Legends of the Madonna as represented in the fine arts : forming the third series of Sacred and legendary art

Contents

page

Preface . ....... xv

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 ......... xvii

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

CONTENTS.

PAGE

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 . . . . . .13

The Virgin of Mercy, as she is represented in the Last Judgment . . 26 The Virgin, as Dispenser of Mercy on Earth. Various Examples . . 29

The Mater Dolorosa seated and standing with the Seven Swords . . 35

The Stabat Mater, the Ideal Pieta. The Votive Pieta, by Guido . 37, 39 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 . 42 The Predestination of the Virgin. Curious picture by Cotignola . . 52

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 . . . . . . .57

The Enthroned Virgin in the old Mosaics. In early Italian Art. The Virgin

standing as Regina Cceli . . . . . . .63

La Madre Pia enthroned. Mater Sapientice with the Book . . .65

The Virgin and Child enthroned with attendant Figures ; witli Angels ; with

Prophets ; with Apostles . . . . . . .75

With Saints : John the Baptist ; St. Anna ; St. Joachim ; St. Joseph . . 78

With. Martyrs and Patron Saints . . . . . .82

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 . . . . . 83, 90

The Virgin and Child between St. George and St. Nicholas ; with St. Christopher ; with St. Leonard. The Virgin of Charity . . . .90

The Madonnas of Florence ; of Siena ; of Venice and Lombardy. How attended . ... . . . . . .91

The Virgin attended by the Monastic Saints. Examples from various Painters 94 Votive Madonnas. For Mercies accorded : for Victory ; for Deliverance from

Pestilence ; against Flood and Fir*1 . . . . . .96

Family Votive Madonnas. Examples. The, Madonna of the Bentivoglio Family. The Madonna of the Sforza Family. The Madonna of the Meyer Family. The Madonna di Foligno. German Votive Madonna at Rouen. Madonna of Rene, Duke of Anjou ; of the Pesaro Family at Venice ......... 101

CONTENTS.

PAGE

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

The Mater Amabilis. The infinite Variety given to this Subject. Early

Greek Examples . . . . . . . .114

Virgin and Child with St. John. He takes the Cross . . . .123

The Madre Pia ; the Virgin adores her Son . . . . .125

Pastoral Madonnas of the Venetian School . . . . .127

Conclusion of the Devotional Subjects . . . . . .133

HISTORICAL SUBJECTS.

Part I.

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

JOSEPH.

The Legend of Joachim and Anna .... 137, 138

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 . . . . . . . .141

The Nativity of the Virgin. The Importance and Beauty of the Subject.

The Presentation of the Virgin. A Subject of great Importance. General Arrangement and Treatment. Various Examples from celebrated Painters ......... 150

The Virgin in the Temple . . . . . . .154

The Marriage of the Virgin. The Legend as followed by the Painters . 157 Various Examples of the Marriage of the Virgin, as treated by Perugino,

Raphael, and others . . . . . . . .160

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 Altarpieces. As an Allegory. The Annunciation as expressing the Incarnation. Ideally treated with Saints and Votaries. Examples by Simone Memmi, Fra Bartolomeo, Angelico, and others . . . . . .166

CONTENTS.

PAGE

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 . . . .175

Proper Attitude and Occupation of Mary ; Expression and Deportment. The

Dove. Examples from various Painters. Mistakes . . . 181

The Visitation. Character of Elizabeth. The Locality and Circumstances.

Proper Accessories. Examples from various Painters . . .186

The Dream of Joseph. He entreats Forgiveness of Mary . . . 193

The Nativity. The Prophecy of the Sibyl. La Madonna del Parte. The Nativity as a Mystery ; with poetical Accessories ; with Saints and Votaries . . . . . . . . .196

The Nativity as an Event. The Time ; the Place ; the proper Accessories and Circumstances ; the angelic Choristers ; Signification of the Ox and the Ass . . . . . . . .204

The Adoration of the Shepherds ...... 209

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 . . . . . .210

The Purification of the Virgin. The Prophecy of Simeon. Greek

Legend of the Nunc Dimittis. Various Examples .... 223

The Flight into Egypt. The Massacre of the Innocents. The Preparation for the Journey. The Circumstances. The Legend of the Kobbers ; of the Palm ......... 228

The Eepose of the Holy Family. The Subject often mistaken. Proper Treatment of the Group. The Repose at Matarea. The Ministry of Angels . . . . . . . . .238

The Legend of the Gipsy ....... 243

The Return from Egypt ....... 245

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 . 249 Holy Family of Three Figures ; with the little St. John ; with St. Joseph ;

Holy Family of Four Figures ; with St. Elizabeth and others . . . 260

The Holy Family of Five and Six Figures . . . . .260

CONTENTS.

