Legends of the Madonna by Mrs. Jameson

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[Footnote 1: As in the picture by Lo Spagna in our National Gallery,
No. 282.]

There are examples where the angels in attendance bear, not harps
or lutes, but the attributes of the Cardinal Virtues, as in an
altar-piece by Taddeo Gaddi at Florence. (Santa Croce, Rinuccini
Chapel.)

The patriarchs, prophets, and sibyls, all the personages, in fact, who
lived under the old law, when forming, in a picture or altar-piece,
part, of the _cortege_ of the throned Virgin, as types, or prophets,
or harbingers of the Incarnation, are on the _outside_ of that sacred
compartment wherein she is seated with her Child. This was the case
with _all_ the human personages down to the end of the thirteenth
century; and after that time, I find the characters of the Old
Testament still excluded from the groups immediately round her throne.
Their place was elsewhere allotted, at a more respectful distance. The
only exceptions I can remember, are King David and the patriarch
Job; and these only in late pictures, where David does not appear as
prophet, but as the ancestor of the Redeemer; and Job, only at Venice,
where he is a patron saint.

The four evangelists and the twelve apostles are, in their collective
character in relation to the Virgin, treated like the prophets,
and placed around the altar-piece. Where we find one or more of the
evangelists introduced into the group of attendant "Sanctities" on
each side of her throne, it is not in their character of evangelists,
but rather as patron saints. Thus St. Mark appears constantly in the
Venetian pictures; but it is as the patron and protector of Venice.
St. John the Evangelist, a favourite attendant on the Virgin, is near
her in virtue of his peculiar relation to her and to Christ; and he is
also a popular patron saint. St. Luke and St. Matthew, unless they be
patrons of the particular locality, or of the votary who presents
the picture, never appear. It is the same with the apostles in their
collective character as such; we find them constantly, as statues,
ranged on each side of the Virgin, or as separate figures. Thus they
stand over the screen of St. Mark's, at Venice, and also on the carved
frames of the altar-pieces; but either from their number, or some
other cause, they are seldom grouped round the enthroned Virgin.

* * * * *

It is ST. JOHN THE BAPTIST who, next to the angels, seems to have
been the first admitted to a propinquity with the divine persons. In
Greek art, he is himself an angel, a messenger, and often represented
with wings. He was especially venerated in the Greek Church in
his character of precursor of the Redeemer, and, as such, almost
indispensable in every sacred group; and it is, perhaps, to the
early influence of Greek art on the selection and arrangement of the
accessory personages, that we owe the preeminence of John the Baptist.
One of the most graceful, and appropriate, and familiar of all the
accessory figures grouped with the Virgin and Child, is that of the
young St. John (called in Italian _San Giovannino_, and in Spanish
_San Juanito_.) When first introduced, we find him taking the place
of the singing or piping angels in front of the throne. He generally
stands, "clad in his raiment of camel's hair, having a girdle round
his loins," and in his hand a reed cross, round which is bound a
scroll with the words "_Ecce Agnus Dei_" ("Behold the Lamb of God"),
while with his finger he points up to the enthroned group above him,
expressing the text from St. Luke (c. ii.), "And thou, CHILD shalt
be called the Prophet of the Highest," as in Francia's picture in our
National Gallery. Sometimes he bears a lamb in his arms, the _Ecce
Agnus Dei_ in form instead of words.

The introduction of the young St. John becomes more and more usual
from the beginning of the sixteenth century. In later pictures, a
touch of the dramatic is thrown into the arrangement: instead of being
at the foot of the throne, he is placed beside it; as where the Virgin
is throned on a lofty pedestal, and she lays one hand on the head of
the little St. John, while with the other she strains her Child to her
bosom; or where the infant Christ and St. John, standing at her knee,
embrace each other--a graceful incident in a Holy Family, but in the
enthroned Madonna it impairs the religious conception; it places St.
John too much on a level with the Saviour, who is here in that divine
character to which St. John bore witness, but which he did not share.
It is very unusual to see John the Baptist in his childish character
glorified in heaven among the celestial beings: I remember but one
instance, in a beautiful picture by Bonifazio. (Acad. Venice.) The
Virgin is seated in glory, with her Infant on her knee, and encircled
by cherubim; on one side an angel approaches with a basket of flowers
on his head, and she is in act to take these flowers and scatter
them on the saints below,--a new and graceful _motif_: on the other
side sits John the Baptist as a boy about twelve years of age. The
attendant saints below are St. Peter, St. Andrew, St. Thomas holding
the girdle,[1] St. Francis, and St. Clara, all looking up with
ecstatic devotion, except St. Clara, who looks down with a charming
modesty.

