Chapter IX: Introduction (3)

It appears therefore that the Life of the Virgin Mary, whether treated as a devotional or historical series, forms a kind of pictured drama in successive scenes; sometimes comprising only six or eight of the principal events of her individual life, as her birth, dedication, marriage, death, and assumption: sometimes extending to forty or fifty subjects, and combining her history with that of her divine Son. I may now direct the attention of the reader to a few other instances remarkable for their beauty and celebrity.

Giotto, 1320. In the chapel at Padua styled _la Capella dell' Arena_. One of the finest and most complete examples extant, combining the Life of the Virgin with that of her Son. This series is of the highest value, a number of scenes and situations suggested by the Scriptures being here either expressed for the first time, or in a form unknown in the Greek school.[1]

[Footnote 1: _Vide_ Kugler's Handbook, p. 129. He observes, that "the introduction of the maid-servant spinning, in the story of St. Anna, oversteps the limits of the higher ecclesiastical style." For an explanation I must refer to the story as I have given it at p 249. See, for the distribution of the subjects in this chapel, Lord Lindsay's "Christian Art," vol. ii. A set of the subjects has since been published by the Arundel Society.]

Angiolo Gaddi, 1380. The series in the cathedral at Prato. These comprise the history of the Holy Girdle.

Andrea Orcagna, 1373. The beautiful series of bas-reliefs on the shrine in Or-San-Michele, at Florence.

Nicolò da Modena, 1450. Perhaps the earliest engraved example: very remarkable for the elegance of the _motifs_ and the imperfect execution, engraving on copper being then a new art.

Albert Durer. The beautiful and well-known set of twenty-five wood-cuts, published in 1510. A perfect example of the German treatment.

Bernardino Luini, 1515. A series of frescoes of the highest beauty, painted for the monastery Della Pace. Unhappily we have only the fragments which are preserved in the Brera.

The series of bas-reliefs on the outer shrine of the Casa di Loretto, by Sansovino, and others of the greatest sculptors of the beginning of the sixteenth century.

The series of bas-reliefs round the choir at Milan: seventeen subjects.

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We often find the Seven Joys and the Seven Sorrows of the Virgin treated as a series.

The Seven Joys are, the Annunciation, the Visitation, the Nativity, the Adoration of the Magi, the Presentation in the Temple, Christ found by his Mother, the Assumption and Coronation.

The Seven Sorrows are, the Prophecy of Simeon, the Flight into Egypt, Christ lost by his Mother, the Betrayal of Christ, the Crucifixion (with St. John and the Virgin only present), the Deposition from the Cross, the Ascension when the Virgin is left on earth.

The Seven Joys and Sorrows are frequently found in altar-pieces and religions prints, arranged in separate compartments, round the Madonna in the centre. Or they are combined in various groups into one large composition, as in a famous picture by Hans Hemling, wonderful for the poetry, expression, and finished execution.[1]

[Footnote 1: Altogether, on a careful consideration of this picture, I do not consider the title by which it is generally known as appropriate. It contains man groups which would not enter into the mystic joys or sorrows; for instance, the Massacre of the Innocents, Christ at Emmaus, the _Noli me tangere_, and others.]

Another cycle of subjects consists of the fifteen Mysteries of the Rosary.

The five Joyful Mysteries, are the Annunciation, the Visitation, the Nativity, the Purification, and Christ found in the Temple.

The five Dolorous or Sorrowful Mysteries are, our Lord in the Garden of Olives, the Flagellation, Christ crowned with Thorns, the Procession to Calvary, the Crucifixion.

The five Glorious Mysteries are, the Resurrection, the Ascension, the Descent of the Holy Ghost, the Assumption, the Coronation.

A series of subjects thus arranged cannot be called strictly historical, but partakes of the mystical and devotional character. The purpose being to excite devout meditation, requires a particular sentiment, frequently distinguished from the merely dramatic and historical treatment in being accompanied by saints, votaries, and circumstances purely ideal; as where the Wise Men bring their offerings, while St. Luke sits in a corner painting the portrait of the Virgin, and St. Dominick kneels in adoration of the Mystery (Mabuse, Munich Gal.);--and in a hundred other examples.

