Legends of the Madonna by Mrs. Jameson

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LEGENDS

OF

THE MADONNA,

AS

REPRESENTED IN THE FINE ARTS.

BY MRS. JAMESON.

CORRECTED AND ENLARGED EDITION.

BOSTON:
HOUGHTON, MIFFLIN AND COMPANY.
The Riverside Press, Cambridge.
1881.

NOTE BY THE PUBLISHERS.

Some months since Mrs. Jameson kindly consented to prepare for this
Edition of her writings the series of _Sacred and Legendary Art_, but
dying before she had time to fulfil her promise, the arrangement has
been intrusted to other hands. The text of the whole series will be an
exact reprint of the last English Edition.

TICKNOR & FIELDS.

BOSTON, Oct. 1st, 1860.

CONTENTS.

PREFACE

INTRODUCTION--
Origin of the Worship of the Madonna.
Earliest artistic Representations.
Origin of the Group of the Virgin and Child in the Fifth Century.
The First Council at Ephesus.
The Iconoclasts.
First Appearance of the Effigy of the Virgin on Coins.
Period of Charlemagne.
Period of the Crusades.
Revival of Art in the Thirteenth Century.
The Fourteenth Century.
Influence of Dante.
The Fifteenth Century.
The Council of Constance and the Hussite Wars.
The Sixteenth Century.
The Luxury of Church Pictures.
The Influence of Classical Literature on the Representations of the
Virgin.
The Seventeenth Century.
Theological Art.
Spanish Art.
Influence of Jesuitism on Art.
Authorities followed by Painters in the earliest Times.
Legend of St. Luke.
Character of the Virgin Mary as drawn in the Gospels.
Early Descriptions of her Person; how far attended to by the Painters.
Poetical Extracts descriptive of the Virgin Mary.

SYMBOLS AND ATTRIBUTES OF THE VIRGIN.
Proper Costume and Colours.

DEVOTIONAL SUBJECTS AND HISTORICAL SUBJECTS.
Altar-pieces.
The Life of the Virgin Mary as treated in a Series.
The Seven Joys and Seven Sorrows as a Series.
Titles of the Virgin, as expressed in Pictures and Effigies.
Churches dedicated to her.
Conclusion.

SUPPLEMENTARY NOTES

DEVOTIONAL SUBJECTS.

PART I.

THE VIRGIN WITHOUT THE CHILD.

LA VERGINE GLORIOSA. Earliest Figures. The Mosaics. The Virgin of San
Venanzio. The Virgin of Spoleto.

The Enthroned Virgin without the Child, as type of heavenly Wisdom.
Various Examples.

L'INCORONATA, the Type of the Church triumphant. The Virgin crowned by
her Son. Examples from the old Mosaics. Examples of the Coronation of
the Virgin from various Painters.

The VIRGIN OF MERCY, as she is represented in the Last Judgment.

The Virgin, as Dispenser of Mercy on Earth. Various Examples.

The MATER DOLOROSA seated and standing, with the Seven Swords.

The _Stabat Mater_, the Ideal Pieta. The Votive Pieta by Guido.

OUR LADY OF THE IMMACULATE CONCEPTION Origin of the Subject. History
of the Theological Dispute. The First Papal Decree touching the
Immaculate Conception. The Bull of Paul V. The Popularity of the
Subject in Spain. Pictures by Guido, by Roelas, Velasquez, Murillo.

The Predestination of the Virgin. Curious Picture by Cotignola.

PART II.

THE VIRGIN AND CHILD.

THE VIRGIN AND CHILD ENTHRONED. _Virgo Deipara_. The Virgin in her
Maternal Character. Origin of the Group of the Mother and Child.
Nestorian Controversy.

The Enthroned Virgin in the old Mosaics. In early Italian Art The
Virgin standing as _Regina Coeli_.

_La Madre Pia_ enthroned. _Mater Sapientiae_ with the Book.

The Virgin and Child enthroned with attendant Figures; with Angels;
with Prophets; with Apostles.

With Saints: John the Baptist; St. Anna; St. Joachim; St. Joseph.

With Martyrs and Patron Saints.