[Footnote 1: St. Thomas is called in the catalogue, James, king of
Arragon.]

* * * * *

In early pictures, ST. ANNA, the mother of the Virgin, is very seldom
introduced, because in such sublime and mystical representations of
the _Vergine Dea_, whatever connected her with realities, or with her
earthly genealogy, is suppressed. But from the middle of the fifteenth
century, St. Anna became, from the current legends of the history
of the Virgin, an important saint, and when introduced into the
devotional groups, which, however, is seldom, it seems to have
embarrassed the painters how to dispose of her. She could not well be
placed below her daughter; she could not be placed above her. It is a
curious proof of the predominance of the feminine element throughout
these representations, that while ST. JOACHIM the father and ST.
JOSEPH the husband of the Virgin, are either omitted altogether, or
are admitted only in a subordinate and inferior position, St. Anna,
when she does appear, is on an equality with her daughter. There is
a beautiful example, and apt for illustration, in the picture by
Francia, in our National Gallery, where St. Anna and the Virgin are
seated together on the same throne, and the former presents the apple
to her divine Grandson. I remember, too, a most graceful instance
where St. Anna stands behind and a little above the throne, with her
hands placed affectionately on the shoulders of the Virgin, and raises
her eyes to heaven as if in thanksgiving to God, who through her had
brought salvation into the world. Where the Virgin is seated on the
knees of St. Anna, it is a still later innovation. There is such a
group in a picture in the Louvre, after a famous cartoon by Leonardo
da Vinci, which, in spite of its celebrity, has always appeared to me
very fantastic and irreverent in treatment. There is also a fine print
by Carraglio, in which the Virgin and Child are sustained on the
knees of St. Anna: under her feet lies the dragon. St. Roch and St.
Sebastian on each side, and the dead dragon, show that this is a
votive subject, an expression of thanksgiving after the cessation of
a plague. The Germans, who were fond of this group, imparted, even to
the most religious treatment, a domestic sentiment.

The earliest instance I can point to of the enthroned Virgin attended
by both her parents, is by Vivarini (Acad. Venice): St. Anna is on the
right of the throne; St. Joachim, in the act of reverently removing
his cap, stands on the left; more in front is a group of Franciscan
saints.

The introduction of St. Anna into a Holy Family, as part of the
domestic group, is very appropriate and graceful; but this of course
admits, and indeed requires, a wholly different sentiment. The same
remark applies to St. Joseph, who, in the earlier representations
of the enthroned Virgin, is carefully excluded; he appears, I think,
first in the Venetian pictures. There is an example in a splendid
composition by Paul Veronese. (Acad. Venice.) The Virgin, on a lofty
throne, holds the Child; both look down on the worshippers; St.
Joseph is partly seen behind leaning on his crutch. Round the throne
stand St. John the Baptist, St. Justina, as patroness of Venice, and
St. George; St. Jerome is on the other side in deep meditation. A
magnificent picture, quite sumptuous in colour and arrangement, and
yet so solemn and so calm![1]

[Footnote 1: There is another example by Paul Veronese, similar in
character and treatment, in which St. John and St. Joseph are on the
throne with the Virgin and child, and St. Catherine and St. Antony
below.]

The composition by Michael Angelo, styled a "Holy Family," is,
though singular in treatment, certainly devotional in character,
and an enthroned Virgin. She is seated in the centre, on a raised
architectural seat, holding a book; the infant Christ slumbers,--books
can teach him nothing, and to make him reading is unorthodox. In the
background on one side, St. Joseph leans over a balustrade, as if in
devout contemplation; a young St. John the Baptist leans on the other
side. The grand, mannered, symmetrical treatment is very remarkable
and characteristic. There are many engravings of this celebrated
composition. In one of them, the book held by the Virgin bears on one
side the text in Latin, "_Blessed art thou among women, and blessed is
the fruit of thy womb._" On the opposite page, "_Blessed be God, who
has regarded the low estate of his hand-maiden. For, behold, from
henceforth all generations shall call me blessed._"

While the young St. John is admitted into' such close companionship
with the enthroned Madonna, his mother Elizabeth, so commonly and
beautifully introduced into the Holy Families, is almost uniformly
excluded.