IV. TITLES OF THE VIRGIN MARY.

Of the various titles given to the Virgin Mary, and thence to certain effigies and pictures of her, some appear to me very touching, as expressive of the wants, the aspirations, the infirmities and sorrows, which are common to poor suffering humanity, or of those divine attributes from which they hoped to find aid and consolation. Thus we have--

Santa Maria "del buon Consilio." Our Lady of good Counsel.

S.M. "del Soccorso." Our Lady of Succour. Our Lady of the Forsaken.

S.M. "del buon Core." Our Lady of good Heart.

S.M. "della Grazia." Our Lady of Grace.

S.M. "di Misericordia." Our Lady of Mercy.

S.M. "Auxilium Afflictorum." Help of the Afflicted.

S.M. "Refugium Peccatorum." Refuge of Sinners.

S.M. "del Pianto," "del Dolore." Our Lady of Lamentation, or Sorrow.

S.M. "Consolatrice," "della Consolazione," or "del Conforte." Our Lady of Consolation.

S.M. "della Speranza." Our Lady of Hope.

Under these and similar titles she is invoked by the afflicted, and often represented with her ample robe outspread and upheld by angels, with votaries and suppliants congregated beneath its folds. In Spain, _Nuestra Señora de la Merced_ is the patroness of the Order of Mercy; and in this character she often holds in her hand small tablets bearing the badge of the Order. (Legends of the Monastic Orders, 2d edit.)

S.M. "della Liberta," or "Liberatrice," Our Lady of Liberty; and S.M. "della Catena," Our Lady of Fetters. In this character she is invoked by prisoners and captives.

S.M. "del Parto," Our Lady of Good Delivery, invoked by women in travail.[1]

[Footnote 1: Dante alludes to her in this character:--

"E per ventura udi 'Dolce Maria!'
Dinanzi a noi chiamar cosi nel pianto
Come fa donna che 'n partorir sia."--_Purg._ c. 20.]

S.M. "del Popolo." Our Lady of the People.

S.M. "della Vittoria." Our Lady of Victory.

S.M. "della Pace." Our Lady of Peace.

S.M. "della Sapienza," Our Lady of Wisdom; and S.M. "della Perseveranza," Our Lady of Perseverance. (Sometimes placed in colleges, with a book in her hand, as patroness of students.)

S.M. "della Salute." Our Lady of Health or Salvation. Under this title pictures and churches have been dedicated after the cessation of a plague, or any other public calamity.[1]

[Footnote 1: There is also somewhere in France a chapel dedicated to _Notre Dame de la Haine_.]

Other titles are derived from particular circumstances and accessories, as--

S.M. "del Presepio," Our Lady of the Cradle; generally a Nativity, or when she is adoring her Child.

S.M. "della Scodella"--with the cup or porringer, where she is taking water from a fountain; generally a Riposo.

S.M. "dell' Libro," where she holds the Book of Wisdom.

S.M. "della Cintola," Our Lady of the Girdle, where she is either giving the Girdle to St. Thomas, or where the Child holds it in his hand.

S.M. "della Lettera." Our Lady of the Letter. This is the title given to Our Lady as protectress of the city of Messina. According to the Sicilian legend, she honoured the people of Messina by writing a letter to them, dated from Jerusalem, "in the year of her Son, 42." In the effigies of the "Madonna della Lettera," she holds this letter in her hand.

S.M. "della Rosa." Our Lady of the Rose. A title given to several pictures, in which the rose, which is consecrated to her, is placed either in her hand, or in that of the Child.

S.M. "della Stella." Our Lady of the Star. She wears the star as one of her attributes embroidered on her mantle.

S.M. "del Fiore." Our Lady of the Flower. She has this title especially as protectress of Florence.

S.M. "della Spina." She holds in her hand the crown of thorns, and under this title is the protectress of Pisa.

S.M. "del Rosario." Our Lady of the Rosary, with the mystic string of beads. I do not remember any instance of the Rosary placed in the hand of the Virgin or the Child till after the battle of Lepanto (1571), and the institution of the Festival of the Rosary, as an act of thanksgiving. After this time pictures of the Madonna "del Rosario" abound, and may generally be found in the Dominican churches. There is a famous example by Guido in the Bologna Gallery, and a very beautiful one by Murillo in the Dulwich Gallery.

S.M. "del Carmine." Our Lady of Mount Carmel. She is protectress of the Order of the Carmelites, and is often represented holding in her hand small tablets, on which is the effigy of herself with the Child.