_Various Examples of Arrangement_. With the Fathers of the Church;
with St. Jerome and St. Catherine; with the Marriage of St. Catherine.
The Virgin and Child between St. Catherine and St. Barbara; with Mary
Magdalene; with St. Lucia.

The Virgin and Child between St. George and St. Nicholas; with St.
Christopher; with St. Leonard. The Virgin of Charity.

The Madonnas of Florence; of Siena; of Venice and Lombardy. How
attended.

The Virgin attended by the Monastic Saints. Examples from various
Painters.

Votive Madonnas. For Mercies accorded; for Victory; for Deliverance
from Pestilence; against Flood and Fire.

Family Votive Madonnas, Examples. The Madonna of the Bentivoglio
Family. The Madonna of the Sforza Family. The Madonna of the Moyer
Family, The Madonna di Foligno. German Votive Madonna at Rouen.
Madonna of Rene, Duke of Anjou; of the Pesaro Family at Venice.

Half-length Enthroned Madonnas; first introduced by the Venetians.
Various Examples.

The MATER AMABILIS, Early Greek Examples. The infinite Variety given
to this Subject.

Virgin and Child with St. John. He takes the Cross

The MADRE PIA; the Virgin adores her Son.

Pastoral Madonnas of the Venetian School.

Conclusion of the Devotional Subjects.

HISTORICAL SUBJECTS.

PART I.

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

THE LEGEND OF JOACHIM AND ANNA.

Joachim rejected from the Temple. Joachim herding his Sheep on the
Mountain. The Altercation between Anna and her Maid Judith. The
Meeting at the Golden Gate.

THE NATIVITY OF THE VIRGIN. The Importance and Beauty of the Subject.
How treated.

THE PRESENTATION OF THE VIRGIN. A Subject of great Importance. General
Arrangement and Treatment. Various Examples from celebrated Painters.

The Virgin in the Temple.

THE MARRIAGE OF THE VIRGIN. The Legend as followed by the Painters.

Various Examples of the Marriage of the Virgin, as treated by
Perugino, Raphael, and others.

PART II.

THE LIFE OF THE VIRGIN MARY FROM THE ANNUNCIATION TO THE RETURN FROM
EGYPT.

THE ANNUNCIATION, Its Beauty as a Subject. Treated as a Mystery and
as an Event. As a Mystery; not earlier than the Eleventh Century.
Its proper Place in architectural Decoration. On Altar-pieces. As
an Allegory. The Annunciation as expressing the Incarnation. Ideally
treated with Saints and Votaries. Examples by Simone Memmi, Fra
Bartolomeo, Angelico, and others.

The Annunciation as an Event. The appropriate Circumstances. The
Time, the Locality, the Accessories. The Descent of the Angel; proper
Costume; with the Lily, the Palm, the Olive.

Proper Attitude and Occupation of Mary; Expression and Deportment. The
Dove. Mistakes. Examples from various Painters.

THE VISITATION. Character of Elizabeth. The Locality and
Circumstances. Proper Accessories. Examples from various Painters.

THE DREAM OF JOSEPH. He entreats Forgiveness of Mary.

THE NATIVITY. The Prophecy of the Sibyl. _La Madonna del Parto_. The
Nativity as a Mystery; with poetical Accessories; with Saints and
Votaries.

The Nativity as an Event. The Time; the Places; the proper Accessories
and Circumstances; the angelic Choristers; Signification of the Ox and
the Ass.

THE ADORATION OF THE SHEPHERDS.

THE ADORATION OF THE MAGI; they are supposed to have been Kings.
Prophecy of Balaam. The Appearance of the Star. The Legend of the
three Kings of Cologne. Proper Accessories. Examples from various
Painters. The Land Surveyors, by Giorgione.

THE PURIFICATION OF THE VIRGIN. The Prophecy of Simeon. Greek Legend
of the _Nunc Dimittis_. Various Examples.

THE FLIGHT INTO EGYPT. The Massacre of the Innocents. The Preparation
for the Journey. The Circumstances. The Legend of the Robbers; of the
Palm.

THE REPOSE OF THE HOLY FAMILY. The Subject often mistaken. Proper
Treatment of the Group. The Repose at Matarea. The Ministry of Angels.

THE LEGEND OF THE GYPSY.

