Mary, and received her blessing. This subject has been represented, though not by any distinguished artist. I remember such a picture, apparently of the sixteenth century, in the Church of S. Maria-in-Capitolio at Cologne, and another, by Bissoni, in the San Giustina at Padua. (Sacred and Legendary Art.)
THE DEATH AND a.s.sUMPTION Of THE VIRGIN
_Lat._ Dormitio, Pausatio, Transitus, a.s.sumptio, B. Virginis. _Ital._ Il Transito di Maria. Il Sonno della Beata Vergine. L" a.s.sunzione.
_Fr._ La Mort de la Vierge. L"a.s.somption. _Ger._ Das Absterben der Maria. Maria Himmelfahrt. August, 13, 15.
We approach the closing scenes.
Of all the representations consecrated to the glory of the Virgin, none have been more popular, more multiplied through every form of art, and more admirably treated, than her death and apotheosis.
The latter in particular, under the t.i.tle of "the a.s.sumption,"
became the visible expression of a dogma of faith then universally received--namely, the exaltation and deification of the Virgin in the body as well as in the spirit. As such it meets us at every turn in the edifices dedicated to her; in painting over the altar, in sculpture over the portal, or gleaming upon us in light from the shining many-coloured windows. Sometimes the two subjects are combined, and the death-scene (_Il transito di Maria_) figured below, is, in fact, only the _transition_ to the blessedness and exaltation figured above. But whether separate or combined, the two scenes, in themselves most beautiful and touching,--the extremes of the mournful and the majestic, the dramatic and the ideal,--offered to the medieval artists such a breadth of s.p.a.ce for the exhibition of feeling and fancy as no other subject afforded. Consequently, among the examples handed down to us, are to be found some of the most curious and important relics of the early schools, while others rank among the grandest productions of the best ages of art.
For the proper understanding of these, it is necessary to give the old apocryphal legend at some length; for, although the very curious and extravagant details of this legend were not authorized by the Church as matters of fact or faith, it is clear that the artists were permitted thence to derive their materials and their imagery. In what manner they availed themselves of this permission, and how far the wildly poetical circ.u.mstances with which the old tradition was gradually invested, were allowed to enter into the forms of art, we shall afterwards consider.
THE LEGEND OF THE DEATH AND a.s.sUMPTION OF THE MOST GLORIOUS VIRGIN MARY.
Mary dwelt in the house of John upon Mount Sion looking for the fulfilment of the promise of deliverance, and she spent her days in visiting those places which had been hallowed by the baptism, the sufferings, the burial and resurrection of her divine Son, but more particularly the tomb wherein he was laid. And she did not this as seeking the living among the dead, but for consolation and for remembrance.
And on a certain day; the heart of the Virgin, being filled with an inexpressible longing to behold her Son, melted away within her, and she wept abundantly. And lo! an angel appeared before her clothed in light as with a garment. And he saluted her, and said, "Hail, O Mary! blessed by him who hath given salvation to Israel I bring thee here a branch of palm gathered in Paradise; command that it be carried before thy bier in the day of thy death; for in three days they soul shall leave thy body, and though shalt enter into Paradise, where thy Son awaits thy coming." Mary, answering, said, "If I have found grace in thy eyes, tell me first what is thy name; and grant that the apostles my brethren may be reunited to me before I die, that in their presence I may give up my soul to G.o.d. Also, I pray thee, that my soul, when delivered from my body, may not be affrighted by any spirit of darkness, nor any evil angel be allowed to have any power over me." And the angel said, "Why dost thou ask my name? My name is the Great and the Wonderful. And now doubt not that all the apostles shall be reunited, to thee this day; for he who in former times transported the prophet Habakkuk from Judea to Jerusalem by the hair of his head, can as easily bring hither the apostles. And fear thou not the evil spirit, for hast thou not bruised his head and destroyed his kingdom?" And having said these words, the angel departed into heaven; and the palm branch which he had left behind him shed light from every leaf, and sparkled as the stars of the morning. Then Mary lighted, the lamps and prepared her bed, and waited until the hour was come. And in the same instant John, who was preaching at Ephesus, and Peter, who was preaching at Antioch, and all the other apostles who were dispersed in different parts of the world, were suddenly caught up as by a miraculous power, and found themselves before the door of the habitation of Mary. When Mary saw them all a.s.sembled round her, she blessed and thanked the Lord, and she placed in the hands of St. John the shining palm, and desired that he should bear it before her at the time of her burial. Then Mary, kneeling down, made her prayer to the Lord her Son, and the others prayed with her; then she laid herself down in her bed and composed herself for death. And John wept bitterly. And about the third hour of the night, as Peter stood at the head of the bed and John at the foot, and the other apostles around, a mighty sound filled the house, and a delicious perfume filled the chamber. And Jesus himself appeared accompanied by an innumerable company of angels, patriarchs, and prophets; all these surrounded the bed of the Virgin, singing hymns of joy.