S.M. "de Belem." Our Lady of Bethlehem. Under this title she is the patroness of the Jeronymites, principally in Spain and Portugal.

S.M. "della Neve." Our Lady of the Snow. In Spain, S. Maria la Blanca. To this legend of the snow the magnificent church of S.M. Maggiore at Rome is said to owe its origin. A certain Roman patrician, whose name was John (Giovanni Patricie), being childless, prayed of the Virgin to direct him how best to bestow his worldly wealth. She appeared to him in a dream on the night of the fifth of August, 352, and commanded him to build a church in her honour, on a spot where snow would be found the next morning. The same vision having appeared to his wife and the reigning pope, Liberius, they repaired in procession the next morning to the summit of Mount Esquiline, where, notwithstanding the heat of the weather, a large patch of ground was miraculously covered with snow, and on it Liberius traced out with his crosier the plan of the church. This story has been often represented in art, and is easily recognized; but it is curious that the two most beautiful pictures consecrated to the honour of the Madonna della Neve are Spanish and not Roman, and were painted by Murillo about the time that Philip IV. of Spain sent rich offerings to the church of S.M. Maggiore, thus giving a kind of popularity to the legend. The picture represents the patrician John and his wife asleep, and the Vision of the Virgin (one of the loveliest ever painted by Murillo) breaking upon them in splendour through the darkness of the night; while in the dim distance is seen the Esquiline (or what is meant for it) covered with snow. In the second picture, John and his wife are kneeling before the pope, "a grand old ecclesiastic, like one of Titian's pontiffs." These pictures, after being carried off by the French from the little church of S.M. la Blanca at Seville, are now in the royal gallery at Madrid.

S. Maria "di Loretto." Our Lady of Loretto. The origin of this title is the famous legend of the Santa Casa, the house at Nazareth, which was the birthplace of the Virgin, and the scene of the Annunciation. During the incursions of the Saracens, the Santa Casa being threatened with profanation, if not destruction, was taken up by the angels and conveyed over land and sea till it was set down on the coast of Dalmatia; but not being safe there, the angels again took it up, and, bearing it over the Adriatic, set it down in a grove near Loretto. But certain wicked brigands having disturbed its sacred quietude by strife and murder, the house again changed its place, and was at length set down on the spot where it now stands. The date of this miracle is placed in 1295.

The Madonna di Loretto is usually represented as seated with the divine Child on the roof of a house, which is sustained at the corners by four angels, and thus borne over sea and land. From the celebrity of Loretto as a place of pilgrimage this representation became popular, and is often found in chapels dedicated to our Lady of Loretto. Another effigy of our Lady of Loretto is merely a copy of a very old Greek "Virgin and Child," which is enshrined in the Santa Casa.

S.M. "del Pillar," Our Lady of the Pillar, is protectress of Saragossa. According to the Legend, she descended from heaven standing on an alabaster pillar, and thus appeared to St. James (Santiago) when he was preaching the gospel in Spain. The miraculous pillar is preserved in the cathedral of Saragossa, and the legend appears frequently in Spanish art. Also in a very interior picture by Nicolo Poussin, now in the Louvre.

* * * * *

Some celebrated pictures are individually distinguished by titles derived from some particular object in the composition, as Raphael's _Madonna de Impannata_, so called from the window in the back ground being partly shaded with a piece of linen (in the Pitti Pal., Florence); Correggio's _Vierge au Panier_, so called from the work-basket which stands beside her (in our Nat Gal.); Murillo's _Virgen de la Servilleta_, the Virgin of the Napkin, in allusion to the dinner napkin on which it was painted.[1] Others are denominated from certain localities, as the _Madonna di Foligno_ (now in the Vatican); others from the names of families to whom they have belonged, as _La Madonna della Famiglia Staffa_, at Perugia.

[Footnote 1: There is a beautiful engraving in Stirling's "Annals of the Artists of Spain."]

* * * * *

Those visions and miracles with which the Virgin Mary favoured many of the saints, as St. Luke (who was her secretary and painter), St. Catherine, St. Francis, St. Herman, and others, have already been related in the former volumes, and need not be repeated here.