PAGE

The Family of the Virgin grouped together . . . . .261

Examples of Holy Family as treated by various Artists . . . .263

The Carpenter's Shop . . . . - . . .267

The Infant Christ learning to read . . . . - .269

The Dispute in the Temple. The Virgin seeks her Son . . .271 The Death of Joseph ........ 274

The Marriage at Cana. Proper Treatment of the Virgin in this subject ;

as treated by Luini and by Paul Veronese . . . . .276

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

Lo Spasimo. Christ takes leave of his Mother. Women who are introduced

into Scenes of the Passion of our Lord. The Five Maries . . . 280

The Procession to Calvary. Lo Spasimo di Sicilia .... 282 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 ..... 284

The Descent from the Cross. Proper Place and Action of the Virgin in

The Deposition. Proper Treatment of this Form of the Mater Dolorosa.

Persons introduced. Various Examples ..... 289 The Entombment. Treated as an Historical Scene. As one of the Sorrows

of the Rosary ; attended by Saints . . . . . .292

The Mater Dolorosa attended by St. Peter. Attended by St. John and Mary

Part IV

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

The Apparition of Christ to his Mother. Beauty and Sentiment of the

old Legend ; how represented by the Artists .... 299 The Ascension of our Lord. The proper Place of the Virgin Mary . 302 The Descent of the Holy Ghost ; Mary being one of the principal Persons 303 The Apostles take leave of the Virgin . 303 The Death and Assumption of the Virgin. The old Greek Legend . 306 The Angel announces to Mary her approaching Death .... 310 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 312 The Apostles carry the Body of the Virgin to the Tomb . . ,316

The Entombment . . . . . .317 viii

CONTENTS.

PAGE

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 ... ..... 317

La Madonna della Cintola. The Legend of the Girdle ; as painted in the

Cathedral at Prato ........ 320

Examples of the Assumption as represented by various Artists . . 323

The Coronation as distinguished from the Incoronata : how treated as an

Historical Subject. Conclusion ...... 328

LIST OF ILLUSTRATIONS.

1. The Virgin Mary. Ancient Greek Bas-relief in Alabaster. S. Maria in

Porto Ravenna.

2. The Virgin. Ancient Mosaic. San Venanzio, Rome.

3. The Virgin. Mosaic. Cathedral, Spoleto.

4. Ancient Mosaic. Lateran.

5. The Virgin enthroned. Campo Santo, Pisa.

6. Virgo Sapientissima. Van Eych. •

7. Regina Virginum. Guido.

8. Regina Cceli. Holbein.

9. Santa Maria Vergine. Guido.

10. The Virgin as the Winged Woman in the Apocalypse.

11. L'Incoronata. Mosaic. Santa Maria Maggiore, Rome.

12. Virgin and Christ enthroned together. Mosaic. S. Maria in Trastevere,

Rome.

13. L'Incoronata. Piero Laurati.

14. L'Incoronata. Ancient French Carving.

15. L'Incoronata. Early German.

16. The Virgin of Mercy in the Last Judgment. Campo Santo, Pisa-.

17. Madonna di Misericordia. Bas-relief. Venice.

18. Madonna di Misericordia. Piero delta Francesco.

19. Vision of the Virgin of Mercy. Moretto.

20. Mater Dolorosa. Raphael.

21. Mater Dolorosa. Murillo.

22. Mater Dolorosa, with the Seven Swords.

23. Notre Dame des Sept Douleurs. Guido.

24. Mater Dolorosa at the Foot of the Cross. Champaigne.

25. Ideal Pieta. Angelico da Fiesole.

26. Lamenting Angel. In an ancient Greek Pietd.

27. Our Lady of the Immaculate Conception. Guido.

28. La Madonna Purissima. Guido.

29. The Predestination of Mary. Miniature of the Sixteenth Century.

30. Virgin and Child enthroned. Mosaic. Cathedral at Capua,

b

X

LIST OF ILLUSTRATIONS.

31. Virgo Deipara. Figure in the Catacombs, Rome.

32. Virgin and Child enthroned. Guido da Siena.

33. Virgin and Child enthroned. Cimabue.

34. Virgin and Child standing. Greek Figure. Orvieto.

35. Virgin and Child standing. Early German.

36. Virgin and Child standing. {Virgo Lactante.) Van Eyck.

37. La Madre Pia. Vivarini.

38. Virgin and Child. (Mater Sapientice with a Book.)

39. Enthroned Virgin and Child. (Madonna in Tro?io.)

40. Madonna in Trono. Carlo Crivelli.

41. Madonna in Gloria. Raphael.

42. Virgin and Child attended by the Four Archangels. Sketch from an

Early Mosaic. Ravenna.

