Legends of the Madonna as Represented in the Fine Arts Part 10

5. In a beautiful little altar-piece by Lorenzo di Credi[1], the Virgin is kneeling above, while Christ, seated, places the crown on her head. A glory of red seraphim surround the two figures. Below are the famous patron saints of Central Italy, St. Nicholas of Bari and St. Julian of Rimini, St. Barbara and St. Christina. The St. Francis and St. Antony, in the predella, show it to have been painted for a Franciscan church or chapel, probably for the same church at Cestello for which Lorenzo painted the St. Julian and St. Nicholas now in the Louvre.

[Footnote 1: Once in the collection of Mr. Rogers; _v_. "Sacred and Legendary Art."]

The "Coronation of the Virgin" by Annibale Carracci is in a spirit altogether different, magnificently studied.[1] On high, upon a lofty throne which extends across the whole picture from side to side, the Virgin, a n.o.ble majestic creature, in the true Carracci style, is seated in the midst as the princ.i.p.al figure, her hands folded on her bosom. On the right hand sits the Father, on the left the Son; they hold a heavenly crown surmounted by stars above her head. The locality is the Empyreum. The audience consists of angels only, who circle within circle, filling the whole s.p.a.ce, and melting into an abyss of light, chant hymns of rejoicing and touch celestial instruments of music. This picture shows how deeply Annibale Carracci had studied Correggio, in the magical chiaro-oscuro, and the lofty but somewhat mannered grace of the figures.

[Footnote 1: This was also in the collection of Mr. Rogers.]

One of the latest examples I can point to is also one of the most simple and grand in conception. (Madrid Gal.) It is that by Velasquez, the finest perhaps of the very few devotional subjects painted by him. We have here the three figures only, as large as life, filling the region of glory, without angels, witnesses, or accessories of any kind, except the small cherubim beneath; and the symmetrical treatment gives to the whole a sort of sublime effect. But the heads have the air of portraits: Christ has a dark, earnest, altogether Spanish physiognomy; the Virgin has dark hair; and the _Padre Eterno_, with a long beard, has a bald head,--a gross fault in taste and propriety; because, though the loose beard and flowing white hair may serve to typify the "Ancient of Days," baldness expresses not merely age, but the infirmity of age.

Rubens, also, painted a "Coronation" with all his own lavish magnificence of style for the Jesuits at Brussels. After the time of Velasquez and Rubens, the "Immaculate Conception" superseded the "Coronation."

To enter further into the endless variations of this charming and complex subject would lead us through all the schools of art from Giotto to Guido. I have said enough to render it intelligible and interesting, and must content myself with one or two closing _memoranda_.

1. The dress of the Virgin in a "Coronation" is generally splendid, too like the coronation robes of an earthly queen,--it is a "raiment of needlework,"--"a vesture of gold wrought about with divers colours"--generally blue, crimson, and white, adorned with gold, gems, and even ermine. In the "Coronation" by Filippo Lippi, at Spoleto, she wears a white robe embroidered with golden suns. In a beautiful little "Coronation" in the Wallerstein collection (Kensington Pal.) she wears a white robe embroidered with suns and moons, the former red with golden rays, the latter blue with coloured rays,--perhaps in allusion to the text so often applied in reference to her, "a woman clothed with the _sun_," &c. (Rev. xii. 1, or Cant. vi. 10.)

2. In the set of cartoons for the tapestries of the Sistine Chapel (Kugler's Handbook, ii. 394), as originally prepared by Raphael, we have the foundation, the heaven-bestowed powers, the trials and sufferings of the early Church, exhibited in the calling of St. Peter, the conversion of St. Paul, the acts and miracles of the apostles, the martyrdom of St. Stephen; and the series closed with the Coronation of the Virgin, placed over the altar, as typical of the final triumph of the Church, the completion and fulfilment of all the promises made to man, set forth in the exaltation and union of the mortal with the immortal, when the human Mother and her divine Son are reunited and seated on the same throne. Raphael placed on one side of the celestial group, St. John the Baptist, representing sanctification through the rite of baptism; and on the other, St. Jerome, the general symbol of sanctification through faith and repentance. The cartoon of this grand symbolical composition, in which all the figures were colossal, is unhappily lost; the tapestry is missing from the Vatican collection; two old engravings, however, exist, from which some idea may be formed of the original group. (Pa.s.savant's Rafael, ii. 258.)

