Legends of the Madonna by Mrs. Jameson

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* * * * *

I remember a fine drawing, in which the Virgin is seated at a large
tapestry frame. Behind her are two maidens, one of whom is reading;
the other, holding a distaff, lays her hand on the shoulder of the
Virgin, as if about to speak. The scene represents the interior of the
temple with rich architecture. (Vienna, Col. of Archduke Charles.)

In a small but very pretty picture by Guido, the Virgin, as a young
girl, sits embroidering a _yellow_ robe. (Lord Ellesmere's Gal.) She
is attended by four angels, one of whom draws aside a curtain It is
also related that among the companions of Mary in the temple was
Anna the prophetess; and that this aged and holy woman, knowing by
inspiration of the Holy Spirit the peculiar grace vouchsafed to Mary,
and her high destiny, beheld her with equal love and veneration;
and, notwithstanding the disparity of age, they become true and dear
friends.

In an old illumination, the Virgin is seated spinning, with an angel
by her side. (Office of the Virgin, 1408. Oxford, Bodleian.)

* * * * *

It is recorded that the angels daily ministered to her, and fed her
with celestial food. Hence in some early specimens of art an angel
brings her a loaf of bread and a pitcher of water,--the _bread of
life_ and the _water of life_ from Paradise. In this subject, as we
find it carved on the stalls of the cathedral of Amiens, Mary holds a
book, and several books are ranged on a shelf in the background: there
is, besides, a clock, such as was in use in the fifteenth century, to
indicate the studious and regular life led by Mary in the temple.

* * * * *

St. Evode, patriarch of Antioch, and St. Germanus, assert as
an indubitable tradition of the Greek Church, that Mary had the
privilege--never granted to one of her sex before or since--of
entering the Holy of Holies, and praying before the ark of the
covenant. Hence, in some of the scenes from her early life, the ark is
placed in the background. We must also bear in mind that the ark was
one of the received types of her who bore the Logos within her bosom.

* * * * *

In her fourteenth year, Mary was informed by the high priest that it
was proper that she should be married; but she modestly replied that
her parents had dedicated her to the service of the Lord, and that,
therefore, she could not comply. But the high-priest, who had received
a revelation from an angel concerning the destiny of Mary, informed
her thereof, and she with all humility submitted herself to the divine
will. This scene between Mary and the high-priest has been painted by
Luini, and it is the only example with which I am acquainted.

Pictures of the Virgin in her girlhood, reading intently the Book of
Wisdom, while angels watch over her, are often of great beauty.

THE MARRIAGE OF THE VIRGIN

_Ital._ Il Sposalizio. _Fr._ Le Mariage de la Vierge. _Ger._ Die
Trauung Mariae. Jan. 23.

This, as an artistic subject, is of great consequence, from the beauty
and celebrity of some of the representations, which, however, are
unintelligible without the accompanying legends. And it is worth
remarking, that while the incident is avoided in early Greek art,
it became very popular with the Italian and German painters from the
fourteenth century.

In the East, the prevalence of the monastic spirit, from the fourth
century, had brought marriage into disrepute; by many of the ascetic
writers of the West it was considered almost in the light of a
necessary evil. This idea, that the primal and most sacred ordinance
of God and nature was incompatible with the sanctity and purity
acceptable to God, was the origin of the singular legends of the
Marriage of the Virgin. One sees very clearly that, if possible, it
would have been denied that Mary had ever been married at all; but,
as the testimony of the Gospel was too direct and absolute to be
set aside, it became necessary, in the narrative, to give to this
distasteful marriage the most recondite motives, and in art, to
surround it with the most poetical and even miraculous accessories.

But before we enter on the treatment of the subject, it is necessary
to say a few words on the character of Joseph, wonderfully selected to
be the husband and guardian of the consecrated mother of Christ, and
foster-father of the Redeemer; and so often introduced into all the
pictures which refer to the childhood of our Lord.

From the Gospels we learn nothing of him but that he was of the tribe
of Judah and the lineage of David; that he was a _just_ man; that he
followed the trade of a carpenter, and dwelt in the little city of
Nazareth. We infer from his conduct towards Mary, that he was a mild,
and tender, and pure-hearted, as well as an upright man. Of his age
and personal appearance nothing is said. These are the points on which
the Church has not decided, and on which artists, left to their own
devices, and led by various opinions, have differed considerably.

