5A1NTSINART CL7\RH-ERSKINE CLENENT CORNELL UNIVERSITY LIBRARY FROM WmiSulzer Cornell University Library arV18000 Saints in art. 3 1924 031 216 769 olin.anx Cornell University Library The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31 924031 21 6769 SAINTS IN ART Art Lovers* Series « Tiie Madonna in Art Ctitist in Aft Angels in Art Saints in Art Child Life in Art Love in Art * L. C PAGE AND COMPANY (Incorporated) 212 Summer SU, Boston^ Mass* St. Margaret. — School of Correggio. SAINTS IN ART CLARA ERSKINE CL5^.NT VJ'^'^^'^^' AUTHORXaF " A HANDBOOK OF LEGBmjAAY ART," 'PAINTERS, SCULPTORS, ARCHIT|fcTS,/YNiy4NGRAVERS," "ARTISTS OF ■flip NIN^IMENT^qftlTURY," BOSTON L. C. PAGE AND COMPANY (incorporated) 1899 1 Copyright, iSgg By L. C. Page and Company (incorporated) (lolonfal ^^tcza : Electrotyped and Printed by C. H. Simonds & Co, Boston, U. S. A. CONTENTS. CHAPTER PAGE I. Concerning the representations of Saints in Art ii II. The Evangelists 34 III. The Apostles 81 IV. The Fathers of the Church . .134 V. Patron Saints 174 VI. The Virgin Patronesses and the Great Virgins of the Latin Church 218 VII. Other Saints Important in Art . 286 Appendix. — An Explanation of the Symbolism proper to Representa- tions OF THE Saints . . . 395 Index 421 ILLUSTRATIONS. ♦ PAGE St. Margaret. — School of Correggio . . . Frontispiece Dresden Gallery, Van der Goes. — St. Anthony and St. Matthew (Vo- tive picture of Tommaso Portinari) 23 Church of Santa Maria N-uova^ Florence. JACOPO Chimenti. — The Calling of St. Matthew . . 41 Florence A cademy, Mabuse. — St. Luke painting the portrait of the Virgin 61 VienTia Gallery. Raphael. — A Group from La Disputa 71 The Vatican^ Rofne. FILIPPINO LiPPl. — St. John the Evangelist restoring Drusiana to Life 77 Church of Santa Maria Novella, Florence. Vandyck. — St. Peter 91 Dresden Gallery. Baroccio. — The Calling of St. Peter and St. Andrew 99 Brussels Gallery. Andrea del Sarto. — St. Michael, St. John Gual- berto, St. John the Baptist, and St. Bernard ... 105 Florence A cademy, F. Granacci. — The Madonna of the Girdle . ... 127 Uffizi Gallery, Florence. vii 8 ILLUSTRATIONS. PAGE Andrea del Sarto. — St. Augustine instructing St. Dominic, St. Peter Martyr, St. Lawrence, St. Sebas- tian, and St. Mary Magdalene 141 Pitti Gallery, Florence. Garofalo. — The Vision of St. Augustine .... 157 National Galleryy London. Andrea Sacchi. — The Miracle of the Brandeum . . 167 Vatican Gallery, Rome. Ercole Grandi. — St. George 183 Corsini Gallery, Rome, Guido Reni. — St. Sebastian 191 Capitoline Museum, Rome. G. Chiari. — Mary Magdalene 199 Academy of Si. Luke, Rome. FioRENZo Di Lorenzo. — St. Christopher .... 209 Borghese Gallery, Rome. Carlo Dolcl — St. Catherine of Alexandria . . . 221 Castle of Schdnbrunn, Vienna. Murillo. — The Marriage of St. Catherine .... 233 Vatican Gallery, Rome. Palma Vecchio. — St. Barbara 239 Church of Santa Maria Formosa, Venice, CiMA. — Mary Magdalene, St. Lucia, and St. Catherine 251 Berlin Gallery, Raphael. — The Ecstasy of St. Cecilia 267 Bologna Gallery, Alonso Cano. — St. Agnes 277 Berlin Gallery. Carlo Dolci. — St. Lucia 283 Uj^zi Gallery, Florence. Rossettl — Mary Magdalene at the House of Simon 307 ILLUSTRATIONS. 9 PAGE Rubens. — The Raising of Lazarus 315 Berlin Gallery. Fra Angelico. — ■ Jesus appears to Mary Magdalene . 325 Museum of St. Mark, Florence, Mantegna. — Mary Magdalene at the Sepulchre . . 329 National Gallery, London. EspiNOSA. — St. Francis of Assisi 361 Dresden Gallery. MuRlLLO. — St. Anthony of Padua 379 Berlin Gallery. Agostino Caracci. — St. Catherine of Siena . . . 389 Borghese Gallery, Rome. Cotignola. — St. Bernard giving the Rule of his Order 401 Berlin Gallery. Fra Bartolommeo. — St. Bridget of Sweden giving the Rule to her Nuns 413 Church of Santa Maria Nuova, Florence. SAINTS IN ART. CHAPTER I. CONCERNING THE REPRESENTATIONS OF SAINTS IN ART. In the study of Art, the pictures and statues of saints are so nu- merous and so important, that if one adds to the contemplation and en- joyment of their effigies the study of their lives, historical and legendary, he acquires a sense of acquaintance with a great number of holy and intrepid men and women. An interest is also added to one's thought and study, that greatly contrib- 12 SAINTS IN ART. utes to the comprehension of the age in which reUgious art was the chief art, and of the men who lived and worked in that age; while the increased enjoyment of the legacies of that epoch abundantly repays the student for any effort he has made. The history of the world, from the time of the Exodus to the present day, con- stantly emphasises the truth that free- dom, civil or religious, is only secured at a costly price. A large proportion of those whom we call saints — the most exalted title that is conferred on human beings — sacrificed their lives rather than renounce Christianity, while history war- rants us in estimating a great number of these as heroes and heroines of super- human courage and loyalty to their con- victions, both as Christians and patriots. Supplementing history, tradit;ion and legendary chronicles have contributed REPRESENTATIONS OF SAINTS. 