With regard to the churches dedicated to the Virgin, I shall not attempt to enumerate even the most remarkable, as almost every town in Christian Europe contains one or more bearing her name. The most ancient of which tradition speaks, was a chapel beyond the Tiber, at Rome, which is said to have been founded in 217, on the site where S. Maria _in Trastevere_ now stands. But there are one or two which carry their pretensions much higher; for the cathedral at Toledo and the cathedral at Chartres both claim the honour of having been dedicated to the Virgin while she was yet alive.[1]

[Footnote 1: In England we have 2,120 churches dedicated in her honour; and one of the largest and most important of the London parishes bears her name--"St. Marie-la-bonne"]

* * * * *

Brief and inadequate as are these introductory notices, they will, I hope, facilitate the comprehension of the critical details into which it has been necessary to enter in the following pages, and lend some new interest to the subjects described. I have heard the artistic treatment of the Madonna styled a monotonous theme; and to those who see only the perpetual iteration of the same groups on the walls of churches and galleries, varied as they may suppose only by the fancy of the painter, it may seem so. But beyond the visible forms, there lies much that is suggestive to a thinking mind--to the lover of Art a higher significance, a deeper beauty, a more various interest, than could at first be imagined.

In fact, the greatest mistakes in point of _taste_ arise in general from not knowing what we ought to demand of the artist, not only in regard to the subject expressed, but with reference to the times in which he lived, and his own individuality. An axiom which I have heard confidently set forth, that a picture is worth nothing unless "he who runs may read," has inundated the world with frivolous and pedantic criticism. A picture or any other work of Art, is worth nothing except in so far as it has emanated from mind, and is addressed to mind. It should, indeed, be _read_ like a book. Pictures, as it has been well said, are the books of the unlettered, but then we must at least understand the language in which they are written. And further,--if, in the old times, it was a species of idolatry to regard these beautiful representations as endued with a specific sanctity and power; so, in these days, it is a sort of atheism to look upon them reckless of their significance, regardless of the influences through which they were produced, without acknowledgment of the mind which called them into being, without reference to the intention of the artist in his own creation.

* * * * *

SUPPLEMENTARY NOTES TO THE SECOND EDITION.

I.

In the first edition of this work, only a passing allusion was made to those female effigies, by some styled "_la donna orante_" (the Praying Woman) and by others supposed to represent Mary the Mother of our Lord, of which so many examples exist in the Catacombs and in the sculptured groups on the ancient Christian sarcophagi. I know it has long been a disputed, or at least an unsettled and doubtful point, as to whether certain female figures existing on the earliest Christian monuments were or were not intended to represent the Virgin Mary. The Protestants, on the one hand, as if still inspired by that superstition against superstition which led to the violent and vulgar destruction of so many beautiful works of art, and the Catholics on the other, jealous to maintain the authenticity of these figures as a testimony to the ancient worship of the Virgin, both appear to me to have taken an exaggerated and prejudiced view of a subject which ought to be considered dispassionately on purely antiquarian and critical grounds. Having had the opportunity, during a late residence in Italy, of reconsidering and comparing a great number of these antique representations, and having heard the opinions of antiquarians, theologians, and artists, who had given their attention to the subject, and who occasionally differed from each other as to the weight of evidence, I have arrived at the conviction, that some of these effigies represent the Virgin Mary, and others do not. I confess I do not believe in any authentic representation of the Virgin holding the Divine Child older than the sixth century, except when introduced into the groups of the Nativity and the Worship of the Magi. Previous to the Nestorian controversy, these maternal effigies, as objects of devotion, were, I still believe, unknown, but I cannot understand why there should exist among Protestants, so strong a disposition to discredit every representation of Mary the Mother of our Lord to which a high antiquity had been assigned by the Roman Catholics. We know that as early as the second century, not only symbolical figures of our Lord, but figures of certain personages of holy life, as St. Peter and St. Paul, Agnes the Roman, and Euphemia the Greek, martyr, did certainly exist. The critical and historical testimony I have given elsewhere. (Sacred and Legendary Art.) Why therefore should there not have existed effigies of the Mother of Christ, of the "Woman highly blessed," the subject of so many prophecies, and naturally the object of a tender and just veneration among the early Christians? It seams to me that nothing could be more likely, and that such representations ought to have a deep interest for all Christians, no matter of what denomination--for _all_, in truth, who believe that the Saviour of the world had a good Mother, His only earthly parent, who brought Him forth, nurtured and loved Him. That it should be considered a point of faith with Protestants to treat such memorials with incredulity and even derision, appears to me most inconsistent and unaccountable, though I confess that between these simple primitive memorials and the sumptuous tasteless column and image recently erected at Rome there is a very wide margin of disputable ground, of which I shall say no more in this place. But to return to the antique conception of the "Donna orante" or so-called Virgin Mother, I will mention here only the moat remarkable examples; for to enter fully into the subject would occupy a volume in itself.