43. Virgin and Child enthroned with St. Anna. Early German.

44. Virgin and Child enthroned. Raphael.

45. Votive Madonna. Siena.

46. Votive Madonna.

47. Half-length Enthroned Madonna. Milanese School.

48. Half-length Enthroned Madonna. Francesco Francia.

49. Half-length Enthroned Madonna. Botticelli.

50. Half-length Enthroned Madonna. Titian,

51. The Virgin and Child with St. John, St. Joseph, and Zacharias. Ccsare

di Sesto.

52. Mater Amabilis. Luini.

53. Mater Amabilis. Greco-Italian. S. Maria in Cosmedino} Rome.

54. Mater Amabilis. Greco-Italian. Perugia.

55. Mater Amabilis. Greco-Italian. Padua.

56. Mater Amabilis. ( Vierge & la Pomme.) Rahpael.

57. Mater Amabilis. G. Bellini.

58. Mater Amabilis. Squarcione.

59. Mater Amabilis. School of Luini.

60. Mater Amabilis. Fra Bartolomeo.

61. Mater Amabilis. Annibal Caracci.

62. Mater Amabilis. Murillo.

63. Mater Amabilis (in the Hortus Clausus). -Albert Diirer.

64. Mater Amabilis. Allori.

65. Virgin and Child with St. John. Andrea del Sarto.

66. Virgin and Child with St. John. Guido.

67. Virgin and Child with St. John. Titian.

68. Virgin and Child with St. John. Raphael.

69. La Madre Pia (in the Hortus Clausus). Filippino Lippi.

70. La Madre Pia. Correggio.

71. La Madre Pia. Botticelli.

72. La Madre Pia. Guido.

LIST OF ILLUSTRATIONS.

xi

73. Pastoral Madonna and Child. Palma Veccliio.

74. Pastoral Madonna with St. Catherine and St. John. Titian.

75. Pastoral Madonna, with St. Jerome and St. Dorothea. Titian.

76. Virgin and Child, with St. Joseph and St. Catherine. {Sacra Conversa-

zione.) Titian.

77. Sacra Conversazione. Parmigiano.

78. Madonna and Child with the Seven Gifts of the Holy Spirit. Miniature.

79. The Annunciation to St. Anna. Luini.

80. Joachim rejected from the Temple. Taddeo Gaddi.

81. Meeting of Joachim and Anna. Albert Diirer.

82. Meeting of Joachim and Anna. Taddeo Gaddi.

83. Birth of the Virgin. Ancient Fresco. Florence.

84. La Vergine Bambina.

85. The Dedication of the Virgin. Vittore Garpaccio.

86. The Virgin in the Temple. Luini.

87. The Marriage of Joseph and Mary. Angelico da Fiesole.

88. Angel. Vignette.

89. The Annunciation. Old Italian.

90. The Annunciation as a Mystery. Lorenzo Monaco.

91. The Annunciation as a Mystery. Ancient Florentine Master.

92. The Annunciation as a Mystery. Simone Memmi.

93. The Annunciation as a Mystery. Angelico da Fiesole.

94. The Annunciation as an Event. John Van FycJc.

95. The Annunciation as an Event. Albert Diirer.

96. The Annunciation as an Event. Cimabue.

97. The Annunciation as an Event. Andrea del Sarto.

98. The Annunciation. (Ecce Ancilla Domini.) Flaxman.

99. The Allegory of the Unicorn. Old Florentine Engraving.

100. The Visitation with Angels. Pinturicchio.

101. The Visitation. Lucca della Robbia.

102. The Visitation. Cimabue.

103. The Visitation. Lucas Van Ley den.

104. The Sibyl's Prophecy. Baldassare Peruzzi.

105. The Nativity as a Mystery. Albertinelli.

106. The Nativity as a Mystery. Lorenzo di Credi,

107. The Nativity. Taddeo Gaddi.

108. The Nativity. Lorenzo di Credi.

109. The Adoration of the Shepherds. Raphael.

110. An Ideal Nativity. Perugino.

111. The Wise Men. The Star appears like a child. Taddeo Gaddi.

112. Adoration of the Magi. Taddeo Gaddi.

113. Adoration of the Magi. Pinturicchio.

114. Adoration of the Magi. Albert Diirer.

115. The Presentation in the Temple. Fra Bartolomeo.

LIST OP ILLUSTRATIONS.