And Jesus said to his Mother, "Arise, my beloved, mine elect!
come with me from Lebanon, my espoused! receive the crown that is destined for thee!" And Mary, answering, said, "My heart is ready; for it was written of me that I should do thy will!"
Then all the angels and blessed spirits who accompanied Jesus began to sing and rejoice. And the soul of Mary left her body, and was received into the arms of her Son; and together they ascended into heaven.[1] And the apostles looked up, saying, "Oh most prudent Virgin, remember us when thou comest to glory!" and the angels, who received her into heaven, sung these words, "Who is this that cometh up from the wilderness leaning upon her Beloved? she is fairer than all the daughters of Jerusalem."
[Footnote 1: In the later French legend, it is the angel Michael who takes charge of the departing soul. "_Ecce Dominus venit c.u.m mult.i.tudine angelorum_; et Jesus Christ vint en grande compaignie d"anges; entre lesquels estoit Sainct Michel, et quand la Vierge Marie le veit elle dit, "Benoist soit Jesus Christ car il ne m"a pas...o...b..iee." Quand elle eut ce dit elle rendit l"esprit, lequel Sainct Michel print."]
But the body of Mary remained upon the earth; and three among the virgins prepared to wash and clothe it in a shroud; but such a glory of light surrounded her form, that though they touched it they could not see it, and no human eye beheld those chaste and sacred limbs unclothed. Then the apostles took her up reverently and placed her upon a bier, and John, carrying the celestial palm, went before. Peter sung the 114th Psalm, "_In exitu Israel de Egypto, domus Jacob de populo barbaro_," and the angels followed after, also singing. The wicked Jews, hearing these melodious voices, ran together; and the high-priest, being seized with fury, laid his hands upon the bier intending to overturn it on the earth; but both his arms were suddenly dried up, so that he could not move them, and he was overcome with fear; and he prayed to St. Peter for help, and Peter said, "Have faith in Jesus Christ, and his Mother, and thon shalt be healed;" and it was so. Then they went on and laid the Virgin in a tomb in the Valley of Jehoshaphat.[1]
[Footnote 1: Or Gethsemane. I must observe here, that in the genuine oriental legend, it is Michael the Archangel who hews off the hands of the audacious Jew, which were afterwards, at the intercession of St. Peter, reunited to his body.]
And on the third day, Jesus said to the angels, "What honour shall I confer on her who was my mother on earth, and brought me forth?" And they answered, "Lord, suffer not that body which was thy temple and thy dwelling to see corruption; but place her beside thee on thy throne in heaven." And Jesus consented; and the Archangel Michael brought unto the Lord, the glorious soul of our Lady. And the Lord said, "Rise up, my dove, my undefiled, for thou shalt not remain in the darkness of the grave, nor shall thou see corruption;" and immediately the soul of Mary rejoined her body, and she arose up glorious from the tomb, and ascended into heaven surrounded and welcomed by troops of angels, blowing their silver trumpets, touching their golden lutes, singing, and rejoicing as they sung, "Who is she that riseth as the morning, fair as the moon, clear as the sun, and terrible as an army with banners?"
(Cant. vi. 10.)
But one among the apostles was absent; and when he arrived soon after, he would not believe in the resurrection of the Virgin; and this apostle was the same Thomas, who had formerly been slow to believe in the resurrection of the Lord; and he desired that the tomb should be opened before him; and when it was opened it was found to be full of lilies and roses. Then Thomas, looking up to heaven, beheld the Virgin bodily, in a glory of light, slowly mounting towards the heaven; and she, for the a.s.surance of his faith, flung down to him her girdle, the same which is to this day preserved in the cathedral of Prato. And there were present at the death of the Virgin Mary, besides the twelve apostles, Dionysius the Areopagite, Timotheus, and Hierotheus; and of the women, Mary Salome, Mary Cleophas,[1] and a faithful handmaid whose name was Savia.
[Footnote 1: According to the French legend, Mary Magdalene and her sister Martha were also present.]
This legend of the Death and a.s.sumption of the Virgin has afforded to the artists seven distinct scenes.
1. The Angel, bearing the palm, announces to Mary her approaching death. The announcing angel is usually supposed to be Gabriel, but it is properly Michael, the "angel of death." 2. She takes leave of the Apostles. 3. Her Death. 4. She is borne to the Sepulchre. 5.
Her Entombment. 6. Her a.s.sumption, where she rises triumphant and glorious, "like unto the morning" ("_quasi aurora consurgens_"). 7.
Her Coronation in heaven, where she takes her place beside her Son.
In early art, particularly in the Gothic sculpture, two or more of these subjects are generally grouped together. Sometimes we have the death-scene and the entombment on a line below, and, above these, the coronation or the a.s.sumption, as over the portal of Notre Dame at Paris, and in many other instances; or we have first her death, above this, her a.s.sumption, and, above all, her coronation; as over the portal at Amiens and elsewhere.