There is a figure often met with in the Catacombs and on the sarcophagi of a majestic woman standing with outspread arms (the ancient attitude of prayer), or holding a book or scroll in her hand. When this figure stands alone and unaccompanied by any attribute, I think the signification doubtful: but in the Catacomb of St. Ciriaco there is a painted figure of a woman, with arms outspread and sustained on each aide by figures, evidently St. Peter and St. Paul; on the sarcophagi the same figure frequently occurs; and there are other examples certainly not later than the third and fourth century. That these represent Mary the Mother of Christ I have not the least doubt; I think it has been fully demonstrated that no other Christian woman could have been so represented, considering the manners and habits of the Christian community at that period. Then the attitude and type are precisely similar to those of the ancient Byzantine Madonnas and the Italian mosaics of Eastern workmanship, proving, as I think, that there existed a common traditional original for this figure, the idea of which has been preserved and transmitted in these early copies.

Further:--there exist in the Roman museums many fragments of ancient glass found in the Christian tombs, on which are rudely pictured in colours figures exactly similar, and having the name MARIA inscribed above them. On one of these fragments I found the same female figure between two male figures, with the names inscribed over them, MARIA. PETRVS. PAVLVS., generally in the rudest and most imperfect style, as if issuing from some coarse manufacture; but showing that they have had a common origin with those far superior figures in the Catacombs and on the sarcophagi, while the inscribed names leave no doubt as to the significance.

On the other hand, there are similar fragments of coarse glass found in the Catacombs--either lamps or small vases, bearing the same female in the attitude of prayer, and superscribed in rude letters, DULCIS ANIMA PIE ZESES VIVAS. (ZESES instead of JESUS.) Such may, possibly, represent, not the Virgin Mary, but the Christian matron or martyr buried in the tomb; at least, I consider them as doubtful.

The Cavaliere Rossi, whose celebrity as an antiquarian is not merely Italian, but European, and whose impartiality can hardly be doubted, told me that a Christian sarcophagus had lately been discovered at Saint-Maxime, in the south of France, on which there is the same group of the female figure praying, and over it the name MARIA.

I ought to add, that on one of these sarcophagi, bearing the oft repeated subject of the good Shepherd feeding His sheep, I found, as the companion group, a female figure in the act of feeding birds which are fluttering to her feet. It is not doubted that the good Shepherd is the symbol of the beneficent Christ; whether the female figure represent the Virgin-mother, or is to be regarded merely as a general symbol of female beneficence, placed on a par with that of Christ (in His human character), I will not pretend to decide. It is equally touching and beautiful in either significance.

Three examples of these figures occur to me.

The first is from a Christian sarcophagus of early date, and in a good style of art, probably of the third century--it is a noble figure, in the attitude of prayer, and separated from the other groups by a palm-tree on each side--at her feet is a bird (perhaps a dove, the ancient symbol of the released soul), and scrolls which represent the gospel. I regard this figure as doubtful; it may possibly be the effigy of a Christian matron, who was interred in the sarcophagus.

The second example is also from a sarcophagus. It is a figure holding a scroll of the gospel, and standing between St. Peter and St. Paul; on each side (in the original) there are groups expressing the beneficent miracles of our Lord. This figure, I believe, represents the Virgin Mary.

In the third example, the conspicuous female figure is combined with the series of groups on each side. She stands with hands outspread, in the attitude of prayer, between the two apostles, who seem to sustain her arms. On one side is the miracle of the water changed into wine; on the other side, Christ healing the woman who touched His garment; both of perpetual recurrence in these sculptures. Of these groups of the miracles and actions of Christ on the early Christian sarcophagi, I shall give a full account in the "History of our Lord, as illustrated in the fine arts;" at present I confine myself to the female figure which takes this conspicuous place, while other female figures are prostrate, or of a diminutive size, to express their humility or inferiority; and I have no doubt that thus situated it is intended to represent the woman who was highly honoured as well as highly blessed--the Mother of our Saviour.