1 3 generously to their honour and glory, all of which has been exalted and spirit- ualised by poets and artists, until the phrase, stories of the saints, calls up to the imagination a world of heroism, romance, religious enthusiasm, profound faith, and living spirituality, in which every one may find a personality which appeals to his own nature, and excites both his sympathy with the saint, and a spirit of emulation of the saintly virtues. It is impossible to intelligently judge the religion and thought of a people, without a knowledge of the atmosphere in which they existed, and though but a few centuries separate us from the Middle Ages, it is only by persistent investigation that we can so understand the life of that period as to — even in an imperfect degree — bring ourselves into harmony with the spirit and purpose of the great masters, to whom we owe the 14 SAINTS IN ART. earliest representations of saints, and other religious pictures. In regard to many saints, it is true that the incidents in their lives, which seized upon the imagination of the artists, and were pictured by them, rested on leg- endary, rather than historical, authority. But even the most improbable legends had some slight basis of truth. We must remember that the saints who had died for their faith in Christ were brought close to the people through oral tradition and legendary chronicles at a period when Christians — with the exception of the very learned — had not the Gospel to study, and could scarcely realise a nearness to Him, concerning whose nature they were hopelessly puz- zled by the wrangling of the schoolmen. In truth, the people of the Middle Ages were separated from Christ by -an impassable barrier of theological specula- REPRESENTATIONS OF SAINTS. 1 5 tion, in which they had no share, while to the saints and martyrs they could draw near, and — as Milman has pointed out — their reverence became adoration, and the line drawn by theology between the honour due to God and Christ, and that due to saints and martyrs, was lost sight of in the sympathy of all classes for hu- man beings who, with no claim to divin- ity, yet displayed virtues which could only be characterised as divine. Modern, or Western, art, may be said to have had its birth about the seventh century A. D., and to have contended through three hundred years with a feeble infancy, when, slightly waxing in strength, it gradually attained to the virility of the fifteenth and sixteenth centuries. During the earliest periods of its life, the people were generously fed with the stories of the adventures and the wonder- ful deeds of heroes. These stories were 1 6 SAINTS IN ART. read and recited in public, for the benefit of those who wished to hear. When the recital was purely historical the truth was simply miraculous to the unlearned, and the legendary story, when added, was no more wonderful to them than the truth had been, and was, therefore, as readily accepted and as sincerely believed. We must also remember that in the Middle Ages might was right, and every sort of oppression was suffered by the weaker classes, from the stronger, whose only profession was that of war ; and this vocation, followed through successive gen- erations, so brutalised these warriors that kindness and mercy, and even common humanity, were almost extinct, while gen- tle and refining influences in the ordinary relations of life were quite unknown. It was a period in the history of the world when repose and safety were non-existent outside the cloister, whither both men and REPRESENTATIONS OF SAINTS. 1 7 women fled to escape persecution, and to preserve their personal purity. With these conditions in mind we can understand that the stories of the saints must have given courage and comfort to the weary and downtrodden people who were as ignorant as they were heavy- laden, — stories which inspired a belief in the existence of love and tenderness and courage in both men and women ; stories which proved that there were those who for conscience' sake protested against the evil surrounding them, and even died, rather than sin in word or deed; stories which assured them of a heaven, of the existence of angels, and of powers that could even overcome Satan himself, and guide the spirit of the timid, fainting Christian to the presence of a tender, omnipotent Saviour, During these centuries the most ex- travagant legends of the saints, which 1 8 SAINTS IN ART. were the daily food of the people, gained such an influence and were believed so absolutely that, when the Church endeav- oured by edicts and councils to put aside these exaggerations, she found herself powerless, and was forced to patiently en- deavour to modify rather than abolish these extravagances. It was largely through the influence of Art that the Church instructed the igno- rant; she appealed to their better nature through painting, sculpture, and music. It was impossible to exclude at once such subjects as were objectionable to the in- telligent class of that age, and greater wisdom was shown by