THE RETURN FROM EGYPT.

PART III.

THE LIFE OF THE VIRGIN FROM THE SOJOURN IN EGYPT TO THE CRUCIFIXION OF
OUR LORD.

THE HOLY FAMILY. Proper Treatment of the Domestic Group as
distinguished from the Devotional. The simplest Form that of the
Mother and Child. The Child fed from his Mother's Bosom. The Infant
sleeps.

Holy Family of three Figures; with the little St. John; with St.
Joseph; with St. Anna.

Holy Family of four Figures; with St. Elizabeth and others.

The Holy Family of Five and Six Figures.

The Family of the Virgin grouped together.

Examples of Holy Family as treated by various Artists.

The Carpenter's Shop.

The Infant Christ learning to read.

THE DISPUTE IN THE TEMPLE. The Virgin seeks her Son.

THE DEATH OF JOSEPH.

THE MARRIAGE AT CANA. Proper Treatment of the Virgin in this Subject;
as treated by Luini and by Paul Veronese.

The Virgin attends on the Ministry of Christ. Mystical Treatment by
Fra Angelico.

LO SPASIMO. Christ takes leave of his Mother. Women who are introduced
into Scenes of the Passion of our Lord.

The Procession to Calvary, _Lo Spasimo di Sicilia_.

THE CRUCIFIXION. Proper Treatment of the Virgin in this Subject. The
impropriety of placing her upon the ground. Her Fortitude. Christ
recommends his Mother to St. John.

THE DESCENT FROM THE CROSS. Proper Place and Action of the Virgin in
this Subject.

THE DEPOSITION. Proper Treatment of this Form of the _Mater Dolorosa_.
Persons introduced. Various Examples.

THE ENTOMBMENT. Treated as an historical Scene. As one of the Sorrows
of the Rosary; attended by Saints.

The _Mater Dolorosa_ attended by St. Peter. Attended by St. John and
Mary Magdalene.

PART IV.

THE LIFE OF THE VIRGIN MARY FROM THE RESURRECTION OF THE LORD TO THE
ASSUMPTION.

THE APPARITION OF CHRIST TO HIS MOTHER. Beauty and Sentiment of the
old Legend; how represented by the Artists.

THE ASCENSION OF OUR LORD. The proper Place of the Virgin Mary.

THE DESCENT OF THE HOLY GHOST; Mary being one of the principal
persons.

THE APOSTLES TAKE LEAVE OF THE VIRGIN.

THE DEATH AND ASSUMPTION OF THE VIRGIN. The old Greek Legend.

The Angel announces to Mary her approaching Death.

The Death of the Virgin, an ancient and important Subject. As treated
in the Greek School; in early German Art; in Italian Art. Various
Examples.

The Apostles carry the Body of the Virgin to the Tomb.

The Entombment.

THE ASSUMPTION. Distinction between the Assumption of the Body and the
Assumption of the Soul of the Virgin. The Assumption as a Mystery; as
an Event.

LA MADONNA BELLA CINTOLA. The Legend of the Girdle; as painted in the
Cathedral at Prato.

Examples of the Assumption as represented by various Artists.

THE CORONATION as distinguished from the _Incoronata_; how treated as
an historical Subject. Conclusion.

NOTE.

The decease of Mrs. Jameson, the accomplished woman and popular
writer, at an advanced period of life, took place in March, 1860,
after a brief illness. But the frame had long been worn out by past
years of anxiety, and the fatigues of laborious literary occupation
conscientiously undertaken and carried out. Having entered certain
fields of research and enterprise, perhaps at first accidentally, Mrs.
Jameson could not satisfy herself by anything less than the utmost
that minute collection and progressive study could do to sustain her
popularity. Distant and exhausting journeys, diligent examination of
far-scattered examples of Art, voluminous and various reading, became
seemingly more and more necessary to her; and at the very time of life
when rest and slackened effort would have been natural,--not merely
because her labours were in aid of others, but to satisfy her own high
sense of what is demanded by Art and Literature,--did her hand and
brain work more and more perseveringly and thoughtfully, till at last
she sank under her weariness; and passed away.

