Tuscan Sculpture of the Fifteenth Century Part 6

[Footnote 40: Between 7000 and 8000, according to the Misses Horner's _Walks in Florence_, published in 1885.]

[Footnote 41: Described in a little book called _Italian Child-Life_, by Marietta Ambrosi.]

XI

THE ANNUNCIATION

BY ANDREA DELLA ROBBIA

The life of Mary the mother of Jesus was full of strange experiences.

She had many sorrows to bear, but withal a joy beyond any ever given to woman. In the purity of her character she was set apart for a high and holy service.

The turning-point in her life was on a great day when the angel Gabriel was sent by G.o.d to visit her. It was in her quiet home in Nazareth that the celestial messenger "came in unto her." "Hail, thou that art highly favoured," he said, "the Lord is with thee: blessed art thou among women." "And when she saw him, she was troubled at his saying, and cast in her mind what manner of salutation this should be."

The angel spoke again, and his words rea.s.sured her: "Fear not, Mary: for thou hast found favour with G.o.d." Then he told her that she was to be the mother of a wonderful son. "Thou shalt call his name Jesus," he said. "He shall be great, and shall be called the Son of the Highest: and the Lord G.o.d shall give unto him the throne of his father David: and he shall reign over the house of Jacob for ever; and of his kingdom there shall be no end."[42]

When at last Mary understood the meaning of the angel's message she humbly accepted her great destiny. "Behold the handmaid of the Lord,"

she replied; "be it unto me according to thy word." From this day until the birth of Jesus her thoughts were full of her coming motherhood. Once she broke forth into a song of praise:--

"My soul doth magnify the Lord, And my spirit hath rejoiced in G.o.d my Saviour, For he hath regarded the lowliness of his handmaiden, For, behold, from henceforth all generations shall call me blessed. For he that is mighty hath magnified me, and holy is his name."[43]

The bas-relief by Andrea della Robbia tells the story of the angel's visit to Mary, the subject usually called the Annunciation. At one side sits the Virgin with an open book on her lap, as if she had been reading. She has a girl's slender figure, and her head is modestly draped with a mantle. The angel kneels opposite, with folded hands. He has long pointed wings covered with feathers as "a bird of G.o.d," in Dante's phrase.

From above a fatherly face looks down upon them out of a surrounding circle of winged cherub heads. Beside the Virgin stands a jar of lilies, the flowers which symbolize the purity of her maidenhood. Over these soars a white dove, the same symbol of the Divine Spirit which descended upon Jesus at his baptism.[44]

[Ill.u.s.tration: THE ANNUNCIATION (ANDREA DELLA ROBBIA) _Altar Piece at La Verna_]

Already the angel has delivered his message, and now awaits the answer. His face is round and innocent like a child's, and his long hair is carefully curled. The Virgin has listened with drooping head, and with her hand pressed to her breast as if to still the beating of her heart. She seems too timid to lift her eyes to meet her radiant guest. Yet her whole att.i.tude expresses submission to the divine will.

The artist has expressed with rare delicacy of imagination the religious sentiment of the incident. The interpretation is in a similar vein to that of the poet painter Rossetti in the lines on the Annunciation in the poem "Ave:"--

"Then suddenly the awe grew deep As of a day to which all days Were footsteps in G.o.d's secret ways; Until a folding sense, like prayer, Which is, as G.o.d is, everywhere, Gathered about thee; and a voice Spake to thee without any noise, Being of the silence:--'Hail,' it said, 'Thou that art highly favoured; The Lord is with thee, here and now; Blessed among all women thou.'"

Rossetti, it will be remembered, belonged to that circle of English artists who some fifty years ago attempted to revive the simple reverence of the Italian art previous to Raphael. Thus the "Pre-Raphaelite" poet and the sculptor, though separated by so many centuries, had the common aim of expressing "the sense of prayer"

which gathered about the Virgin in this moment. Rossetti also treated the Annunciation in a picture which has interesting points of comparison with our ill.u.s.tration.

The relief is made in the Della Robbia enamelled terra cotta ware. The sculptor has here followed his uncle's example in the simplicity of the draperies. The modelling of the hands also recalls the touch of Luca. In choice of types, however, Andrea shows his individual taste.

The fragile figure of the Virgin is as different as possible from the robust beauty of Luca's Madonna which we have studied. The angel too is of a softer and less vigorous character than the older artist would have designed.

The relief is surrounded by an elaborate frame of the same material.

At the sides decorated pillars with Ionic capitals support an entablature, every section of which has its own distinctive design.

The patterns ornamenting frieze and pillars seem to be variations on the lotus motive, and are very graceful. On the dado, or piece running across the bottom of the frame, is printed the Latin inscription: "Ecce Ancilla Domini. Fiat Mihi secundum verb.u.m tuum" (Behold the handmaid of the Lord; be it done unto me according to thy word). It is interesting to notice that at this period the letters _n_ and _m_ were written above the line or united with the vowels which they followed.