using a more mod- erate policy, rather than by instituting a violent opposition to errors which were the logical outcome of such darkness as had so long prevailed. Churches afforded the opportunity for religious scene painting, and, repulsive as REPRESENTATIONS OF SAINTS., 1 9 many of these decorations are to the pres- ent spirit of the Christian world, we must respect them for having served their pur- pose, in an age when education, civihsa- tion, and refinement were too feeble to neutralise the forces that opposed them. In many of these works such sincerity is manifested, and so enduring a spirit of devotion, that they deeply interest us, although we cannot accept them in the childlike spirit of the reverential Chris- tians of the age in which they were created. Thousands of travellers visit these shrines, a large proportion of whom com- prehend but little of their meaning, and thus lose the profit which should come from an acquaintance with the monu- ments of any religious faith which has served as a stimulant to spirituality in the dimly lighted periods of the world's history. 20 SAINTS IN ART. The symbolism of the saints is little understood by many who visit churches and picture-galleries. One soon learns that the man who bristles with arrows is St. Sebastian, and, without a knowledge of the reason for this, his picture is supremely absurd, while the frequency with which he presents himself becomes a huge joke. The man of the gridiron is speedily recognised as St. Lawrence, and several of the more pronounced symbols are known as symbols, with no knowledge of what they symbolise. Of the less prominent emblems still less is apprehended, and the effect which these works of art should produce is lost. While we may enjoy the picture as a picture, or the sculpture as a product of art, the subtile meaning, the impal- pable element which should stir our hearts, floats over our heads, and leaves us essentially ignorant of what we have REPRESENTATIONS OF SAINTS. 21 seen ; a means of profit and pleasure has been offered one, and he has not taken his share of it because he is so ill pre- pared for its enjoyment. In the study of pictures of the saints, as in the study of all religious art, it is of the first importance to keep the distinction between devotional and his- torical representations clearly in mind. Devotional pictures present to us beings worthy of veneration simply as sacred personages ; these may be in numbers, or as single figures, but must be void of action. When such personages are represented as performing miracles, doing good works, suffering martyrdom, or taking their part in any Scriptural or other sacred story, we have a distinctly historical subject. The representation of the Virgin Mary with the Infant Jesus, either alone or sur- rounded by angels and saints, is the de- 22 SAINTS IN ART. votional subject which is dearest to the world. The wonderful representations of Paradise, the Last Judgment, the Adora- tion of the Lamb, and kindred subjects, in which the Almighty and Christ in Glory are surrounded by all the orders of sacred beings, from God and his Son to the humble confessors of the Christian faith, are the grandest and most impres- sive of devotional pictures, as one realises in beholding the Paradise of Fra An- gelico, in the Academy of Florence, the Last Judgment of Orcagna, in the Campo Santo of Pisa, or the Adoration of the Lamb by Van Eyck, in the Church of St. Bavon at Ghent. The representation of the Joys and Sor- rows of the Virgin by Hans Memling, in the Munich Gallery, is a good example of the so-called historical picture. There are many figures, and all are in action. The Virgin adores the new-born child; ^^^^H^HHHpppUppmP^^n^/'^-- ' p^//!//y,0//i^if//,fi^-''^W//fi HHI ;^ffKS^^" ' . W ^^^^^1 ^|k /i|K..!21^ l^^^^^^^KiiliaP9PI' iOH.^^ ^^■■l ^^HMI'^Wni HI ^mSm\^. ^H v^^^m^^my ^ ^i ^^S^H >^ ff 1 p^^H VM^ ^H V, ■ ^^^^K^' ^IbmI i^ifl fKm S^^^^^^^K^^^^S^f^^U M^ ^l^^^^^^^^^^^l HB ^V^r^^^l ■ Van der Goes. — St. Anthony and St. Matthew. (Votive Picture of Tommaso Portinari.) REPRESENTATIONS OF SAINTS. 25 the Wise Men worship Him, and present their gifts; Jesus heals the Sick; the Procession of the Cross ascends to Cal- vary; in short, the Seven Sorrows and the Seven Joys of the Virgin are all de- picted as actually occurring before our eyes. There are numerous votive pictures, that is, pictures painted in fulfilment of a vow, in gratitude for some especial bless- ing, or to avert some threatening danger. In such works, the donor, and some- times his entire family, are introduced in the picture, as in the celebrated Meier Madonna by " Holbein, in the Dresden Gallery. In the earlier votive pictures, the hu- mility of the donors was often expressed by the diminutive size in which they were painted ; later they appeared in their nat- ural proportions. In a picture in which a bishop kneels while the other figures 26 SAINTS IN ART. Stand, he is the donor. Nearly all votive pictures are devotional, as they usually represent the donors as paying their homage to the Madonna or to patron saints. There are pictures, however, that at the first glance appear to be devotional, that are in reality historical. For ex- ample, in the Marriage of St. Catherine, although the saint kneels in an attitude of profound devotion, there is the action of giving and receiving the ring, which at once makes the picture historical. Both historical and devotional pictures may be either Scriptural or legendary. The first will rarely require explanation to one acquainted with the Bible. In legendary pictures of the saints, historical subjects usually represent miracles or martyrdoms ; the latter are always painful, and frequently revolting; the former are essentially reproductions of such miracles REPRESENTATIONS OF SAINTS. 