The very early painters deemed it right to represent Joseph as very
old, almost decrepit with age, and supported by a crutch. According
to some of the monkish authorities, he was a widower, and eighty-four
years old when he was espoused to Mary. On the other hand, it was
argued, that such a marriage would have been quite contrary to the
custom of the Jews; and that to defend Mary, and to provide for her
celestial Offspring, it was necessary that her husband should be a
man of mature age, but still strong and robust, and able to work
at his trade; and thus, with more propriety and better taste, the
later painters have represented him. In the best Italian and Spanish
pictures of the Holy Family, he is a man of about forty or fifty,
with a mild, benevolent countenance, brown hair, and a short, curled
beard: the crutch, or stick, however, is seldom omitted; it became a
conventional attribute.

In the German pictures, Joseph is not only old, but appears almost in
a state of dotage, like a lean, wrinkled mendicant, with a bald head,
a white beard, a feeble frame, and a sleepy or stupid countenance.
Then, again, the later Italian painters have erred as much on the
other side; for I have seen pictures in which St. Joseph is not only a
young man not more than thirty, but bears a strong resemblance to the
received heads of our Saviour.

It is in the sixteenth century that we first find Joseph advanced to
the dignity of a saint in his own right; and in the seventeenth he
became very popular, especially in Spain, where St. Theresa had chosen
him for her patron saint, and had placed her powerful order of the
reformed Carmelites under his protection. Hence the number of pictures
of that time, which represent Joseph, as the foster-father of Christ,
carrying the Infant on his arm and caressing him, while in the other
hand he bears a lily, to express the sanctity and purity of his
relations with the Virgin.

* * * * *

The legend of "the Marriage of Joseph and Mary" is thus given in the
Protevangelion and the History of Joseph the Carpenter:--

"When Mary was fourteen years old, the priest Zacharias (or
Abiathar, as he is elsewhere called) inquired of the Lord
concerning her, what was right to be done; and an angel came
to him and said, 'Go forth, and call together all the widowers
among the people, and let each bring his rod (or wand) in his
hand, and he to whom the Lord shall show a sign, let him be
the husband of Mary. And Zacharias did as the angel commanded,
and made proclamation accordingly. And Joseph the carpenter, a
righteous man, throwing down his axe, and taking his staff in
his hand, ran out with the rest. When he appeared before the
priest, and presented his rod, lo! a dove issued out of it--a
dove dazzling white as the snow,--and after settling on his
head, flew towards heaven. Then the high priest said to him,
'Thou art the person chosen to take the Virgin of the Lord,
and to keep her for him.' And Joseph was at first afraid, and
drew back, but afterwards he took her home to his house, and
said to her, 'Behold, I have taken thee from the temple of
the Lord, and now I will leave thee in my house, for I must
go and follow my trade of building. I will return to thee,
and meanwhile the Lord be with thee and watch over thee.' So
Joseph left her, and Mary remained in her house."

There is nothing said of any marriage ceremony, some have even
affirmed that Mary was only betrothed to Joseph, but for conclusive
reasons it remains an article of faith that she was married to him.

I must mention here an old tradition cited by St. Jerome, and which
has been used as a text by the painters. The various suitors who
aspired to the honour of marrying the consecrated "Virgin of the
Lord," among whom was the son of the high-priest, deposited their
wands in the temple over night,[1] and next morning the rod of Joseph
was found, like the rod of Aaron, to have budded forth into leaves
and flowers. The other suitors thereupon broke their wands in rage and
despair; and one among them, a youth of noble lineage, whose name was
Agabus, fled to Mount Carmel, and became an anchorite, that is to say,
a Carmelite friar.

[Footnote 1: The suitors kneeling with their wands before the altar in
the Temple, is one of the series by Giotto in the Arena at Padua.]

According to the Abbe Orsini, who gives a long description of the
espousals of Mary and Joseph, they returned after the marriage
ceremony to Nazareth, and dwelt in the house of St. Anna.