Next in order, as accessory figures, appear some one or two or more of
the martyrs, confessors, and virgin patronesses, with their respective
attributes, either placed in separate niches and compartments on each
side, or, when admitted within the sacred precincts where sits the
Queenly Virgin Mother and her divine Son, standing, in the manner
of councillors and officers of state on solemn occasions, round an
earthly sovereign, all reverently calm and still; till gradually this
solemn formality, this isolation of the principal characters, gave way
to some sentiment which placed them in nearer relation to each other,
and to the divine personages. Occasional variations of attitude and
action were introduced--at first, a rare innovation; ere long, a
custom, a fashion. For instance;--the doctors turn over the leaves
of their great books as if seeking for the written testimonies to the
truth of the mysterious Incarnation made visible in the persons of the
Mother and Child; the confessors contemplate the radiant group with
rapture, and seem ready to burst forth in hymns of praise; the martyrs
kneel in adoration; the virgins gracefully offer their victorious
palms: and thus the painters of the best periods of art contrived to
animate their sacred groups without rendering them too dramatic and
too secular.

Such, then, was the general arrangement of that religious subject
which is technically styled "The Madonna enthroned and attended by
Saints." The selection and the relative position of these angelic and
saintly accessories were not, as I have already observed, matters of
mere taste or caprice; and an attentive observation of the choice and
disposition of the attendant figures will often throw light on the
original significance of such pictures, and the circumstances under
which they wore painted.

Shall I attempt a rapid classification and interpretation of these
infinitely varied groups? It is a theme which might well occupy
volumes rather than pages, and which requires far more antiquarian
learning and historical research than I can pretend to; still by
giving the result of my own observations in some few instances, it may
be possible so to excite the attention and fancy of the reader, as
to lead him further on the same path than I have myself been able to
venture.

* * * * *

We can trace, in a large class of these pictures, a general
religious significance, common to all periods, all localities, all
circumstances; while in another class, the interest is not only
particular and local, but sometimes even personal.

To the first class belongs the antique and beautiful group of the
Virgin and Child, enthroned between the two great archangels, St.
Michael and St. Gabriel. It is probably the most ancient of these
combinations: we find it in the earliest Greek art, in the carved
ivory diptychs of the eighth and ninth centuries, in the old
Greco-Italian pictures, in the ecclesiastical sculpture and stained
glass of from the twelfth to the fifteenth century. In the most
ancient examples, the two angels are seen standing on each side of
the Madonna, not worshipping, but with their sceptres and attributes,
as princes of the heavenly host, attending on her who is queen of
angels; St. Gabriel as the angel of birth and life, St. Michael as
the angel of Death, that is, in the Christian sense, of deliverance
and immortality. There is an instance of this antique treatment in a
small Greek picture in the Wallerstein collection. (Now at Kensington
Palace.)

In later pictures, St. Gabriel seldom appears except as the _Angela
Annunziatore_; but St. Michael very frequently. Sometimes, as
conqueror over sin and representative of the Church militant,
he stands with his foot on the dragon with a triumphant air; or,
kneeling, he presents to the infant Christ the scales of eternal
justice, as in a famous picture by Leonardo da Vinci. It is not only
because of his popularity as a patron saint, and of the number of
churches dedicated to him, that he is so frequently introduced into
the Madonna pictures; according to the legend, he was by Divine
appointment the guardian of the Virgin and her Son while they
sojourned on earth. The angel Raphael leading Tobias always expresses
protection, and especially protection to the young. Tobias with his
fish was an early type of baptism. There are many beautiful examples.
In Raphael's "Madonna dell' Pesce" (Madrid Gal.) he is introduced as
the patron saint of the painter, but not without a reference to more
sacred meaning, that of the guardian spirit of all humanity. The
warlike figure of St. Michael, and the benign St. Raphael, are
thus represented as celestial guardians in the beautiful picture by
Perugino now in our National Gallery. (No. 288.)

There are instances of the three archangels all standing together
below the glorified Virgin: St. Michael in the centre with his foot
on the prostrate fiend; St. Gabriel on the right presents his lily;
and, on the left, the protecting angel presents his human charge, and
points up to the source of salvation. (In an engraving after Giulio
Romano.)

* * * * *

The Virgin between St. Peter and St. Paul is also an extremely ancient
and significant group. It appears in the old mosaics. As chiefs of the
apostles and joint founders of the Church, St. Peter and St. Paul are
prominent figures in many groups and combinations, particularly in
the altar-pieces of the Roman churches, and those painted for the
Benedictine communities.