2/ as are described in the Scriptures. Thus the saints are presented as living counter- parts of Christ and his disciples. Naturally, a large proportion of purely devotional pictures portray a single saint as one to whom veneration is due, but there is also a class of very interesting pictures which represent a group of saints in repose, as, for example, in a beautiful work by Andrea del Sarto, in the Academy in Florence, in which the two elements, the devotional and historical, are strikingly combined. On the left are SS. Michael and John Gualberto in repose, — devo- tional ; on the right are SS. John the Bap- tist and Bernard, the former with his right hand raised earnestly talking to St. Bernard, who listens attentively, — historical. The Italians have a special name for a group of sacred persons in repose, and call it a sacra conversazione ; this last word does 28 SAINTS IN ART. not essentially mean a conversation in the sense of speech, but rather a communion ; thus, a communion of holy beings is the best definition of the above phrase, as here employed with singular fitness. Such pictures are often very beautiful, and appeal to one more than do the repre- sentations of miracles and other extraordi- nary acts. Many enthroned Madonnas, surrounded by saints, belong to this class, as does one of the best pictures by Peru- gino, in the Bologna Gallery, in which the Virgin enthroned holds the child, stand- ing, on her knee. They are surrounded by seraphim with wings of brilliant colour. Below are SS. Michael, Catherine, Apol- lonia and John the Baptist. It is interest- ing to note that here St. John is an old man, the saint who had beheld the vision of the Revelation, and is in strong con- trast to the eternal youth of St. Michael. Purely legendary historical subjects, in REPRESENTATIONS OF SAINTS. 29 pictures of the saints, are those in which they walk upon the water, are fed miracu- lously, are delivered from suffering by angels, and so on, while their exercise of miraculous power is most frequently de- picted in the healing of the sick, casting out evil spirits, and restoring the dead to life. Other legendary subjects represent a mingling of Scripture and history, as in pictures of SS. Paul and Peter. In these the Bible story and the traditions of the Church are so combined that care must be taken in order to distinguish history from legend. Again they illustrate purely fabulous traditions, while in others relig- ious truths are figuratively set forth, in the same sense that the " Pilgrim's Progress " is an allegorical legend. Anachronisms are especially apparent in pictures of saints, but if one will re- member that such representations were 30 SAINTS IN ART. intended to express the devotional spirit rather than to represent physical facts, it will not seem so out of reason that St. Jerome should present his translation of the Scriptures to the Infant Jesus, while an angel turns the leaves ; nor that poets and philosophers who died before Christ was born on earth should present to him scrolls inscribed with sentences from their writings which are regarded as prophecies of his coming. Saints that apparently have no relation to each other may be portrayed in com- pany because the picture was painted for a locality in which, at varying periods, these saints have been venerated as pa- trons of the region. For example, St. Theodore and St. Mark may be coupled for no other reason than that one preceded the other as patron saint of Venice ; as St. Mark, St. George, and St, Catherine would be curiously bizarre in each other's REPRESENTATIONS OF SAINTS. 3 1 society did they not divide the honours as contemporary patrons of the Queen of the Adriatic. St. Roch and St. Sebastian are asso- ciated because the latter was the patron against the plague, and the former cared for those who suffered from it. SS. Stephen and Lawrence appear as com- panions in works of art, not because they were such when living, but because they were entombed together. These examples show what research will prove to be true, that such representa- tions as are surprising and incongruous to us rested on a sufficiently reasonable basis in the mind of the artist; one should respectfully learn the reasons for such apparent inconsistencies before he ridi- cules or despises them. Besides the patron saints of certain localities, there are those which may be termed the