The father of Miss Murphy was a miniature-painter of repute, attached,
we believe, to the household of the Princess Charlotte. His daughter
Anna was naturally taught by him the principles of his own art;
but she had instincts for all,--taste for music,--a feeling for
poetry,--and a delicate appreciation of the drama. These gifts--in
her youth rarer in combination than they are now (when the connection
of the arts is becoming understood, and the love of all increasingly
diffused)--were, during part of Mrs. Jameson's life, turned to the
service of education.--It was not till after her marriage, that a
foreign tour led her into authorship, by the publication of "The Diary
of an Ennuyee," somewhere about the year 1826.--It was impossible to
avoid detecting in that record the presence of taste, thought, and
feeling, brought in an original fashion to bear on Art, Society,
Morals.--The reception of the book was decisive.--It was followed, at
intervals, by "The Loves of the Poets," "Memoirs of Italian Painters,"
"The Lives of Female Sovereigns," "Characteristics of Women" (a series
of Shakspeare studies; possibly its writer's most popular book). After
this, the Germanism so prevalent five-and-twenty years ago, and now
somewhat gone by, possessed itself of the authoress, and she published
her reminiscences of Munich, the imitative art of which was new, and
esteemed as almost a revelation. To the list of Mrs. Jameson's books
may be added her translation of the easy, if not vigorous Dramas
by the Princess Amelia of Saxony, and her "Winter Studies and
Summer Rambles"--recollections of a visit to Canada. This included
the account of her strange and solitary canoe voyage, and her
residence among a tribe of Indians. From this time forward, social
questions--especially those concerning the position of women in life
and action--engrossed a large share of Mrs. Jameson's attention; and
she wrote on them occasionally, always in a large and enlightened
spirit, rarely without touches of delicacy and sentiment.--Even when
we are unable to accept all Mrs. Jameson's conclusions, or to join her
in the hero or heroine worship of this or the other favourite example,
we have seldom a complaint to make of the manner of the authoress. It
was always earnest, eloquent, and poetical.

Besides a volume or two of collected essays, thoughts, notes on books,
and on subjects of Art, we have left to mention the elaborate volumes
on "Sacred and Legendary Art," as the greatest literary labour of a
busy life. Mrs. Jameson was putting the last finish to the concluding
portion of her work, when she was bidden to cease forever.

There is little more to be told,--save that, in the course of her
indefatigable literary career, Mrs. Jameson drew round herself a large
circle of steady friends--these among the highest illustrators of
Literature and Art in France, Germany, and Italy; and that, latterly,
a pension from Government was added to her slender earnings. These, it
may be said without indelicacy, were liberally apportioned to the aid
of others,--Mrs. Jameson being, for herself, simple, self-relying,
and self-denying;--holding that high view of the duties belonging
to pursuits of imagination which rendered meanness, or servility, or
dishonourable dealing, or license glossed over with some convenient
name, impossible to her.--She was a faithful friend, a devoted
relative, a gracefully-cultivated, and honest literary worker, whose
mind was set on "the best and honourablest things."

* * * * *

Some months since Mrs. Jameson kindly consented to prepare for this
edition of her writings the "Legends of the Madonna," "Sacred and
Legendary Art," and "Legends of the Monastic Orders;" but, dying
before she had time to fulfil her promise, the arrangement has been
intrusted to other hands. The text of this whole series will be an
exact reprint of the last English Edition.

* * * * *

The portrait annexed to this volume is from a photograph taken in
London only a short time before Mrs. Jameson's death.

BOSTON, September, 1860.

AUTHOR'S PREFACE

TO THE FIRST EDITION.

In presenting to my friends and to the public this Series of the
Sacred and Legendary Art, few preparatory words will be required.

If in the former volumes I felt diffident of my own powers to do any
justice to my subject, I have yet been encouraged by the sympathy and
approbation of those who nave kindly accepted of what has been done,
and yet more kindly excused deficiencies, errors, and oversights,
which the wide range of subjects rendered almost unavoidable.