* * * * *

Now, with regard to the representations, we find that many of the
early painters, and particularly the Italians, have carefully attended
to the fact, that, among the Jews, marriage was a civil contract,
not a religious rite. The ceremony takes place in the open air, in a
garden, or in a landscape, or in front of the temple. Mary, as a meek
and beautiful maiden of about fifteen, attended by a train of virgins,
stands on the right; Joseph, behind whom are seen the disappointed
suitors, is on the left. The priest joins their hands, or Joseph is
in the act of placing the ring on the finger of the bride. This is the
traditional arrangement from Giotto down to Raphael. In the series by
Giotto, in the Arena at Padua, we have three scenes from the marriage
legend. 1. St. Joseph and the other suitors present their wands to the
high-priest. 2. They kneel before the altar, on which their wands are
deposited, waiting for the promised miracle. 3. The marriage ceremony.
It takes place before an altar, in the _interior_ of the temple. The
Virgin, a most graceful figure, but rather too old, stands attended
by her maidens; St. Joseph holds his wand with the flower and the holy
Dove resting on it: one of the disappointed suitors is about to strike
him; another breaks his wand against his knee. Taddeo Gaddi, Angelico,
Ghirlandajo, Perugino, all followed this traditional conception of the
subject, except that they omit the altar, and place the locality in
the open air, or under a portico. Among the relics venerated in the
Cathedral of Perugia, is the nuptial ring of the blessed Virgin; and
for the altar of the sacrament there, Perugino painted the appropriate
subject of the Marriage of the Virgin.[1] Here the ceremony takes
place under the portico of the temple, and Joseph of course puts the
ring on her finger. It is a beautiful composition, which has been
imitated more or less by the painters of the Perugino school, and
often repeated in the general arrangement.

[Footnote 1: It was carried off from the church by the French, sold in
France, and is now to be seen in the Musee at Caen.]

But in this subject, Raphael, while yet a youth, excelled his
master and all who had gone before him. Every one knows the famous
"SPOSALIZIO of the Brera."[1] It was painted by Raphael in his
twenty-first year, for the church of S. Francesco, in Citta di
Castello; and though he has closely followed the conception of
his master, it is modified by that ethereal grace which even then
distinguished him. Here Mary and Joseph stand in front of the temple,
the high-priest joins their hands, and Joseph places the ring on the
finger of the bride; he is a man of about thirty, and holds his wand,
which has blossomed into a lily, but there is no Dove upon it. Behind
Mary is a group of the virgins of the temple; behind Joseph the group
of disappointed suitors; one of whom, in the act of breaking his wand
against his knee, a singularly graceful figure, seen more in front
and richly dressed, is perhaps the despairing youth mentioned in the
legend.[2] With something of the formality of the elder schools, the
figures are noble and dignified; the countenances of the principal
personages have a characteristic refinement and beauty, and a
soft, tender, enthusiastic melancholy, which lends a peculiar and
appropriate charm to the subject. In fact, the whole scene is here
idealized; It is like a lyric poem, (Kugler's Handbook, 2d edit.)

[Footnote 1: At Milan. The fine engraving by Longhi is well known.]

[Footnote 2: In the series by Giotto at Padua, we have the youth
breaking his wand across his knee.]

In Ghirlandajo's composition (Florence, S. Maria Novella), Joseph
is an old man with a bald head; the architecture is splendid; the
accessory figures, as is usual with Ghirlandajo, are numerous and
full of grace. In the background are musicians playing on the pipe
and tabor, an incident which I do not recollect to have seen in other
pictures.

The Sposalizio by Girolamo da Cotignola (Bologna Gal.), painted for
the church of St. Joseph, is treated quite in a mystical style. Mary
and Joseph stand before an altar, on the steps of which are seated, on
one side a prophet, on the other a sibyl.

* * * * *

By the German painters the scene is represented with a characteristic
homely neglect of all historic propriety. The temple is a Gothic
church; the altar has a Gothic altar-piece; Joseph looks like an old
burgher arrayed in furs and an embroidered gown; and the Virgin is
richly dressed in the costume of the fifteenth century. The suitors
are often knights and cavaliers with spurs and tight hose.

* * * * *

It is not said anywhere that St. Anna and St. Joachim were present at
the marriage of their daughter; hence they are supposed to have been
dead before it took place. This has not prevented some of the old
German artists from introducing them, because, according to their
ideas of domestic propriety, they _ought_ to have been present.

* * * * *

I observe that the later painters who treated the subject, Rubens and
Poussin for instance, omit the disappointed suitors.

* * * * *

After the marriage, or betrothal, Joseph conducts his wife to his
house. The group of the returning procession has been beautifully
treated in Giotto's series at Padua;[1] still more beautifully by
Luigi in the fragment of fresco now in the Brera at Milan. Here Joseph
and Mary walk together hand in hand. He looks at her, just touching
her fingers with an air of tender veneration; she looks down, serenely
modest. Thus they return together to their humble home; and with this
scene closes the first part of the life of the Virgin Mary.

[Footnote 1: Cappella dell' Arena, engraved for the Arundel Society.]