patrons of Christendom, and 32 SAINTS IN ART. may legitimately appear in pictures of all countries. These are SS. George, Sebas- tian, Christopher, Cosmo, Damian, Roch, Nicholas, Catherine, Barbara, Margaret, and Ursula. Again, saints who were not associated when living were united as protecting patrons of organisations that laboured for the poor and the fallen, ransomed slaves and redeemed prisoners; one such society relied on SS. Peter, Leonard, Martha, and Mary Magdalene, — St. Peter because he had been a prisoner; St. Leonard, be- cause he laboured for the good of slaves and captives in his life; St. Martha on account of her charity and benevolence ; and St. Mary Magdalene, because she is the patroness of frail and penitent women. Thus it is that what first appears to be fantastic and unsuitable, when understood and appreciated, adds value and a deeper meaning to such religious art as we are REPRESENTATIONS OF SAINTS. 33 considering. It aids us in discerning its sentiment and intention, and proves that what, at a cursory glance, seems the re- sult of an ignorance of the fitness of things, is, in truth, the expression of earnest, devotional thought, of spiritual and poetic intelligence, and a desire to imbue that which will give pleasure to the eye with spiritual and uplifting signifi- cance. An explanation of the symbolism con- nected with saints in Art will be found in the appendix. CHAPTER II. THE EVANGELISTS. ^HE Evangelists were very fre- quently represented in ancient art by symbols rather than in human form. Their earliest symbols, the four scrolls or books, emblematic of the Gospels, or the four rivers of Salva- tion flowing from Paradise, are seen in the Catacombs and on the walls of the oldest existing churches, or on relics hoary with age, as the earliest Christian sarcophagi and tombs. In the fifth century the " Four Beasts," which had already been used as emblems of the Four Archangels and the Four Great Prophets, were adopted as symbols 34 THE EVANGELISTS. 35 of the Evangelists; and two centuries later these curious creatures were univer- sally employed as symbolic of these four saints. At first they were simply em- blems of the Evangelists, but after St. Jerome wrote of the Vision of Ezekiel, each of these beasts was assigned to a particular saint. To St. Matthew was given the Cherub or winged human face ; to St. Mark the Lion ; to St. Luke the Ox, and to St. John the Eagle. The reasons for this assignment are usually explained by saying that the more human symbol is appropriate to the Evan- gelist who traces the human ancestry of Christ; the Lion to him whose gospel of Jesus Christ begins with "the voice of one crying in the wilderness ; " the Ox to him who writes especially of the priest- hood and of sacrifice, of which the ox is symbolical ; and the Eagle to him whose inspiration soared to the loftiest heights, 36 SAINTS IN ART. and enabled him to reach the paramount human perception of the dual nature of Jesus Christ. These symbols and that called the Tet- ramorph — a mysterious winged figure uniting the four symbols — are frequently seen in works of art. There are also several variations of them, as, for example, figures of men with the heads of the Beasts, or the Beasts holding books or scrolls, all of which are representations of the Evangelists. Such symbolic pictures were perfectly intelligible to the early Christians, and were sacred in their eyes. As late as the sixteenth century the Evangelists were expressed by these emblems in both pic- tures and statues, an example still exist- ing in the symbolic bronzes in the choir of the Church of St. Antonio, at Padua, which are very unusual and interesting. These symbols were not, however, uni- THE EVANGELISTS. 37 versally used to personate the Evangelists, even in the early centuries, since in the mosaics and manuscripts of the sixth cen- tury the Evangelists are depicted as ven- erable men, with their symbols near them. Neither Michael Angelo, Raphael, nor Leonardo da Vinci represented the Four Evangelists in their special office. Ra- phael introduced St. John in the splendid group of Apostles, Prophets, and Saints in La Disputa, where he is placed be- tween Adam and King David ; and in his famous picture of the Vision of Ezekiel, in the Pitti Gallery in Florence, the Sa- viour is borne aloft by the Four Beasts ; in the St. Cecilia, too, in the Bologna Gallery, he also represented the Beloved Disciple, but the writers of the Gospels, as a group, he did not paint. Likewise Leonardo, in his well-known Last Supper, in Santa Maria delle Grazie, Milan, represented them as disciples, but 38 SAINTS IN ART. not as Evangelists; and in the same manner they appear as apostles, in the frescoes of Michael Angelo, in the Sis- tine Chapel. ^ From the thirteenth to the seventeenth centuries the figures of the Evangelists appeared in all elaborate schemes of theo- logical decoration. Their usual position was under the domes of churches or chapels, where they were placed after the angels and prophets who surrounded the central figure of the Saviour. Domes thus decorated by Cimabue in Assisi, by Giotto in Ravenna, by Fra Angelico in the Vatican, by Perugino in Perugia, and by Correggio in Parma, are noteworthy examples of these frescoes, while that by Domenichino, in St. Andrea della Valle in Rome, is esteemed as his masterpiece ; here angels are represented as sporting around the lion, and toying with his mane; others play with the palette and THE EVANGELISTS. 