With far more of doubt and diffidence, yet not less trust in the
benevolence and candour of my critics, do I present this volume to the
public. I hope it will be distinctly understood, that the general plan
of the work is merely artistic; that it really aims at nothing more
than to render the various subjects intelligible. For this reason
it has been thought advisable to set aside, in a great measure,
individual preferences, and all predilections for particular schools
and particular periods of Art,--to take, in short, the widest possible
range as regards examples,--and then to leave the reader, when thus
guided to the meaning of what he sees, to select, compare, admire,
according to his own discrimination, taste, and requirements. The
great difficulty has been to keep within reasonable limits. Though
the subject has a unity not found in the other volumes, it is
really boundless as regards variety and complexity. I may have been
superficial from mere superabundance of materials; sometimes mistaken
as to facts and dates; the tastes, the feelings, and the faith of my
readers may not always go along with me; but if attention and interest
have been exited--if the sphere of enjoyment in works of Art have been
enlarged and enlightened, I have done all I ever wished--all I ever
hoped, to do.

With regard to a point of infinitely greater importance, I may
be allowed to plead,--that it has been impossible to treat of the
representations of the Blessed Virgin without touching on doctrines
such as constitute the principal differences between the creeds of
Christendom. I have had to ascend most perilous heights, to dive
into terribly obscure depths. Not for worlds would I be guilty of a
scoffing allusion to any belief or any object held sacred by sincere
and earnest hearts; but neither has it been possible for me to write
in a tone of acquiescence, where I altogether differ in feeling
and opinion. On this point I shall need, and feel sure that I shall
obtain, the generous construction of readers of all persuasions.

INTRODUCTION

I. ORIGIN AND HISTORY OF THE EFFIGIES OF THE MADONNA.

Through all the most beautiful and precious productions of human
genius and human skill which the middle ages and the _renaissance_
have bequeathed to us, we trace, more or less developed, more or less
apparent, present in shape before us, or suggested through inevitable
associations, one prevailing idea: it is that of an impersonation in
the feminine character of beneficence, purity, and power, standing
between an offended Deity and poor, sinning, suffering humanity, and
clothed in the visible form of Mary, the Mother of our Lord.

To the Roman Catholics this idea remains an indisputable religious
truth of the highest import. Those of a different creed may think fit
to dispose of the whole subject of the Madonna either as a form of
superstition or a form of Art. But merely as a form of Art, we cannot
in these days confine ourselves to empty conventional criticism. We
are obliged to look further and deeper; and in this department of
Legendary Art, as in the others, we must take the higher ground,
perilous though it be. We must seek to comprehend the dominant idea
lying behind and beyond the mere representation. For, after all,
some consideration is due to facts which we must necessarily accept,
whether we deal with antiquarian theology or artistic criticism;
namely, that the worship of the Madonna did prevail through all the
Christian and civilized world for nearly a thousand years; that, in
spite of errors, exaggerations, abuses, this worship did comprehend
certain great elemental truths interwoven with our human nature, and
to be evolved perhaps with our future destinies. Therefore did it work
itself into the life and soul of man; therefore has it been worked
_out_ in the manifestations of his genius; and therefore the multiform
imagery in which it has been clothed, from the rudest imitations of
life, to the most exquisite creations of mind, may be resolved, as a
whole, into one subject, and become one great monument in the history
of progressive thought and faith, as well as in the history of
progressive art.

Of the pictures in our galleries, public or private,--of the
architectural adornments of those majestic edifices which sprung up
in the middle ages (where they have not been despoiled or desecrated
by a zeal as fervent as that which reared them), the largest and most
beautiful portion have reference to the Madonna,--her character,
her person, her history. It was a theme which never tired her
votaries,--whether, as in the hands of great and sincere artists,
it became one of the noblest and loveliest, or, as in the hands
of superficial, unbelieving, time-serving artists, one of the most
degraded. All that human genius, inspired by faith, could achieve of
best, all that fanaticism, sensualism, atheism, could perpetrate of
worst, do we find in the cycle of those representations which have
been dedicated to the glory of the Virgin. And indeed the ethics of
the Madonna worship, as evolved in art, might be not unaptly likened
to the ethics of human love: so long as the object of sense remained
in subjection to the moral idea--so long as the appeal was to the
best of our faculties and affections--so long was the image grand or
refined, and the influences to be ranked with those which have helped
to humanize and civilize our race; but so soon as the object became
a mere idol, then worship and worshippers, art and artists, were
together degraded.

