Legends of the Madonna as Represented in the Fine Arts Part 27

The scene of this encounter with the robbers, near Ramla, is still pointed out to travellers, and still in evil repute as the haunt of banditti. The crusaders visited the spot as a place of pilgrimage; and the Abbe Orsini considers the first part of the story as authenticated; but the legend concerning the good thief he admits to be doubtful. (Vie de la Ste. Vierge.)

As an artistic subject this scene has been seldom treated. I have seen two pictures which represent it. One is a fres...o...b.. Giovanni di San Giovanni, which, having been cut from the wail of some suppressed convent, is now in the academy at Florence. The other is a composition by Zuccaro.

One of the most popular legends concerning the Flight into Egypt is that of the palm or date tree, which at the command of Jesus bowed down its branches to shade and refresh his mother; hence, in the scene of the Flight, a palm tree became a usual accessory. In a picture by Antonello Mellone, the Child stretches out his little hand and lays hold of the branch: sometimes the branch is bent down by angel hands.

Sozomenes relates, that when the Holy Family reached the term of their journey, and approached the city of Heliopolis in Egypt, a tree which grew before the gates of the city, and was regarded with great veneration as the seat of a G.o.d, bowed down its branches at the approach of the Infant Christ. Likewise it is related (not in legends merely, but by grave religious authorities) that all the idols of the Egyptians fell with their faces to the earth. I have seen pictures of the Flight into Egypt, in which broken idols lie by the wayside.

In the course of the journey the Holy Travellers had to cross rivers and lakes; hence the later painters, to vary the subject, represented them as embarking in a boat, sometimes steered by an angel. The first, as I have reason to believe, who ventured on this innovation, was Annibale Caracci. In a picture by Poussin, the Holy Family are about to embark. In a picture by Giordano, an angel with one knee bent, a.s.sists Mary to enter the boat. In a pretty little picture by Teniers, the Holy Family and the a.s.s are seen in a boat crossing a ferry by moonlight; sometimes they are crossing a bridge.

I must notice here a little picture by Adrian Vander Werff, in which the Virgin, carrying her Child, holds by the hand the old decrepit Joseph, who is helping her, or rather is helped by her, to pa.s.s a torrent on some stepping-stones. This is quite contrary to the feeling of the old authorities, which represent Joseph as the vigilant and capable guardian of the Mother and her Child: but it appears to have here a rather particular and touching significance; it was painted by Vander Werff for his daughter in his old age, and intended to express her filial duty and his paternal care.

The most beautiful Flight into Egypt I have ever seen, is a composition by Gaudenzio Ferrari. The Virgin is seated and sustained on the a.s.s with a quite peculiar elegance. The Infant, standing on her knee, seems to point out the way; an angel leads the a.s.s, and Joseph follows with the staff and wallet. In the background the palm tree inclines its branches. (At Varallo, in the church of the Minorites.)

Claude has introduced the Flight of the Holy Family as a landscape group into nine different pictures.

THE REPOSE OF THE HOLY FAMILY.

_Ital._ Il Riposo. _Fr._ Le Repos de la Sainte Famille. _Ger._ Die Ruhe in aegypten.

The subject generally styled a "Riposo" is one of the most graceful and most attractive in the whole range of Christian art. It is not, however, an ancient subject, for I cannot recall an instance earlier than the sixteenth century; it had in its accessories that romantic and pastoral character which recommended it to the Venetians and to the landscape-painters of the seventeenth century, and among these we must look for the most successful and beautiful examples.

I must begin by observing that it is a subject not only easily mistaken by those who have studied pictures; but perpetually misconceived and misrepresented by the painters themselves. Some pictures which erroneously bear this t.i.tle, were never intended to do so. Others, intended to represent the scene, are disfigured and perplexed by mistakes arising either from the ignorance or the carelessness of the artist.

We must bear in mind that the Riposo, properly so called, is not merely the Holy Family seated in a landscape; it is an episode of the Flight into Egypt, and is either the rest on the journey, or at the close of the journey; quite different scenes, though all go by the same name. It is not an ideal religious group, but a reality, a possible and actual scene; and it is clear that the painter, if he thought at all, and did not merely set himself to fabricate a pretty composition, was restricted within the limits of the actual and possible, at least according to the histories and traditions of the time. Some of the accessories introduced would stamp the intention at once; as the date tree, and Joseph gathering dates; the a.s.s feeding in the distance; the wallet and pilgrim's staff laid beside Joseph; the fallen idols; the Virgin scooping water from a fountain; for all these are incidents which properly belong to the Riposo.