39 pencils of St. Luke, and are extremely attractive as pictures, though not ideal as angels. Allegorical figures of women are grouped about the Evangelists, superb in pose and bearing; one, nude above the waist, raises her arms to heaven ; an- other, with a helmet, is the personification of haughty pride. There is an element of paganism in this famous work ; power- ful and picturesque, one does not forget it, although it scarcely accords with the Christian conception of the Evangelists. The figure of St. John, however, is of quite a different type from the others; it is beautiful in expression and in colour. These frescoes were severely criticised during Domenichino's life, and it is re- lated that he visited them some time after their completion, and, after studying them, exclaimed, " It does not appear so bad to me," and many who now see them, two 40 SAINTS IN ART. and a half centuries after his death, agree with his estimate of them. In the later pictures of the Evangelists, when each one is simply a man — with his name written near him — holding a book, his own exegesis of the Christian doctrine, they lose something of the ideal element imparted to them by the symbols which served to dignify them by an asso- ciation with the prophecies of the Old Testament, as well as to distinguish them from the other apostles. For example, S^. Matthew ranks as the seventh or eighth among the apostles, while as an Evangelist he is first, having written his Gospel earlier than the others. . He was known as Levi before his calling by Jesus, and was a tax-gatherer. The Scripture account of him is slight; it simply relates that the Master called him as he sat at the receipt of customs ; that he at once obeyed the call, and later made Jacopo Chimenti. — The Calling of St. Matthew. THE EVANGELISTS. 43 a feast at his house, to which Jesus and his disciples went, as well as many pub- licans and sinners; for this cause the Pharisees questioned the authority of the Master, to which Christ replied, " I am not come to call the righteous, but sinners to repentance." The legends connected with St. Mat- thew are scanty, and even the manner of his death is unknown. When represented as an apostle, his symbol is a purse or money-bag, referring to his occupation" as a tax-gatherer. The principal event in his life which has appealed to artists is his calling, and this has been frequently represented. In the Academy of Florence is a picture of this scene by Jacopo Chimenti, called Em- poli. This artist was an imitator of Andrea del Sarto. In the foreground of the picture are Christ and Matthew ; the former, in full, graceful drapery, with a 44 SAINTS IN ART. luminous halo, turns his gentle face towards Matthew, and extends his right hand, as if saying, " Follow me." Matthew, with his hands clasped on his breast, and his head inclined toward Jesus, has an expression of reverential love, and, ap- parently, waits but for the command. In the background are six men, two of whom — an old and a young man — watch the Saviour and his new disciple with intense interest, from a desk raised above the heads of the others. The expression on all the faces is excellent ; the grouping and the use of light and shade remind one of the excellent master whom Chi.- menti aspired to imitate. The same subject, by Pordenone, is in the Dresden Gallery, and the Mendicante of Bologna commissioned Ludovico Ca- racci to represent this scene, which he did in a large and effective picture. A number of scenes from the life of THE EVANGELISTS. 45 St. Matthew may be seen in churches and galleries. In the museum at Brussels an excellent picture by F. Pourbus, the younger, is called St. Matthew and an Angel, and the same subject by Caravag- gio is in the Berlin Museum; it is sup- posed to represent the dictation of St. Matthew's Gospel by the heavenly mes- senger. In the Museum of Madrid is the Calling of St. Matthew by Juan de Pare] a, the colour-grinder of Velasquez, who became an artist secretly. The St. Matthew is his most important work. But a picture of world-wide fame con- nected with the life of St. Matthew, is that by Veronese, in the Academy of Venice, — where it fills one wall of the room in which it hangs, — representing the Supper at the House of Levi. It is one of a number of magnificent banquet scenes by this great artist, and while in- 46 SAINTS IN ART. tended to emphasise the luxury which Levi left to become Matthew, it more fitly depicts the splendour of Venice at the height of her glory. One wonders that such a representation should have been considered suitable to the decoration of a convent, but it was painted for that of St. John and St. Paul at Venice. Although claiming to repro- duce a Scriptural scene, it is a most worldly feast, such as Veronese loved to paint. His tables in these banquet pictures are loaded with vases and other objects in crystal and in precious metals, and sur- rounded by sensuous men and women in all the gorgeousness of silks, satins, and velvets of richest dyes, ornamented with rare laces, exquisite embroideries and priceless jewels. The architecture of his banquet-halls is grand, with their marble porticoes through which comes such a light as imparts a poetic vitality to the whole scene. THE EVANGELISTS. 