3. It will be interesting to remember that the earliest existing impression taken from an engraved metal plate, is a "Coronation of the Virgin." Maso Finiguerra, a skilful goldsmith and worker in niello, living at Florence in 1434, was employed to execute a pix (the small casket in which the consecrated wafer of the sacrament is deposited), and he decorated it with a representation of the Coronation in presence of saints and angels, in all about thirty figures, minutely and exquisitely engraved on the silver face. Whether Finiguerra was the first worker in niello to whom it occurred to fill up the lines cut in the silver with a black fluid, and then by laying on it a piece of damp paper, and forcibly rubbing it, take off the fac-simile of his design and try its effect before the final process,--this we can not ascertain; we only know that the impression of his "Coronation" is the earliest specimen known to exist, and gave rise to the practice of cutting designs on plates of copper (instead of silver), for the purpose of multiplying impressions of them. The pix finished by Maso in 1452 is now in the Florence Gallery in the "Salle des Bronzes." The invaluable print, first of its species, exists in the National Library at Paris. There is a very exact fac-simile of it in Otley's "History of Engraving," Christ and the Virgin are here seated together on a lofty architectural throne: her hands are crossed on her bosom, and she bends her meek veiled head to receive the crown, which her Son, who wears a triple tiara, places on her brow. The saints most conspicuous are St. John the Baptist, patron of Florence and of the church for which the pix was executed, and a female saint, I believe St. Reparata, both standing; kneeling in front are St. Cosmo and St.

Damian, the patrons of the Medici family, then paramount at Florence.

(Sacred and Legendary Art.)

4. In an illuminated "Office of the Virgin," I found a version of this subject which must be rare, and probably confined to miniatures.

Christ is seated on a throne and the Virgin kneels before him; he bends forwards, and tenderly takes her clasped hands in both his own.

An empty throne is at the right hand of Christ, over which hovers an angel bearing a crown. This is the moment which _precedes_ the Coronation, as the group already described in the S.

Maria-in-Trastevere exhibits the moment which _follows_ the Coronation.

5. Finally, we must bear in mind that those effigies in which the Madonna is holding her Child, while angels place a crown upon her head, do not represent THE CORONATION properly so called, but merely the Virgin honoured as Mother of Christ and Queen of Heaven (_Mater Christi, Regina Coeli_); and that those representations of the Coronation which conclude a series of the life of the Virgin, and surmount her death-bed or her tomb, are historical and dramatic rather than devotional and typical. Of this historical treatment there are beautiful examples from Cimabue down to Raphael, which will be noticed hereafter in their proper place.

THE VIRGIN OF MERCY.

Our Lady of Succour. _Ital._ La Madonna di Misericordia. _Fr._ Notre Dame de Misericorde. _Ger._ Maria Mutter des Erbarmens. _Sp._ Nuestra Senora de Grazia.

When once the Virgin had been exalted and glorified in the celestial paradise, the next and the most natural result was, that she should be regarded as being in heaven the most powerful of intercessors, and on earth a most benign and ever-present protectress. In the mediaeval idea of Christ, there was often something stern; the Lamb of G.o.d who died for the sins of the world, is also the inexorable Judge of the quick and the dead. When he shows his wounds, it is as if a vindictive feeling was supposed to exist; as if he were called upon to remember in judgment the agonies and the degradation to which he had been exposed below for the sake of wicked ungrateful men. In a Greek "Day of Judgment," cited by Didron, Moses holds up a scroll, on which is written, "Behold Him whom ye crucified," while the Jews are dragged into everlasting fire. Everywhere is the sentiment of vengeance; Christ himself is less a judge than an avenger. Not so the Virgin; she is represented as all mercy, sympathy, and benignity. In some of the old pictures of the Day of Judgment, she is seated by the side of Christ, on an equality with him, and often in an att.i.tude of deprecation, as if adjuring him, to relent: or her eyes are turned on the redeemed souls, and she looks away from the condemned as if unable to endure the sight of their doom. In other pictures she is lower than Christ, but always on his right hand, and generally seated; while St.

