Legends of the Madonna as Represented in the Fine Arts Part 18

And, lastly, we have the Mater Amabilis in a more complex, and picturesque, though still devotional, form. The Virgin, seen at full length, reclines on a verdant bank, or is seated under a tree. She is not alone with her Child. Holy personages, admitted to a communion with her, attend around her, rather sympathizing than adoring. The love of varied nature, the love of life under all its aspects, became mingled with the religious conception. Instead of carefully avoiding whatever may remind us of her earthly relations.h.i.+p, the members of her family always form a part of her _cortege_. This pastoral and dramatic treatment began with the Venetian and Paduan schools, and extended to the early German schools, which were allied to them in feeling, though contrasted with them in form and execution.

The perpetual introduction of St. Joseph, St. Elizabeth, and other relatives of the Virgin (always avoided in a Madonna dell Trono), would compose what is called a Holy Family, but that the presence of sainted personages whose existence and history belong to a wholly different era--St. Catherine, St. George, St. Francis, or St. Dominick--takes the composition out of the merely domestic and historical, and lifts it at once into the ideal and devotional line of art. Such a group cannot well be styled a _Sacra Famiglia_; it is a _Sacra Conversazione_ treated in the pastoral and lyrical rather than the lofty epic style.

In this subject the Venetians, who first introduced it, excel all other painters. There is no example by Raphael. The German and Flemish painters who adopted this treatment were often coa.r.s.e and familiar; the later Italians became flippant and fantastic. The Venetians alone knew how to combine the truest feeling for nature with a sort of Elysian grace.

I shall give a few examples.

1. In a picture by t.i.tian (Dresden Gal.), the Virgin is seated on a green bank enamelled with flowers. She is simply dressed like a _contadina_, in a crimson tunic, and a white veil half shading her fair hair. She holds in her arms her lovely Infant, who raises his little hand in benediction. St. Catherine kneels before him on one side; on the other, St. Barbara. St. John the Baptist, not as a child, and the contemporary of our Saviour, but in likeness of an Arcadian shepherd, kneels with his cross and his lamb--the _Ecce Agnus Dei_, expressed, not in words, but in form. St. George stands by as a guardian warrior. And St. Joseph, leaning on his stick behind, contemplates the group with an air of dignified complacency.

2. There is another instance also from t.i.tian. In a most luxuriant landscape thick with embowering trees, and the mountains of Cadore in the background, the Virgin is seated on a verdant bank; St. Catherine has thrown herself on her knees, and stretches out her arms to the divine Child in an ecstasy of adoration, in which there is nothing unseemly or familiar. At a distance St. John the Baptist approaches with his Lamb.

3. In another very similar group, the action of St. Catherine is rather too familiar,--it is that of an eider sister or a nurse: the young St. John kneels in wors.h.i.+p.

4. Wonderfully fine is a picture of this cla.s.s by Palma, now in the Dresden Gallery. The n.o.ble, serious, sumptuous loveliness of the Virgin; the exquisite Child, so thoughtful, yet so infantine; the manly beauty of the St. John; the charming humility of the St.

Catherine as she presents her palm, form one of the most perfect groups in the world. Childhood, motherhood, maidenhood, manhood, were never, I think, combined in so sweet a spirit of humanity.[1]

[Footnote 1: When I was at Dresden, in 1860, I found Steinle, so celebrated for his engravings of the Madonna di San Sisto and the Holbein Madonna, employed on this picture; and, as far as his art could go, transferring to his copper all the fervour and the _morbidezza_ of the original.]

5. In another picture by Palma, in the same gallery, we have the same picturesque arrangement of the Virgin and Child, while the _little_ St. John adores with folded hands, and St. Catherine sits by in tender contemplation.

This Arcadian sentiment is carried as far as could well be allowed in a picture by t.i.tian (Louvre, 459), known as the _Vierge au Lapin_. The Virgin holds a white rabbit, towards which the infant Christ, in the arms of St. Catherine, eagerly stretches his hand. In a picture by Paris Bordone it is carried, I think, too far. The Virgin reclines under a tree with a book in her hand; opposite to her sits St. Joseph holding an apple; between them, St. John the Baptist, as a bearded man, holds in his arms the infant Christ, who caressingly puts one arm round his neck, and with the other clings to the rough hairy raiment of his friend.

It will be observed, that in these Venetian examples St. Catherine, the beloved protectress of Venice, is seldom omitted. She is not here the learned princess who confounded tyrants and converted philosophers, but a bright-haired, full-formed Venetian maiden, glowing with love and life, yet touched with a serious grace, inexpressibly charming.

St. Dorothea is also a favourite saint in these sacred pastorals.