It is not my intention to enter here on that disputed point, the
origin of the worship of the Madonna. Our present theme lies within
prescribed limits,--wide enough, however, to embrace an immense
field of thought: it seeks to trace the progressive influence of
that worship on the fine arts for a thousand years or more, and to
interpret the forms in which it has been clothed. That the veneration
paid to Mary in the early Church was a very natural feeling in those
who advocated the divinity of her Son, would be granted, I suppose,
by all but the most bigoted reformers; that it led to unwise and
wild extremes, confounding the creature with the Creator, would be
admitted, I suppose, by all but the most bigoted Roman Catholics. How
it extended from the East over the nations of the West, how it grew
and spread, may be read in ecclesiastical histories. Everywhere it
seems to have found in the human heart some deep sympathy--deeper far
than mere theological doctrine could reach--ready to accept it; and in
every land the ground prepared for it in some already dominant idea
of a mother-Goddess, chaste, beautiful, and benign. As, in the oldest
Hebrew rites and Pagan superstitions, men traced the promise of a
coming Messiah,--as the deliverers and kings of the Old Testament, and
even the demigods of heathendom, became accepted types of the person
of Christ,--so the Eve of the Mosaic history, the Astarte of the
Assyrians--

"The mooned Ashtaroth, queen and mother both,"--

the Isis nursing Horus of the Egyptians, the Demeter and the
Aphrodite of the Greeks, the Scythian Freya, have been considered
by some writers as types of a divine maternity, foreshadowing the
Virgin-mother of Christ. Others will have it that these scattered,
dim, mistaken--often gross and perverted--ideas which were afterwards
gathered into the pure, dignified, tender image of the Madonna,
were but as the voice of a mighty prophecy, sounded through all the
generations of men, even from the beginning of time, of the coming
moral regeneration, and complete and harmonious development of the
whole human race, by the establishment, on a higher basis, of what
has been called the "feminine element" in society. And let me at least
speak for myself. In the perpetual iteration of that beautiful image
of THE WOMAN highly blessed--_there_, where others saw only pictures
or statues, I have seen this great hope standing like a spirit beside
the visible form; in the fervent worship once universally given to
that gracious presence, I have beheld an acknowledgment of a higher as
well as gentler power than that of the strong hand and the might that
makes the right,--and in every earnest votary one who, as he knelt,
was in this sense pious beyond the reach of his own thought, and
"devout beyond the meaning of his will."

It is curious to observe, as the worship of the Virgin-mother expanded
and gathered to itself the relics of many an ancient faith, how
the new and the old elements, some of them apparently the most
heterogeneous, became amalgamated, and were combined into the early
forms of art;--how the Madonna, when she assumed the characteristics
of the great Diana of Ephesus, at once the type of Fertility, and the
Goddess of Chastity, became, as the impersonation of motherhood, all
beauty, bounty and graciousness; and at the same time, by virtue of
her perpetual virginity, the patroness of single and ascetic life--the
example and the excuse for many of the wildest of the early monkish
theories. With Christianity, new ideas of the moral and religious
responsibility of woman entered the world; and while these ideas were
yet struggling with the Hebrew and classical prejudices concerning the
whole sex, they seem to have produced some curious perplexity in the
minds of the greatest doctors of the faith. Christ, as they assure
us, was born of a woman only, and had no earthly father, that neither
sex might despair; "for had he been born a man (which was necessary),
yet not born of woman, the women might have despaired of themselves,
recollecting the first offence, the first man having been deceived by
a woman. Therefore we are to suppose that, for the exaltation of the
male sex, Christ appeared on earth as a man; and, for the consolation
of womankind, he was born of a woman only; as if it had been said,
'From henceforth no creature shall be base before God, unless
perverted by depravity.'" (Augustine, Opera Supt. 238, Serm. 63.)
Such is the reasoning of St. Augustine, who, I must observe, had an
especial veneration for his mother Monica; and it is perhaps for her
sake that he seems here desirous to prove that through the Virgin Mary
all womankind were henceforth elevated in the scale of being. And
this was the idea entertained of her subsequently: "Ennobler of thy
nature!" says Dante apostrophizing her, as if her perfections had
ennobled not merely her own sex, but the whole human race.[1]

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