John the Baptist, who is usually placed opposite to her on the left of Christ, invariably stands or kneels. Instead of the Baptist, it is sometimes, but rarely, John the Evangelist, who is the pendant of the Virgin.

In the Greek representations of the Last Judgment, a river of fire flows from under the throne of Christ to devour and burn up the wicked.[1] In western art the idea is less formidable,--Christ is not at once judge and executioner; but the sentiment is always sufficiently terrible; "the angels and all the powers of heaven tremble before him." In the midst of these terrors, the Virgin, whether kneeling, or seated, or standing, always appears as a gentle mediator, a, supplicant for mercy. In the "Day of Judgment," as represented in the "Hortus Deliciarum," [2] we read inscribed under her figure the words "_Maria, Filio suo pro Ecclesia supplicat_."

In a very fine picture by Martin Schoen (Schleissheim Gal.), it is the Father, who, with a sword and three javelins in his hand, sits as the avenging judge; near him Christ; while the Virgin stands in the foreground, looking up to her Son with an expression of tender supplication, and interceding, as it appears, for the sinners kneeling round her, and whose imploring looks are directed to _her_. In the well-known fres...o...b.. Andrea Ortagna (Pisa, Campo Santo), Christ and the Virgin sit throned above, each in a separate aureole, but equally glorified. Christ, pointing with one hand to the wound in his side, raises the other in a threatening att.i.tude, and his attention is directed to the wicked, whom he hurls into perdition. The Virgin, with one hand pressed to her bosom, looks to him with an air of supplication. Both figures are regally attired, and wear radiant crowns; and the twelve apostles attend them, seated on each side.

[Footnote 1: Didron, "Iconographie Chretienne;" and in the mosaic of the Last Judgment, executed by Byzantine artists, in the cathedral at Torcello.]

[Footnote 2: A celebrated illuminated MS. (date about 1159 to 1175), preserved in the Library at Strasburg.]

In the centre group of Michael Angelo's "Last Judgment," we have the same leading _motif_, but treated in a very different feeling. Christ stands before us in figure and mien like a half-naked athlete; his left hand rejects, his right hand threatens, and his whole att.i.tude is as utterly devoid of dignity as of grace. I have often wondered as I have looked at this grand and celebrated work, what could be Michael Angelo's idea of Christ. He who was so good, so religious, so pure-minded, and so high-minded, was deficient in humility and sympathy; if his morals escaped, his imagination was corrupted by the profane and pagan influences of his time. His conception of Christ is here most unchristian, and his conception of the Virgin is not much better. She is grand in form, but the expression is too pa.s.sive.

She looks down and seems to shrink; but the significance of the att.i.tude,--the hand pressed to the maternal bosom,--given to her by the old painters, is lost.

In a "Last Judgment" by Rubens, painted for the Jesuits of Brussels (Brussels; Musee), the Virgin extends her robe over the world, as if to shield mankind from the wrath of her Son; pointing, at the same time, significantly to her bosom, whence He derived his earthly life.

The daring bad taste, and the dramatic power of this representation, are characteristic alike of the painter, the time, and the community for which the picture was painted.

More beautiful and more acceptable to our feelings are those graceful representations of the Virgin as dispenser of mercy on earth; as protectress and patroness either of all Christendom, or of some particular locality, country, or community. In such pictures she stands with outstretched arms, crowned with a diadem, or in some instances simply veiled, her ample robe, extended on each side, is held up by angels, while under its protecting folds are gathered worshippers and votaries of all ranks and ages--men, women, children,--kings, n.o.bles, ecclesiastics,--the poor, the lame, the sick. Or if the picture be less universal in its significance, dedicated perhaps by some religious order or charitable brotherhood, we see beneath her robe an a.s.semblage of monks and nuns, or a troop of young orphans or redeemed prisoners. Such a representation is styled a _Misericordia_.

In a picture by Fra Filippo Lippi (Berlin Gal.), the Madonna of Mercy extends her protecting mantle over thirty-five kneeling figures, the faces like portraits, none elevated or beautiful, but the whole picture as an example of the subject most striking.