There is an instance in which she is seated by the Virgin with her basket of fruits and flowers; and St. Jerome, no longer beating his breast in penance, but in likeness of a fond old grandfather, stretches out his arms to the Child. Much finer is a picture now in the possession of Sir Charles Eastlake. The lovely Virgin is seated under a tree: on one side appears the angel Raphael, presenting Tobit; on the other, St. Dorothea, kneeling, holds up her basket of celestial fruit, gathered for her in paradise.[1]

[Footnote 1: See Sacred and legendary Art, for the beautiful Legend of St. Dorothea]

When St. Ursula, with her standard, appears in these Venetian pastorals, we may suppose the picture to have been painted for the famous brotherhood (_Scuola di Sant' Orsola_) which bears her name.

Thus, in a charming picture by Palma, she appears before the Virgin, accompanied by St. Mark a protector of Venice. (Vienna, Belvedere Gal.)

Ex-voto pictures in this style are very interesting, and the votary, without any striking impropriety, makes one of the Arcadian group.

Very appropriate, too, is the marriage of St. Catherine, often treated in this poetical style. In a picture by t.i.tian, the family of the Virgin attend the mystical rite, and St. Anna places the hand of St.

Catherine in that of the Child.

In a group by Signorelli, Christ appears as if teaching St. Catherine; he dictates, and she, the patroness of "divine philosophy," writes down his words.

When the later painters in their great altar-pieces imitated this idyllic treatment, the graceful Venetian conception became in their hands heavy, mannered, tasteless,--and sometimes worse. The monastic saints or mitred dignitaries, introduced into familiar and irreverent communion with the sacred and ideal personages, in spite of the grand scenery, strike us as at once prosaic and fantastic "we marvel how they got there." Parmigiano, when he fled from the sack of Rome in 1527, painted at Bologna, for the nuns of Santa Margherita, an altar-piece which has been greatly celebrated. The Madonna, holding her Child, is seated in a landscape under a tree, and turns her head to the Bishop St. Petronius, protector of Bologna. St. Margaret, kneeling and attended by her great dragon, places one hand, with a free and easy air, on the knee of the Virgin, and with the other seems to be about to chuck the infant Christ under the chin. In a large picture by Giacomo Francia, the Virgin, walking in a flowery meadow with the infant Christ and St. John, and attended by St. Agnes and Mary Magdalene, meets St. Francis and St. Dominick, also, apparently, taking a walk. (Berlin Gal. No. 281.) And again;--the Madonna and St.

Elizabeth meet with their children in a landscape, while St. Peter, St. Paul, and St. Benedict stand behind in att.i.tudes of attention and admiration. Now, such pictures may be excellently well painted, greatly praised by connoisseurs, and held in "_somma venerazione_,"

but they are offensive as regards the religious feeling, and, are, in point of taste, mannered, fantastic, and secular.

Here we must end our discourse concerning the Virgin and Child as a devotional subject. Very easily and delightfully to the writer, perhaps not painfully to the reader, we might have gone on to the end of the volume; but my object was not to exhaust the subject, to point out every interesting variety of treatment, but to lead the lover of art, wandering through a church or gallery, to new sources of pleasure; to show him what infinite shades of feeling and character may still be traced in a subject which, with all its beauty and attractiveness, might seem to have lost its significant interest, and become trite from endless repet.i.tion; to lead the mind to some perception of the intention of the artist in his work,--under what aspect he had himself contemplated and placed before the wors.h.i.+pper the image of the mother of Christ,--whether crowned and enthroned as the sovereign lady of Christendom; or exalted as the glorious empress of heaven and all the spiritual world; or bending benignly over us, the impersonation of sympathizing womanhood, the emblem of relenting love, the solace of suffering humanity, the maid and mother, dear and undefiled--

"Created beings all in lowliness Surpa.s.sing, as in height above them all."

It is time to change the scene,--to contemplate the Virgin, as she has been exhibited to us in the relations of earthly life, as the mere woman, acting and suffering, loving, living, dying, fulfilling the highest destinies in the humblest state, in the meekest spirit. So we begin her history as the ancient artists have placed it before us, with that mingled _navete_ and reverence, that vivid dramatic power, which only faith, and love, and genius united, could impart.

HISTORICAL SUBJECTS

PART I.

THE LIFE OF THE VIRGIN MARY FROM HER BIRTH TO HER MARRIAGE WITH JOSEPH.

1. THE LEGEND OF JOACHIM AND ANNA.

2. THE NATIVITY OF THE BLESSED VIRGIN.

3. THE DEDICATION IN THE TEMPLE.

4. THE MARRIAGE WITH JOSEPH.

THE LEGEND OF JOACHIM AND ANNA.

_Ital._ La Leggenda di Sant' Anna Madre della Gloriosa Vergine Maria, e di San Gioacchino.

Of the sources whence are derived the popular legends of the life of the Virgin Mary, which, mixed up with the few notices in Scripture, formed one continuous narrative, authorized by the priesthood, and accepted and believed in by the people, I have spoken at length in the Introduction. We have now to consider more particularly the scenes and characters a.s.sociated with her history; to show how the artists of the Middle Ages, under the guidance and by the authority of the Church, treated in detail these favourite themes in ecclesiastical decoration.