47 Well did Taine say that if Titian is sovereign of the Venetian school of paint- ing, Veronese is its regent; "what he loves is expanded beauty, the flower in full bloom, but intact, just when its rosy petals unfold themselves while none of them are, as yet, withered." Imposing as this Feast of Levi is, it is not one of the best of this master's works. Although Sif. Mark is the second Evan- gelist, he was not an apostle, nor even a Christian until after the Death and Ascen- sion of Our Lord, when he was converted by St. Peter, whom he attended to Rome. In that city St. Mark's Gospel was written for the use of the converts ; some author- ities teach that this was dictated by St. Peter. St. Mark founded the church at Alex- andria, and by his miracles in that city so infuriated the people, who believed him 48 SAINTS IN ART. to be a magician, that they bound- him and dragged him to death. His Christian followers placed his remains in a tomb which was greatly venerated. Here his body rested from A. D. 68 until about 815, when his relics were stolen by some Venetian merchants and carried to their city, where he has since been honoured as its patron saint. The magnificent Ba- silica of St. Mark was built above his second tomb, and the legends connected with him have been fully illustrated, espe- cially by Venetian artists. In the devotional pictures of St, Mark the winged lion is seen, almost without exception ; it is by the wings that the lion of St. Mark is distinguished from that of St. Jerome, and few examples are known in which the wings are omitted from the symbol of the Evangelist. His dress is usually that of a Greek bishop. The mosaic above the entrance to his Basilica, THE EVANGELISTS. 49 designed by Titian, and executed by Zuc- cati, is a grand example of these devo- tional subjects. It presents the saint in pontifical robes, with no mitre, a gray beard and hair of the same colour; one hand is raised in benediction, and the Gospel is held in the other. Perhaps the most famous devotional picture of St. Mark is that by Fra Bar- tolommeo. It was painted for his own con- vent of San Marco, in Florence, and is now in the Pitti Gallery. It is a colossal work, and is often compared with the Prophets in the Sistine Chapel by Mi- chael Angelo ; here the Evangelist is represented in the prime of life ; he holds the Gospel and a pen, the lion being omitted ; he is grave and grand rather than spirited. I fail to be impressed by this work as many good judges of it are, probably because I am not satisfied with a picture of a man in a niche, on a flat 50 SAINTS IN ART. surface, as in this case. In sculpture the effect of this arrangement is far different, but in a picture it is not agreeable to me. However, I am here in a very small minority, as this St. Mark is one of the noted pictures in a gallery so rich in great works as is the Pitti. For this picture Ferdinand II., almost two cen- turies ago, paid a sum equal to nearly fifteen thousand dollars in our money. The legendary pictures of St. Mark are very numerous, and the votive pictures, in which he is the principal personage, while the others are portraits of the donor with his family or friends, are most inter- esting. A beautiful example of these by Tintoretto is in the Berlin Gallery. St. Mark is enthroned with his Gospel open on his knees, while three of the Procura- tori di San Marco, those who had the care of the Basilica and its treasury, in their rich crimson robes, kneel before him. THE EVANGELISTS. 5 1 and reverently listen to his instructions. A number of votive pictures represent St. Mark as presenting a Doge, or some other prominent Venetian, to the Madonna. Another class of votive pictures illus- trates the legend that St. Mark was simply the amanuensis of St. Peter. A very beautiful example by Fra Angelico is in the Academy of Florence, in which St, Peter is preaching to the Romans from a pulpit, while St. Mark is seated and reverently writes down the sermon in a book. Another fine picture of the same scene by Bonvicino is in the Brera, at Milan. Historical pictures of St. Mark are nu- merous, and are, as a rule, the works of Venetian masters. Gentile Bellini, who had been in the East, painted a picture of St. Mark preaching at Alexandria, now in the Brera. The scenery and costumes are Oriental certainly, but they are Turk- 52 SAINTS IN ART. ish. Nothing Egyptian appears, either in the crowd of men and women which sur- rounds the platform on which the preacher stands, or in the background, in which a so-called church is essentially a mosque. The fact is that Bellini had been in Con- stantinople, but never in Egypt. It is surprising that this work should have been praised in Venice, where the incon- gruities of the composition must have been detected, since many Venetians had visited both Alexandria and Constanti- nople for commercial purposes. The following legend is the subject of two famous pictures in the Academy of Venice, which cannot be understood with- out a knowledge of what they illustrate. On the 25th of February, 1340, there was a great storm at Venice. The water had been rising during three days, and had reached a height of three cubits more than' had ever been known before. An THE EVANGELISTS. 