The Virgin, when supported on each side by St. Peter and St. Paul,
must be understood to represent the personified Church between her
two great founders and defenders; and this relation is expressed,
in a very poetical manner, when St. Peter, kneeling, receives the
allegorical keys from the hand of the infant Saviour. There are some
curious and beautiful instances of this combination of a significant
action with the utmost solemnity of treatment; for example, in
that very extraordinary Franciscan altar-piece, by Carlo Crivelli,
lately purchased by Lord Ward, where St. Peter, having deposited his
papal tiara at the foot of the throne, kneeling receives the great
symbolical keys. And again, in a fine picture by Andrea Meldula, where
the Virgin and Child are enthroned, and the infant Christ delivers
the keys to Peter, who stands, but with a most reverential air; on the
other side of the throne is St. Paul with his book and the sword held
upright. There are also two attendant angels. On the border of the
mantle of the Virgin is inscribed "_Ave Maria gratia plena_."[1]

[Footnote 1: In the collection of Mr. Bromley, of Wootton. This
picture is otherwise remarkable as the only authenticated work of a
very rare painter. It bears his signature, and the style indicates the
end of the fifteenth century as the probable date.]

I do not recollect any instance in which the four evangelists as such,
or the twelve apostles in their collective character, wait round the
throne of the Virgin and Child, though one or more of the evangelists
and one or more of the apostles perpetually occur.

The Virgin between St. John the Baptist and St. John the Evangelist,
is also a very significant and beautiful combination, and one very
frequently met with. Though both these saints were as children
contemporary with the child Christ, and so represented in the Holy
Families, in these solemn ideal groups they are always men. The first
St. John expresses regeneration by the rite of baptism the second St.
John, distinguished as _Theologus_, "the Divine," stands with his
sacramental cup, expressing regeneration by faith. The former was the
precursor of the Saviour, the first who proclaimed him to the world as
such; the latter beheld the vision in Patmos, of the Woman in travail
pursued by the dragon, which is interpreted in reference to the
Virgin and her Child. The group thus brought into relation is full
of meaning, and, from the variety and contrast of character, full of
poetical and artistic capabilities. St. John the Baptist is usually
a man about thirty, with wild shaggy hair and meagre form, so draped
that his vest of camel's hair is always visible; he holds his reed
cross. St. John the Evangelist is generally the young and graceful
disciple; but in some instances he is the venerable seer of Patmos,

"Whose beard descending sweeps his aged breast."

There is an example in one of the finest pictures by Perugino. The
Virgin is throned above, and surrounded by a glory of seraphim, with
many-coloured wings. The Child stands on her knee. In the landscape
below are St. Michael, St. Catherine, St. Apollonia, and. St. John
the Evangelist as the aged prophet with white flowing beard. (Bologna
Acad.)

* * * * *

The Fathers of the Church, as interpreters and defenders of the
mystery of the Incarnation, are very significantly placed near the
throne of the Virgin and Child. In Western art, the Latin doctors, St.
Jerome, St. Ambrose, St. Augustine, and St. Gregory, have of course
the preeminence. (v Sacred and Legend. Art.)

The effect produced by these aged, venerable, bearded dignitaries,
with their gorgeous robes and mitres and flowing beards, in contrast
with the soft simplicity of the divine Mother and her Infant, is,
in the hands of really great artists, wonderfully fine. There is a
splendid example, by Vivarini (Venice Acad.); the old doctors stand
two on each side of the throne, where, under a canopy upborne by
angels, sits the Virgin, sumptuously crowned and attired, and looking
most serene and goddess-like; while the divine Child, standing on
her knee, extends his little hand in the act of benediction. Of this
picture I have already given a very detailed description. (Sacred and
Legend. Art.) Another example, a grand picture by Moretto, now in the
Museum at Frankfort, I have also described. There is here a touch of
the dramatic sentiment;--the Virgin is tenderly caressing her Child,
while two of the old doctors, St. Ambrose and St. Augustine, stand
reverently on each side of her lofty throne; St. Gregory sits on the
step below, reading, and St. Jerome bends over and points to a page in
his book. The Virgin is not sufficiently dignified; she has too much
the air of a portrait; and the action of the Child is, also, though
tender, rather unsuited to the significance of the rest of the group;
but the picture is, on the whole, magnificent. There is another fine
example of the four doctors attending on the Virgin, in the Milan
Gallery.[1]

[Footnote 1: In a native picture of the Milanese School, dedicated by
Ludovico Sforza _Il Moro_.]