In early art, that is, up to the end of the fifteenth century, Joachim and Anna, the parents of the Virgin, never appear except in the series of subjects from her life. In the devotional groups and altar-pieces, they are omitted. St. Bernard, the great theological authority of those times, objects to the invocation of any saints who had lived before the birth of Christ, consequently to their introduction into ecclesiastical edifices in any other light than as historical personages. Hence, perhaps, there were scruples relative to the representations of St. Anna, which, from the thirteenth to the fifteenth century, placed the artists under certain restrictions.

Under the name of Anna, the Church has honoured, from remote times, the memory of the mother of the Virgin. The Hebrew name, signifying _Grace_, or _the Gracious_, and all the traditions concerning her, came to us from the East, where she was so early venerated as a saint, that a church was dedicated to her by the Emperor Justinian, in 550. Several other churches were subsequently dedicated to her in Constantinople during the sixth and seventh centuries, and her remains are said to have been deposited there in 710. In the West, she first became known in the reign of Charlemagne; and the Greek apocryphal gospels, or at least stories and extracts from them, began to be circulated about the same period. From these are derived the historic scenes and legendary subjects relating to Joachim and Anna which appear in early art. It was about 1500, in the beginning of the sixteenth century, that the increasing veneration for the Virgin Mary gave to her parents, more especially to St. Anna, increased celebrity as patron saints; and they became, thenceforward, more frequent characters in the sacred groups. The feast of St. Anna was already general and popular throughout Europe long before it was rendered obligatory in 1584.[1] The growing enthusiasm for the doctrine of the Immaculate Conception gave, of course, additional splendour and importance to her character. Still, it is only in later times that we find the effigy of St. Anna separated from that of the Virgin. There is a curious picture by Cesi (Bologna Gal.), in which St. Anna kneels before a vision of her daughter before she is born--the Virgin of the Immaculate Conception. A fine model of a bearded man was now sometimes converted into a St. Joachim reading or meditating, instead of a St. Peter or a St. Jerome, as heretofore. In the Munich Gallery are two fine ancient-looking figures of St. Joachim the father, and St.

Joseph the husband, of the Virgin, standing together; but all these as separate representations, are very uncommon; and, of those which exhibit St. Anna devotionally, as enthroned with the Virgin and Child, I have already spoken. Like St. Elizabeth, she should be an elderly, but not a _very_ old woman. Joachim, in such pictures, never appears but as an attendant saint, and then very rarely; always very old, and sometimes in the dress of a priest, which however, is a mistake on the part of the artist.

[Footnote 1: In England we have twenty-eight churches dedicated in the name of St. Anna.]

A complete series of the history of the Blessed Virgin, as imaged forth by the early artists, always begins with the legend of Joachim and Anna, which is thus related.

"There was a man of Nazareth, whose name was Joachim, and he had for his wife a woman of Bethlehem, whose name was Anna, and both were of the royal race of David. Their lives were pure and righteous, and they served the Lord with singleness of heart. And being rich, they divided their substance into three portions, one for the service of the temple, one for the poor and the strangers, and the third for their household. On a certain feast day, Joachim brought double offerings to the Lord according to his custom, for he said, 'Out of my superfluity will I give for the whole people, that I may find favour in the sight of the Lord, and forgiveness for my sins.' And when the children of Israel brought their gifts, Joachim also brought his; but the high priest Issachar stood over against him and opposed him, saying, 'It is not lawful for thee to bring thine offering, seeing that thou hast not begot issue in Israel.' And Joachim was exceeding sorrowful, and went down to his house; and he searched through all the registers of the twelve tribes to discover if he alone had been childless in Israel.

And he found that all the righteous men, and the patriarchs who had lived before him, had been the fathers of sons and daughters. And he called to mind his father Abraham, to whom in his old age had been granted a son, even Isaac.

"And Joachim was more and more sorrowful; and he would not be seen by his wife, but avoided her, and went away into the pastures where were the shepherds and the sheep-cotes. And he built himself a hut, and fasted forty days and forty nights; for he said 'Until the Lord G.o.d look upon me mercifully, prayer shall be my meat and my drink.'

"But his wife Anna remained lonely in her house, and mourned with a twofold sorrow, for her widowhood and for her barrenness.

"Then drew near the last day of the feast of the Lord; and Judith her handmaid said to Anna, 'How long wilt thou thus afflict thy soul?

Behold the feast of the Lord is come, and it is not lawful for thee thus to mourn. Take this silken fillet, which was bestowed on me by one of high degree whom I formerly served, and bind it round thy head, for it is not fit that I who am thy handmaid should wear it, but it is fitting for thee, whose brow is as the brow of a crowned queen.' And Anna replied, 'Begone! such things are not for me, for the Lord hath humbled me. As for this fillet, some wicked person hath given it to thee; and art thou come to make me a partaker in thy sin?' And Judith her maid answered, 'What evil shall I wish thee since thou wilt not hearken to my voice? for worse I cannot wish thee than that with which the Lord hath afflicted thee, seeing that he hath shut up thy womb, that thou shouldst not be a mother in Israel.'