HISTORICAL SUBJECTS

PART II

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

1. THE ANNUNCIATION. 2. THE SALUTATION OF ELIZABETH. 3. THE JOUBNEY TO
BETHLEHEM. 4. THE NATIVITY. 6. THE ADORATION OF THE SHEPHERDS. 6.
THE ADORATION OF THE MAGI. 7. THE PRESENTATION IN THE TEMPLE. 8. THE
FLIGHT INTO EGYPT. 9. THE RIPOSO. 10. THE RETURN FROM EGYPT.

THE ANNUNCIATION.

_Ital._ L' Annunciazione. La B. Vergine Annunziata. _Fr._
L'Annonciation. La Salutation Angelique. _Ger._ Die Verkuendi gung. Der
Englische Gruss. March 25.

The second part of the life of the Virgin Mary begins with the
Annunciation and ends with the Crucifixion, comprising all those
scriptural incidents which connect her history with that of her divine
Son.

But to the scenes narrated in the Gospels the painters did not confine
themselves. Not only were the simple scripture histories coloured
throughout by the predominant and enthusiastic veneration paid to the
Virgin--till the life of Christ was absolutely merged in that of His
mother, and its various incidents became "the seven joys and the seven
sorrows of Mary,"--but we find the artistic representations of her
life curiously embroidered and variegated by the introduction of
traditional and apocryphal circumstances, in most cases sanctioned
by the Church authorities of the time. However doubtful or repulsive
some of these scenes and incidents, we cannot call them absolutely
unmeaning or absurd; on the contrary, what was _supposed_ grew up very
naturally, in the vivid and excited imaginations of the people, out of
what was _recorded_; nor did they distinguish accurately between what
they were allowed and what they were commanded to believe. Neither can
it be denied that the traditional incidents--those at least which we
find artistically treated--are often singularly beautiful, poetical,
and instructive. In the hands of the great religions artists, who
worked in their vocation with faith and simplicity, objects and scenes
the most familiar and commonplace became sanctified and glorified by
association with what we deem most holy and most venerable. In the
hands of the later painters the result was just the reverse--what
was most spiritual, most hallowed, most elevated, became secularized,
materialized, and shockingly degraded.

No subject has been more profoundly felt and more beautifully handled
by the old painters, nor more vilely mishandled by the moderns, than
the ANNUNCIATION, of all the scenes in the life of Mary the most
important and the most commonly met with. Considered merely as an
artistic subject, it is surely eminently beautiful: it places before
us the two most graceful forms which the hand of man was ever called
on to delineate;--the winged spirit fresh from paradise; the woman
not less pure, and even more highly blessed--the chosen vessel of
redemption, and the personification of all female loveliness, all
female excellence, all wisdom, and all purity.

* * * * *

We find the Annunciation, like many other scriptural incidents,
treated in two ways--as a mystery, and as an event. Taken in the
former sense, it became the expressive symbol of a momentous article
of faith, _The Incarnation of the Deity_. Taken in the latter sense,
it represented the announcement of salvation to mankind, through the
direct interposition of miraculous power. In one sense or the other,
it enters into every scheme of ecclesiastical decoration; but
chiefly it is set before us as a great and awful mystery, of which
the two figures of Gabriel, the angel-messenger, and Mary the
"highly-favoured," placed in relation to each other, became the
universally accepted symbol, rather than the representation.

THE ANNUNCIATION AS A MYSTERY.

Considering the importance given to the Annunciation in its mystical
sense, it is strange that we do not find it among the very ancient
symbolical subjects adopted in the first ages of Christian art. It
does not appear on the sarcophagi, nor in the early Greek carvings and
diptychs, nor in the early mosaics--except once, and then as a part of
the history of Christ, not as a symbol; nor can we trace the mystical
treatment of this subject higher than the eleventh century, when
it first appears in the Gothic sculpture and stained glass. In the
thirteenth, and thenceforward, the Annunciation appears before
us, as the expression in form of a theological dogma, everywhere
conspicuous. It became a primal element in every combination of sacred
representations; the corner-stone, as it were, of every architectural
system of religious decoration. It formed a part of every altar-piece,
either in sculpture or painting. Sometimes the Virgin stands on
one side of the altar, the angel on the other, carved in marble or
alabaster, or of wood richly painted and gilt; or even, as I have
seen in some instances, of solid silver. Not seldom, we find the two
figures placed in niches against the pillars, or on pedestals at the
entrance of the choir. It was not necessary, when thus symbolically
treated, to place the two figures in proximity to signify their
relation to each other; they are often divided by the whole breadth
of the chancel.