Sometimes not four, but two only of these Fathers, appear in
combination with other figures, and the choice would depend on the
locality and other circumstances. But, on the whole, we rarely find
a group of personages assembled round the throne of the Virgin which
does not include one or more of these venerable pillars of the Church.
St. Ambrose appears most frequently in the Milanese pictures: St.
Augustine and St. Jerome, as patriarchs of monastic orders, are
very popular: St. Gregory, I think, is more seldom met with than the
others.

* * * * *

The Virgin, with St. Jerome and St. Catherine, the patron saints
of theological learning, is a frequent group in all monasteries,
but particularly in the churches and houses of the Jeronimites. A
beautiful example is the Madonna, by Francia. (Borghese Palace.
Rome.) St. Jerome, with Mary Magdalene, also a frequent combination,
expresses theological learning in union with religious penitence and
humility. Correggio's famous picture is an example, where St. Jerome
on one side presents his works in defence of the Church, and his
translation of the Scriptures; while, on the other, Mary Magdalene,
bending down devoutly, kisses the feet of the infant Christ. (Parma.)

Of all the attendants on the Virgin and Child, the most popular is,
perhaps, St. Catherine; and the "Marriage of St. Catherine," as a
religious mystery, is made to combine with the most solemn and formal
arrangement of the other attendant figures. The enthroned Virgin
presides over the mystical rite. This was, for intelligible reasons,
a favourite subject in nunneries.[1]

[Footnote 1: For a detailed account of the legendary marriage of St.
Catherine and examples of treatment, see Sacred and Legendary Art.]

In a picture by Garofalo, the Child, bending from his mother's knee,
places a golden crown on the head of St. Catherine as _Sposa_; on each
side stand St. Agnes and St. Jerome.

In a picture by Carlo Maratti, the nuptials take place in heaven, the
Virgin and Child being throned in clouds.

If the kneeling _Sposa_ be St. Catherine of Siena, the nun, and not
St. Catherine of Alexandria, or if the two are introduced, then we may
be sure that the picture was painted for a nunnery of the Dominican
order.[1]

[Footnote 1: See Legends of the Monastic Orders. A fine example of
this group "the Spozulizio of St. Catherine of Siena," has lately been
added to our National Gallery; (Lorenzo di San Severino, No. 249.)]

The great Madonna _in Trono_ by the Dominican Fra Bartolomeo, wherein
the queenly St. Catherine of Alexandria witnesses the mystical
marriage of her sister saint, the nun of Siena, will occur to every
one who has been at Florence; and there is a smaller picture by the
same painter in the Louvre;--a different version of the same subject.
I must content myself with merely referring to these well-known
pictures which have been often engraved, and dwell more in detail
on another, not so well known, and, to my feeling, as preeminently
beautiful and poetical, but in the early Flemish, not the Italian
style--a poem in a language less smooth and sonorous, but still a
_poem_.

This is the altar-piece painted by Hemmelinck for the charitable
sisterhood of St. John's Hospital at Bruges. The Virgin is seated
under a porch, and her throne decorated with rich tapestry; two
graceful angels hold a crown over her head. On the right, St.
Catherine, superbly arrayed as a princess, kneels at her side, and
the beautiful infant Christ bends forward and places the bridal ring
on her finger. Behind her a charming angel, playing on the organ,
celebrates the espousals with hymns of joy; beyond him stands St.
John the Baptist with his lamb. On the left of the Virgin kneels St.
Barbara, reading intently; behind her an angel with a book; beyond him
stands St. John the Evangelist, youthful, mild, and pensive. Through
the arcades of the porch is seen a landscape background, with
incidents picturesquely treated from the lives of the Baptist and
the Evangelist. Such is the central composition. The two wings
represent--on one side, the beheading of St. John the Baptist; on
the other, St. John the Evangelist, in Patmos, and the vision of the
Apocalypse. In this great work there is a unity and harmony of design
which blends the whole into an impressive poem. The object was to do
honour to the patrons of the hospital, the two St. Johns, and, at
the same time, to express the piety of the Charitable Sisters, who,
like St. Catherine (the type of contemplative studious piety), were
consecrated and espoused to Christ, and, like St. Barbara (the type of
active piety), were dedicated to good works. It is a tradition, that
Hemmelinck painted this altar-piece as a votive offering in gratitude
to the good Sisters, who had taken him in and nursed him when
dangerously wounded: and surely if this tradition be true, never was
charity more magnificently recompensed.

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