116. The Nunc Dimittis. Byzantine.

117. Presentation in the Temple. John Van Eych.

118. The Preparation for the Flight into Egypt. Titian.

119. The Flight into Egypt. The Massacre of the Innocents in the Back-

ground. Pinturicchio.

120. The Legend of the Robber. G. di San Giovanni.

121. The Flight into Egypt. Guldo.

122. The Flight into Egypt. Poussin.

123. The Riposo. Jan Schoreel.

124. The Riposo with dancing Angels. Van Dyck.

125. Sacra Conversazione. Milanese School.

126. Sacra Famiglia. Ludovico Caracci.

127. La Vierge a l'Oreiller Verd. Andrea Solario.

128. La Madonna della Campanella. Allori.

129. St. John caresses the Infant Christ. Botticelli.

130. La Madonna del Giglio. Raphael.

131. Holy Family. Raphael.

132. The Family of the Virgin Mary. Parmigiano.

133. Virgin and Child. Bas-relief. M. Angelo.

134. Christ learning to read. Schidone.

135. Mary and Joseph conduct Jesus home. Rubens.

136. The Virgin seeks her Son. Giotto.

137. Group of the Fainting Virgin at the foot of the Cross. Andrea Man>-

tegna.

138. Descent from the Cross. Duccio di Siena.

139. Deposition. B. de Bruyn.

140. The Virgin in the Entombment. Ancient Greek.

141. The Entombment. Raphael.

142. The Ascension. Giotto.

143. The Descent of the Holy Ghost. Hemmelinck.

144. Assumption of the Virgin. Titian.

145. The Angel announces to the Virgin her approaching Death. A. Orcagna.

146. The same subject. Filippo Lippi.

147. Assumption. Christ takes the Hands of the Virgin. Von Mekenem.

148. The Virgin presents her Girdle to St. Thomas. Palma.

149. The Coronation of the Virgin. Filippo Lippi.

150. The Virgin and Child. Sculpture. Michael Angelo.

151. Isis nursing Horns.

152. Greek Virgin and Child.

153. An Effect of Light and Shade.

154. Popular Image of the Virgin. 155 — 164. Plans of Altarpieces.

165. Head of the Virgin. A fter Donatello.

LIST OF ILLUSTRATIONS.

PAGE

I. The Virgin Mary studying the Scriptures in the Temple (v. p. 168). From the Fresco by Pinturicchio in the Church of S. Maria del Fopolo at Rome . . . . .To face the Title.

II. Ancient Christian Sculpture . . . Introduction, p. lxxi.

III. 1. 'Mater Sapientissima.' After Piero di Cosimo. 2. La Madonna

della Cintola. After Francesco Granacci . . . .10

IV. 1. The Coronation of the Virgin, as a Mystery. After a Cartoon by

Raphael, prepared for the High A Itar of the Sistine Chapel, and expressing the Three Great Points of Doctrine, viz., The Exaltation of the Virgin as the Symbol of the Church. On the Right, Salvation through Baptism (St. John the Baptist). On the Left, Salvation through Penitence or Penance (St. Jerome). 2. The Coronation of the Virgin, as an Event. A fter Albert Diirer . . .24

V. 'Stabat Mater.' 1. After Angelico da Fiesole. 2. After Michael

Angelo. 3. After Lorenzo di Credi . . . .37

VI. Ideal Pieta. After Michael Angelo. 1. The Composition engraved by Bonasone. 2. The Famous Marble Group in St. Peter's at Kome. (Etched from a Photograph.) . . . .39

VII. Ideal Pieta. 1. After Luini. 2. After Martin Schoen. Contrasting

the Italian and German Treatment . . . . .40

VIII. 1. 'La Divina Pastora.' After Alonzo M. de Tobar (v. p. 34). 2.

' Our Lady of the Immaculate Conception.' After the Picture by Murillo, styled ' La Grande Conception de Seville ' . . . 45

IX. 1. The Virgin and Child enthroned between the two Spose, St. Catherine of Alexandria and St. Catherine of Siena. After Ambrogio Borgognone. (v. Legendary Art, and the Legends of the Monastic Orders for the details of the subject.) 2. The ' Mater Dei,' enthroned, and attended by Angels. After Nicolo Alunno. 3. The 1 Mater Dei/ Standing figure. German Sculpture. Nuremberg . 88 X. The Virgin and Child enthroned. 1. Between two Angels, one of whom offers the Apple. After Hemling. 2. Between St. Catherine and St. Barbara. After Hugo van der Goes. Both in the Florence Gallery . .... . 90

XI. Family Votive Madonna called ' The Madonna of the Meyer Family.' After the Picture by Holbein at Dresden. 2. Votive Madonna of Charity, enthroned between St. Omobuono, giving Alms to a poor Man, and St. Francis with a Taper (Let your light so shine before men, &c.) Behind him St. Bernardino da Feltri with a Mont de Piete, a small figure of St. Catherine in front. From a Picture by B. Montagna, in the Berlin Gallery .... 102

LIST OF ILLUSTRATIONS.