I have come therefore to the conclusion, that while many of these figures have a certain significance, others are uncertain. Where the figure is isolated, or placed within a frame or border, like the memorial busts and effigies on the Pagan sarcophagi, I think it may be regarded as probably commemorating the Christian martyr or matron entombed in the sarcophagus; but when there is no division, where the figure forms part of a continuous series of groups, expressing the character and miracles of Christ, I believe that it represents His mother.

II.

The BORGHESE CHAPEL, in the church, of St. Maria Maggiore at Rome, was dedicated to the honour of the Virgin Mary by Paul V. (Borghese), in 1611--the same Pope who in 1615 promulgated the famous Bull relative to the Immaculate Conception. The scheme of decoration in this gorgeous chapel is very remarkable, as testifying to the development which the theological idea of the Virgin, as the Sposa or personified Church, had attained at this period, and because it is not, as in other examples, either historical or devotional, but purely doctrinal.

As we enter, the profusion of ornament, the splendour of colour, marbles, gilding, from the pavement under our feet to the summit of the lofty dome, are really dazzling. First, and elevated above all, we have the "Madonna della Concezione," Our Lady of the Immaculate Conception, in a glory of light, sustained and surrounded by angels, having the crescent under her feet, according to the approved treatment. Beneath, round the dome, we read in conspicuous letters the text from the Revelations:--SIGNUM. MAGNUM. APPARAVlT. IN COELO. MULIER. AMICTA. SOLE. ET. LUNA. SUB. PEDIBUS. EJUS. ET. IN CAPITE. EJUS, CORONA. STELLARUM. DUODECIM. (Rev. xii. 1.) Lower down is a second inscription, expressing the dedication. MARIÆ. CHRISTI. MATRI. SEMPER. VIRGINI. PAULUS. QUINTUS.P.M. The decorations beneath the cornice consist of eighteen large frescoes, and six statues in marble, above life size. Beginning with the frescoes, we have the subjects arranged in the following order:--

1. The four great prophets, Isaiah, Jeremiah, Ezekiel, and Daniel, in their usual place in the four pendentives of the dome. (v. The Introduction.)

2. Two large frescoes. In the first, the Vision of St. Gregory Thaumaturgus,[1] and Heretics bitten by Serpents. In the second, St. John Damascene and St. Ildefonso miraculously rewarded for defending the Majesty of the Virgin. (Sacred and Legendary Art.)

[Footnote 1: St. Gregory Thaumaturgus, Bishop of Pontus in the third century, was favoured by a vision of the Trinity, which enabled him to confute and utterly subdue the Sabellian heretics--the Unitarians of his time.]

3. A large fresco, representing the four Doctors of the Church who had especially written in honour of the Virgin: viz. Ireneus and Cyprian, Ignatius and Theophilus, grouped two and two.

4. St. Luke, who painted the Virgin, and whose gospel contains the best account of her.

5. As spiritual conquerors in the name of the Virgin, St. Dominic and St. Francis, each attended by two companions of his Order.

6. As military conquerors in the name of the Virgin, the Emperor Heraclius, and Narses, the general against the Arians.

7. A group of three female figures, representing the three famous saintly princesses who in marriage preserved their virginity, Pulcheria, Edeltruda (our famous queen Ethelreda), and Cunegunda. (For the legends of Cunegunda and Ethelreda, see Legends of the Monastic Orders.)

8. A group of three learned Bishops, who had especially defended the immaculate purity of the Virgin, St. Cyril, St. Anselm, and St. Denis (?).

9. The miserable ends of those who were opposed to the honour of the Virgin. 1. The death of Julian the Apostate, very oddly represented; he lies on an altar, transfixed by an arrow, as a victim; St. Mercurius in the air. (For this legend see Sacred and Legendary Art.) 2. The death of Leo IV., who destroyed the effigies of the Virgin. 3. The death of Constantine IV., also a famous iconoclast.

The statues which are placed in niches are--

1, 2. St. Joseph, as the nominal husband, and St. John the Evangelist, as the nominal son of the Virgin; the latter, also, as prophet and poet, with reference to the passage in the Revelation, c. xii. 1.

3, 4. Aaron, as priestly ancestor (because his wand blossomed), and David, as kingly ancestor of the Virgin.

5, 6. St. Dionysius the Areopagite, who was present at the death of the Virgin, and St. Bernard, who composed the famous "Salve Regina" in her honour.