A very beautiful and singular representation of the Virgin of Mercy without the Child, I found in the collection of Herr v. Quandt, of Dresden. She stands with hands folded over her bosom, and wrapped in ample white drapery, without ornament of any kind; over her head, a veil of transparent gauze of a brown colour, such as, from various portraits of the time, appears to have been then a fashion. The expression of the face is tender and contemplative, almost sad; and the whole figure, which is life-size, is inexpressibly refined and dignified. The following inscription is on the dark background to the right of the Virgin:--

IMAGO BEATae MARIae VIRGINIS QUae MENS. AUGUST. MDx.x.xIII.

APPARUIT MIRACULOR. OPERATIONE CONCURSU POP.

CELEBERRIM.

This beautiful picture was brought from Brescia to Vienna by a picture-dealer, and purchased by Herr v. Quandt. It was painted by Moretto of Brescia, of whom Lanzi truly says that his sacred subjects express _la compunzione, la pieta, la carita istessa_; and this picture is an instance. But by whom dedicated, for what especial mercy, or in what church, I could not ascertain.[1]

[Footnote 1: I possess a charming drawing of the head by Fraulein Louise Seidler of Weimar, whose feeling for early religious art is shown in her own works, as well as in the beautiful copies she has made of others.]

It is seldom that the Madonna di Misericordia appears without the Child in her arms; her maternity is supposed to be one element in her sympathy with suffering humanity. I will add, however, to the examples already given, one very celebrated instance.

The picture ent.i.tled the "Misericordia di Lucca" is famous in the history of art. (Lucca. S. Romano.) It is the most important work of Fra Bartolomeo, and is dated 1515, two years before his death.

The Virgin, a grand and beautiful figure, stands alone on a raised platform, with her arms extended, and looking up to heaven. The ample folds of her robe are held open by two angels. Beneath and round her feet are various groups in att.i.tudes of supplication, who look up to her, as she looks up to heaven. On one side the donor of the picture is presented by St. Dominick. Above, in a glory, is the figure of Christ surrounded by angels, and seeming to bend towards his mother.

The expression in the heads, the dignified beneficence of the Virgin, the dramatic feeling in the groups, particularly the women and children, justify the fame of this picture as one of the greatest of the productions of mind.[1]

[Footnote 1: According to the account in Murray's "Handbook,"

this picture was dedicated by the n.o.ble family of Montecanini, and represents the Virgin interceding for the Lucchesi during the wars with Florence. But I confess I am doubtful of this interpretation, and rather think it refers to the pestilence, which, about 1512, desolated the whole of the north of Italy. Wilkie, who saw this picture in 1825, speaks of the workmanship with the enthusiasm of a workman.]

There is yet another version of this subject, which deserves notice from the fantastic grace of the conception. As in early Christian Art, our Saviour was frequently portrayed as the Good Shepherd, so, among the later Spanish fancies, we find his Mother represented as the Divine Shepherdess. In a picture painted by Alonzo Miguel de Tobar (Madrid Gal. 226), about the beginning of the eighteenth century, we find the Virgin Mary seated under a tree, in guise of an Arcadian pastorella, wearing a broad-brimmed hat, encircled by a glory, a crook in her hand, while she feeds her flock with the mystical roses. The beauty of expression in the head of the Virgin is such as almost to redeem the quaintness of the religious conceit; the whole picture is described as worthy of Murillo. It was painted for a Franciscan church at Madrid, and the idea became so popular, that we find it multiplied and varied in French and German prints of the last century; the original picture remains unequalled for its pensive poetical grace; but it must be allowed that the idea, which at first view strikes from its singularity, is worse than questionable in point of taste, and will hardly bear repet.i.tion.

There are some ex-voto pictures of the Madonna of Mercy, which record individual acts of grat.i.tude. One, for instance, by Nicol Alunno (Rome, Pal. Colonna), in which the Virgin, a benign and dignified creature, stretches forth her sceptre from above, and rebukes the ugly fiend of Sin, about to seize a boy. The mother kneels on one side, with eyes uplifted, in faith and trembling supplication. The same idea I have seen repeated in a picture by Lanfranco.

The innumerable votive pictures which represent the Madonna di Misericordia with the Child in her arms, I shall notice hereafter.

They are in Catholic countries the usual ornaments of charitable Inst.i.tutions and convents of the Order of Mercy; and have, as I cannot but think, a very touching significance.

THE MATER DOLOROSA.