XII. Half-length Enthroned Madonna, with Saints. 1. Between St. Margaret and St. Dorothea. After a Picture by Mdbuse in the Munich Gallery. 2. Between St. Catherine and St. Barbara. After a Picture by Luini in the Belvedere at Vienna . . .109

XIII. Ancient Greek Mater Amabilis. 1. ' Virgin Niko-peja ' (i.e. Bringer

of Victory), supposed to be the same which the Empress Eudocia sent to her sister-in-law Pulcheria, now in the Cathedral of St. Mark at Venice. 2. The Virgin of Casopo in Corcyra. 3. The Virgin of the Cathedral at Undine. 4. The Virgin of the Cathedral at Padua. All these effigies are popularly attributed to St. Luke, and are accounted miracolosissime. Repetitions in every form abound ll6

XIV. Mater Amabilis. 1. After Giorgione, in the Leuchtenberg Gallery at

Munich. 2. After Hemling, at Bruges. Contrasting the Italian and Early Flemish Treatment . . . . .121

XV. The Nativity of the Virgin. After the Fresco by Ghirlandajo, in S.

Maria Novella at Florence . . . . • .148

XVI. The Marriage of the Virgin to Joseph (styled a ' Sposalizio '). After

the Fresco by Pinturicchio, in S. Maria del Popolo, at Rome . 160 XVII. The Annunciation as a Mystery. 1. After Raphael. 2. After Alvarez

Petri (1429), on the Doors of an Altarpiece . . . .167

XVIII. The Riposo, with Dancing Angels. After Lucas Granach . . 240

XIX. 1. Holy Family, with Saints. After Giacomo Francia. Berlin Gallery. 2. Holy Family. After Michael Angelo. From a Fresco in the Casa Buonarroti, at Florence ..... 264 XX. Domestic Holy Family. 1. After Albert Bilrer. 2. After Giulio

Romano {called ' La Madonna del Bacino') . . . 266

XXI. The Procession to Calvary. From the Picture by Raphael, styled ' Lo

Spasimo di Sicilia,' now at Madrid ..... 283 XXII. The Descent from the Cross. Sculpture. After Niccold Pisano. Lucca 289

XXIII. The Deposition. After a celebrated Drawing by Raphael . . 291

XXIV. 1. The Apparition of Christ to his Mother. After Albert DUrer. 2.

Mary and St. John returning from the Crucifixion. After Zurbaran 301 XXV. 1. The Death of the Virgin Mary. After Albert Durer. 2. Christ

bears the Virgin into Heaven. After Giovanna Pisano . .313 XXVI. The Assumption of the Virgin. 1. Standing. After Pinturicchio.

2. Seated. After Perugino . . . . . .317

XXVII. Death and Assumption of the Virgin, with St. Thomas receiving the Girdle. After Andrea Orcagna. From, the Shrine in Or-san- Michele at Florence. Sculpture in Alabaster . . .319

Preface

TO

THE FIRST EDITION.

In presenting to my friends and to the public this Third 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 have 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

PREFACE.

boundless as regards variety and complexity. I may have been superficial from mere superabundance of materials ; sometimes mistaken as to facts and dates ; the taste, the feelings, and the faith of my readers may not always go along with me ; but if attention and interest have been excited — 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.

The illustrative etchings in this new edition have been executed on steel by a young relative at Borne — they will be found superior to the drawings on stone in the first edition ; and in the selection of the subjects some will be found different and more appropriate than the former. Both the woodcuts and the etchings must be considered as mere diagrams to assist the fancy of the observer to the comprehension of the different groups ; so that, in looking over pictures and prints, the differences and varieties in point of composition and arrangement may be at once discriminated, not only in those given as examples, but in hundreds of others. In this respect, as it is well known, a few scratches with a pen are better than whole pages of the most elaborate description.

Michael Angelo.

Entrolmrtton.

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

c sviii