Whatever the subject of the altar-piece--whether the Nativity, or the
Enthroned Madonna, or the Coronation, or the Crucifixion, or the
Last Supper,--the Annunciation almost invariably formed part of the
decoration, inserted either into the spandrels of the arches above, or
in the predella below; or, which is very common, painted or carved on
the doors of a tabernacle or triptychon.

If the figures are full-length, a certain symmetry being required,
they are either both standing or both kneeling; it is only in later
times that the Virgin sits, and the angel kneels. When disposed in
circles or semicircles, they are often merely busts, or half-length
figures, separated perhaps by a framework of tracery, or set on each
side of the principal subject, whatever that may be. Hence it is
that we so often find in galleries and collections, pictures of the
Annunciation in two separate parts, the angel in one frame, the
Virgin in another; and perhaps the two pictures, thus disunited,
may have found their way into different countries and different
collections,--the Virgin being in Italy and the angel in England.

Sometimes the Annunciation--still as a mystical subject--forms an
altar-piece of itself. In many Roman Catholic churches there is
a chapel or an altar dedicated expressly to the mystery of the
Annunciation, the subject forming of course the principal decoration.
At Florence there is a church--one of the most splendid and
interesting of its many beautiful edifices--dedicated to the
Annunciation, or rather to the Virgin in her especial character and
dignity, as the Instrument of the Incarnation, and thence styled
the church _della Santissima Nunziata_. The fine mosaic of the
Annunciation by Ghirlandajo is placed over the principal entrance. Of
this church, and of the order of the Servi, to whom it belongs, I have
already spoken at length. Here, in the first chapel on the left, as
we enter, is to be found the miraculous picture of the Annunciation,
formerly held in such veneration, not merely by all Florence, but
all Christendom:--found, but not seen--for it is still concealed from
profane eyes, and exhibited to the devout only on great occasions. The
name of the painter is disputed; but, according to tradition, it is
the work of a certain Bartolomeo; who, while he sat meditating on the
various excellences and perfections of our Lady, and most especially
on her divine beauty, and thinking, with humility, how inadequate were
his own powers to represent her worthily, fell asleep; and on awaking,
found the head of the Virgin had been wondrously completed, either by
the hand of an angel, or by that of St. Luke, who had descended from
heaven on purpose. Though this curious relic has been frequently
restored, no one has presumed to touch the features of the Virgin,
which are, I am told--for I have never been blessed with a sight
of the original picture--marvellously sweet and beautiful. It is
concealed by a veil, on which is painted a fine head of the Redeemer,
by Andrea del Sarto; and forty-two lamps of silver burn continually
round it. There is a copy in the Pitti Palace, by Carlo Dolce.

It is evident that the Annunciation, as a mystery, admits of a style
of treatment which would not be allowable in the representation of
an event. In the former case, the artist is emancipated from all
considerations of locality or circumstance. Whether the background
be of gold, or of blue, or star-bespangled sky,--a mere curtain, or a
temple of gorgeous architecture; whether the accessories be the most
simple or the most elaborate, the most real or the most ideal; all
this is of little moment, and might be left to the imagination of the
artist, or might be modified according to the conditions imposed by
the purpose of the representation and the material employed, so long
as the chief object is fulfilled--the significant expression of an
abstract dogma, appealing to the faith, not to the senses or the
understanding, of the observer.

To this class, then, belong all those church images and pictures of
the Annunciation, either confined to the two personages, with just
sufficient of attitude and expression to place them in relation to
each other, or with such accompaniments as served to carry out the
mystical idea, still keeping it as far as possible removed from the
region of earthly possibilities. In the fifteenth century--that age of
mysticism--we find the Annunciation, not merely treated as an abstract
religious emblem, but as a sort of divine allegory or poem, which
in old French and Flemish art is clothed in the quaintest, the most
curious forms. I recollect going into a church at Breslau, and
finding over one of the altars a most elaborate carving in wood of
the Annunciation. Mary is seated within a Gothic porch of open tracery
work; a unicorn takes refuge in her bosom: outside, a kneeling angel
winds a hunting horn; three or four dogs are crouching near him. I
looked and wondered. At first I could make nothing of this singular
allegory; but afterwards found the explanation, in a learned French
work on the "Stalles d'Amiens." I give the original passage, for it
will assist the reader to the comprehension of many curious works of
art; but I do not venture to translate it.

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