It is nowhere recorded; either in Scripture or in the legendary stories, that Mary and Joseph in their flight were accompanied by Elizabeth and the little St. John; therefore, where either of these are introduced, the subject is not properly a _Riposo_, whatever the intention of the painter may have been: the personages ought to be restricted to the Virgin, her Infant, and St. Joseph, with attendant angels. An old woman is sometimes introduced, the same who is traditionally supposed to have accompanied them in their flight. If this old woman be manifestly St. Anna or St. Elizabeth, then it is not a _Riposo_, but merely a _Holy Family_.

It is related that the Holy Family finally rested, after their long journey, in the village of Matarea, beyond the city of Hermopolis (or Heliopolis), and took up their residence in a grove of sycamores, a circ.u.mstance which gave the sycamore tree a sort of religions interest in early Christian times. The crusaders imported it into Europe; and poor Mary Stuart may have had this idea, or this feeling when she brought from France, and planted in her garden, the first sycamores which grew in Scotland.

Near to this village of Matarea, a fountain miraculously sprung up for the refreshment of the Holy Family. It still exists, as we are informed by travellers, and is still styled by the Arabs, "The Fountain of Mary."[1] This fountain is frequently represented, as in the well-known Riposo by Correggio, where the Virgin is dipping a bowl into the gushing stream, hence called the "Madonna _della Scodella_"

(Parma): in another by Baroccio (Grosvenor Gal.), and another by Domenichino (Louvre, 491).

[Footnote 1: The site of this fountain is about four miles N.E. of Cairo.]

In this fountain, says another legend, Mary washed the linen of the Child. There are several pictures which represent the Virgin washing linen in a fountain; for example, one by Lucio Ma.s.sari, where, in a charming landscape, the little Christ takes the linen out of a basket, and Joseph hangs it on a line to dry. (Florence Gal.)

The ministry of the angels is here not only allowable, but beautifully appropriate; and never has it been more felicitously and more gracefully expressed than in a little composition by Lucas Cranach, where the Virgin and her Child repose under a tree, while the angels dance in a circle round them. The cause of the Flight--the Ma.s.sacre of the Innocents--is figuratively expressed by two winged boys, who, seated on a bough of the tree, are seen robbing a nest, and wringing the necks of the nestlings, while the parent-birds scream and flutter over their heads: in point of taste, this significant allegory had been better omitted; it spoils the harmony of composition. There is another similar group, quite as graceful, by David Hopfer.

Vandyck seems to have had both in his memory when he designed the very beautiful Riposo so often copied and engraved (Coll. of Lord Ashburton); here the Virgin is seated under a tree, in an open landscape, and holds her divine Child; Joseph, behind, seems asleep; in front of the Virgin, eight lovely angels dance in a round, while others, seated in the sky, make heavenly music.

In another singular and charming Riposo by Lucas Cranach, the Virgin and Child are seated under a tree; to the left of the group is a fountain, where a number of little angels appear to be washing linen; to the right, Joseph approaches leading the a.s.s, and in the act of reverently removing his cap.

There is a Riposo by Albert Durer which I cannot pa.s.s over. It is touched with all that homely domestic feeling, and at the same time all that fertility of fancy, which are so characteristic of that extraordinary man. We are told that when Joseph took up his residence at Matarea in Egypt, he provided for his wife and Child by exercising his trade as a carpenter. In this composition he appears in the foreground dressed as an artisan with an ap.r.o.n on, and with an axe in his hand is shaping a plank of wood. Mary sits on one side spinning with her distaff, and watching her Infant slumbering in its cradle.

Around this domestic group we have a crowd of ministering angels; some of these little winged spirits are a.s.sisting Joseph, sweeping up the chips and gathering them into baskets; others are merely "sporting at their own sweet will." Several more dignified-looking angels, having the air of guardian spirits, stand or kneel round the cradle, bending over it with folded hands.[1]

[Footnote 1: In the famous set of wood cuts of the Life of the Virgin Mary.]

In a Riposo by t.i.tian, the Infant lies on a pillow on the ground, and the Virgin is kneeling before him, while Joseph leans on his pilgrim's staff, to which is suspended a wallet. In another, two angels, kneeling, offer fruits in a basket; in the distance, a little angel waters the a.s.s at a stream. (All these are engraved.)

The angels, according to the legend, not only ministered to the Holy Family, but pitched a tent nightly, in which they were sheltered.