Such is this grand systematic scheme of decoration, which, to those who regard it cursorily, is merely a sumptuous confusion of colours and forms, or at best, "a fine example of the Guido school and Bernino." It is altogether a very complete and magnificent specimen of the prevalent style of art, and a very comprehensive and suggestive expression of the prevalent tendency of thought, in the Roman Catholic Church from the beginning of the seventeenth century. In no description of this chapel have I ever seen the names and subjects accurately given: the style of art belongs to the _decadence_, and the taste being worse than, questionable, the pervading _doctrinal_ idea has been neglected, or never understood.

III.

Those pictures which represent the Virgin Mary kneeling before the celestial throne, while the PADRE ETERNO or the MESSIAH extends his hand or his sceptre towards her, are generally misunderstood. They do not represent, the Assumption, nor yet the reception of Mary in Heaven, as is usually supposed; but the election or predestination of Mary as the immaculate vehicle or tabernacle of human redemption--the earthly parent of the divine Saviour. I have described such a picture by Dosso Dossi, and another by Cottignola. A third example may be cited in a yet more beautiful and celebrated picture by Francia, now in the Church at San Frediano at Lucca. Above, in the glory of Heaven, the Virgin kneels before the throne of the Creator; she is clad in regal attire of purple and crimson and gold; and she bends her fair crowned head, and folds her hands upon her bosom with an expression of meek yet dignified resignation--"_Behold the handmaid of the Lord!_"--accepting, as woman, that highest glory, as mother, that extremest grief, to which the Divine will, as spoken by the prophets of old, had called her. Below, on the earth and to the right hand, stand David and Solomon, as prophets and kingly ancestors: on the left hand, St. Augustine and St. Anselm in their episcopal robes. (I have mentioned, with regard to the office in honour of the Immaculate Conception, that the idea is said to have originated in England. I should also have added, that Anselm, Archbishop of Canterbury, was its strenuous advocate.) Each of these personages holds a scroll. On that of David the reference is to the 4th and 5th verses of Psalm xxvii.--"_In the secret of his tabernacle he shall hide me_." On that of Solomon is the text from his Song, ch. iv. 7. On that of St. Augustine, a quotation, I presume, from his works, but difficult to make out; it seems to be, "_In coelo qualis est Pater, talis est Films; qualis est Filius, talis est Mater_." On that of St. Anselm the same inscription which is on the picture of Cottignola quoted before, "_non puto vere esse_." &c., which is, I suppose, taken from his works. In the centre, St. Anthony of Padua kneels beside the sepulchre full of lilies and roses; showing the picture to have been painted for, or under the influence of, the Franciscan Order; and, like other pictures of the same class, "an attempt to express in a visible form the idea or promise of the redemption of the human race, as existing in the Sovereign Eternal Mind before the beginning of the world." This altar-piece has no date, but appears to have been painted about the same time as the picture in our National Gallery (No. 179.), which came from the same church. As a work of art it is most wonderfully beautiful. The editors of the last excellent edition of Vasari speak of it with just enthusiasm as "_Opera veramente stupenda in ogni parte_!" The predella beneath, painted in chiaro-oscuro, is also of exquisite beauty; and let us hope that we shall never see it separated from the great subject, like a page or a paragraph torn out of a book by ignorant and childish collectors.

IV.

Although the Nativity of the Virgin Mary is one of the great festivals of the Roman Catholic Church, I have seldom seen it treated as a separate subject and an altar-piece. There is, however, a very remarkable example in the Belle Arti at Siena. It is a triptych enclosed in a framework elaborately carved and gilt, in the Gothic style. In the centre compartment, St. Anna lies on a rich couch covered with crimson drapery; a graceful female presents an embroidered napkin, others enter, bringing refreshments, as usual. In front, three attendants minister to the Infant: one of them is in an attitude of admiration; on the right, Joachim seated, with white hair and beard, receives the congratulations of a young man who seems to envy his paternity. In the compartment on the right stand St. James Major and St. Catherine; on the left, St. Bartholomew and St. Elizabeth of Hungary (?). This picture is in the hard primitive style of the fourteenth century, by an unknown painter, who must have lived, before Giovanni di Paolo, but vividly coloured, exquisitely finished, and full of sentiment and dramatic feeling.

DEVOTIONAL SUBJECTS.