[Footnote 42: St. Luke, chapter i., verses 30-33.]

[Footnote 43: From the Magnificat in the Prayer Book version.]

[Footnote 44: St. Matthew, chapter iii., verse 16.]

XII

THE ASCENSION

BY LUCA DELLA ROBBIA

For forty days after the resurrection of Jesus the disciples enjoyed the companionship of their Master. They were now ready to understand many things that before had been obscure to them, and Jesus spoke to them much of the things pertaining to the Kingdom of G.o.d.[45]

Sometimes, as they sat together, he suddenly appeared among them.[46]

Once when a few of them had been out fishing over night they found him standing on the sh.o.r.e in the morning.[47]

Still later he appointed a meeting on a mountain in Galilee at which over five hundred of the faithful were gathered. It was then that he commanded them to go forth to teach all nations, and he gave them the promise, "Lo, I am with you alway, even unto the end of the world."[48]

Finally he led the chosen band to the Mount of Olives at Bethany, "and he lifted up his hands and blessed them. And it came to pa.s.s while he blessed them, he was parted from them, and carried up into heaven."

"And a cloud received him out of their sight. And while they looked stedfastly toward heaven as he went up, behold, two men stood by them in white apparel; which also said, Ye men of Galilee, why stand ye gazing up into heaven? this same Jesus, which is taken up from you into heaven, shall so come in like manner as ye have seen him go into heaven."[49]

In Luca della Robbia's bas-relief of the Ascension the moment has come when, in the very act of blessing his disciples, Jesus is parted from them. He had already, in some measure, prepared them for this event.

On the day of his resurrection he told them that he was about to ascend to his father.[50] To-day his words and manner may have shown them that the time was at hand. Certainly there are no startled or grief-stricken faces among them; no gestures of surprise. It is as if in response to some sign from the master, they had all knelt to receive his benediction, and while they were still on their knees, he rose from their midst. Already his feet have left the solid earth, as he vanishes out of their sight.

The company form a circle just as they had cl.u.s.tered about him. So orderly is their arrangement, so quietly is the great act accomplished, that they seem to be taking part in some religious service. All eyes are fixed upon the Saviour, with love, joy, and adoration expressed in every countenance.

[Ill.u.s.tration: THE ASCENSION (LUCA DELLA ROBBIA) _Cathedral, Florence_]

The treachery of Judas had reduced the number of disciples to eleven, and the vacant place was not filled until later. We see, however, twelve figures in this circle, and notice that one is a woman. This is Mary, the mother of Jesus, who had lived with John since the day of the Crucifixion. It was the express wish of Jesus that the beloved disciple should regard her as a mother. Thus it is not unnatural to suppose that the two would come together to Bethany at this time, and kneel side by side, as we see them here. Mary looks as young as when she held her babe in her arms, and she has the same happy expression.

It is not possible to make out who the others are. We fancy that the two beardless young men at the right are Thomas and Philip, because they are thought to have been younger than the other disciples.

The figure of the Saviour is n.o.ble and dignified, the att.i.tude full of buoyancy. The face is such as from long a.s.sociation we have come to identify with the person of Christ, benignant and refined. He looks not up into the glory towards which he is ascending, but his glance still lingers upon the disciples with an expression of tender solicitude. An oval frame of radiating lines surrounds his entire figure. It is the _mandorla_, or almond-shaped nimbus, which was the old artistic symbol of divine glory.

We have already noticed some of the characteristics of Luca della Robbia's art, which are again ill.u.s.trated in this work. The draperies are arranged with a simplicity of line which is almost severe. The folds are scanty, clinging to the figure and following the fine outlines of the pose. The figures are white, set off against the blue of the sky, and green, brown, and yellow are introduced in the landscape surroundings.

The bas-relief is one of two lunettes placed over opposite doors in the cathedral of Florence. The companion subject is the Resurrection, and in both pieces the sculptor went beyond his usual limit in the number of figures making up the composition. The leading quality of his work is decorative, and he seldom applied his art to the ill.u.s.tration of story. We are the more interested in his remarkable success in these instances.

A painter would naturally have brought out the more dramatic features of the Ascension, showing the excitement and confusion of the moment.

Luca knew well that sculpture was unsuited for violent action, and he sought rather to convey a sense of repose in his work. Moreover he infused a devotional spirit into the scene which he seldom attained.

Marcel-Reymond says that only in Fra Angelico's work can one find figures expressing such an ecstasy of love and devotion.

[Footnote 45: Acts, chapter i., verse 3.]

[Footnote 46: St. Mark, chapter xvi., verse 14; St. John, chapter xx., verse 26.]

[Footnote 47: St. John, chapter xxi., verse 4.]