Poussin, in an exquisite picture, has represented the Virgin and Child reposing under a curtain suspended from the branches of a tree and partly sustained by angels, while others, kneeling, offer fruit.

(Grosvenor Gal.)

Poussin is the only painter who has attempted to express the locality.

In one of his pictures the Holy Family reposes on the steps of an Egyptian temple; a sphinx and a pyramid are visible in the background.

In another Riposo by the same master, an Ethiopian boy presents fruits to the Infant Christ. Joseph is frequently asleep, which is hardly consonant with the spirit of the older legends. It is, however, a beautiful idea to make the Child and Joseph both reposing, while the Virgin Mother, with eyes upraised to heaven, wakes and watches, as in a picture by Mola (Louvre, 269); but a yet more beautiful idea to represent the Virgin and Joseph sunk in sleep, while the divine Infant lying in his mother's arms wakes and watches for both, with his little hands joined in prayer, and his eyes fixed on the hovering angels or the opening skies above.

In a Riposo by Rembrandt, the Holy Family rest by night, and are illuminated only by a lantern suspended on the bough of a tree, the whole group having much the air of a gypsy encampment. But one of Rembrandt's imitators has in his own way improved on this fancy; the Virgin sleeps on a bank with the Child on her bosom; Joseph, who looks extremely like an old tinker, is doubling his fist at the a.s.s, which has opened its mouth to bray.

Before quitting the subject of the Riposo, I must mention a very pretty and poetical legend, which I have met with in one picture only; a description of it may, however, lead to the recognition of others.

There is, in the collection of Lord Shrewsbury, at Alton Towers, a Riposo attributed to Giorgione, remarkable equally for the beauty and the singularity of the treatment. The Holy Family are seated in the midst of a wild but rich landscape, quite in the Venetian style; Joseph is asleep; the two children are playing with a lamb. The Virgin, seated holds a book, and turns round, with an expression of surprise and alarm, to a female figure who stands on the right. This woman has a dark physiognomy, ample flowing drapery of red and white, a white turban twisted round her head, and stretches out her hand with the air of a sibyl. The explanation of this striking group I found in an old ballad-legend. Every one who has studied the moral as well as the technical character of the various schools of art, must have remarked how often the Venetians (and Giorgione more especially) painted groups from the popular fictions and ballads of the time; and it has often been regretted that many of these pictures are becoming unintelligible to us from our having lost the key to them, in losing all trace of the fugitive poems or tales which suggested them.

The religious ballad I allude to must have been popular in the sixteenth century; it exists in the Provencal dialect, in German, and in Italian; and, like the wild ballad of St. John Chrysostom, it probably came in some form or other from the East. The theme is, in all these versions, substantially the same. The Virgin, on her arrival in Egypt, is encountered by a gypsy (Zingara or Zingarella), who crosses the Child's palm after the gypsy manner, and foretells all the wonderful and terrible things which, as the Redeemer of mankind, he was destined to perform and endure on earth.

An Italian version which lies before me is ent.i.tled, _Canzonetta nuova, sopra la Madonna, quando si part in Egitto col Bambino Gesu e San Giuseppe_, "A new Ballad of our Lady, when she fled into Egypt with the Child Jesus and St. Joseph."

It begins with a conversation between the Virgin, who has just arrived from her long journey, and the gypsy-woman, who thus salutes her:--

ZINGARELLA.

Dio ti salvi, bella Signora, E ti dia buona ventura.

Ben venuto, vecchiarello, Con ques...o...b..mbino bello!

MADONNA.

Ben trovata, sorella mia, La sua grazia Dio ti dia.

Ti perdoni i tuoi peccati L' infinita sua bontade.

ZINGARELLA.

Siete stanchi e meschini, Credo, poveri pellegrini Che cercate d' alloggiare.

Vuoi, Signora, scavalcare?

MADONNA.

Voi che siete, sorella mia, Tutta piena di cortesia, Dio vi renda la carita Per l'infinita sua bonta.

Noi veniam da Nazaretta, Siamo senza alcun ricetto, Arrivati all' strania Stanchi e la.s.si dalla via!

GYPSY.

G.o.d save thee, fair Lady, and give thee good luck Welcome, good old man, with this thy fair Child!

MARY.

Well met, sister mine! G.o.d give thee grace, and of his infinite mercy forgive thee thy sins!

GYPSY.

Ye are tired and drooping, poor pilgrims, as I think, seeking a night's lodging. Lady, wilt thou choose to alight?