53 old fisherman had with great difficulty reached the Riva di San Marco, and de- termined to stay there until the storm ceased. But a man came to him and in- sisted that he should row to San Giorgio Maggiore. With difficulty the fisherman was persuaded to set out, and having reached San Giorgio the stranger landed, and ordered the boatman to await his return. When he came back to the boat he brought a young man with him, and commanded the fisherman to row to San Niccolo di Lido. The boatman doubted his ability to do this, but was assured that strength would be given him. Reaching the Lido, the two men landed and soon returned to the boat with a third. The fisherman was then told to row out be- yond the two castles, and when at last they came to the sea they saw a barque filled with demons who were on their way to submerge the city. 54 SAINTS IN ART. The three strangers made the sign of the cross, and bade the demons depart. Instantly the barque vanished and the sea was calm. Then the fisherman was or- dered to land each man at the place from which he had come, and when this was done, he demanded payment for his ser- vices of the last to land. The stranger replied, " Thou art right ; go to the Doge and the Procuratori of St. Mark; tell them what thou hast seen. I am St. Mark, the protector of the city; the others were the brave St. George and the holy bishop, St. Nicholas. Tell them that the tempest was caused by a school- master of San Felice, who sold his soul to Satan and then hanged himself." The fisherman replied that no one would be- lieve his tale. Then St. Mark gave the man a ring, saying, " Show them this, and tell them that they will not find it in the sanctuary," and he disappeared. The next THE EVANGELISTS. 55 morning the fisherman did as he was told, and the ring could not be found in the treasury of St. Mark. The fisherman was paid, and a life pension was assigned him. The ring was replaced by the Procuratori, a grand procession was ordained, and with great solemnity all Venice gave thanks to God and the three saints for the preserva- tion of the beautiful city. In the beautiful and famous picture in which Giorgione represented the storm, a ship manned by demons is seen, and they are evidently terrified. Some throw themselves into the sea; some cling to the flaming masts which cast a lurid glare over the whole scene; others hold fast to the rigging in sheer despera- tion. Two barques are in the foreground, that in which are the three saints, and a second manned by four glowing red demons. All over the sea are monsters ridden by still other demons, and in the 56 SAINTS IN ART. distance the towers of Venice appear. Giorgione's poetic conception of the sub- ject and his style of painting combine admirably in this work. His glowing colour and vigorous handling are here tempered by strong poetic feeling. Paris Bordone chose a very different scene from the legend for his great work, which is considered his best large pic- ture. He introduces to us a magnificent hall in which, on a dais, reached by a flight of steps, the Doge is seated in council. Hither comes the fisherman with the ring, which he holds out toward the Doge while ascending the steps. In spite of the gorgeous colour, the numerous figures, and the magnificent architecture of this picture, there is a certain sim- plicity and an air of truth about it, and its execution is more tender than was the customary manner of the famous Venetian painters. THE EVANGELISTS. 57 Tintoretto illustrated still another legend of St. Mark, and his picture, also in the Academy, is world famous. A Christian slave, who persisted in wor- shipping at the shrine of St. Mark, is about to be tortured, when the saint descends from the sky, confounds the torturers, and destroys their implements. Of this picture Taine says : "No paint- ing, in my judgment, surpasses, or per- haps equals, the St. Mark; at 'all events, no painting has made an equal impres- sion on my mind. The saint descends from the uppermost sky head foremost, precipitated, suspended in the air. . . . No one, save Rubens, has so caught the instantaneousness of motion, the fury of flight ; ... we are borne along with, and follow, him to the ground, as yet un- reached. Here, the naked slave, thrown upon his back, . . . glows with the lumi- nousness of a Correggio. His superb, virile. 58 SAINTS IN ART. muscular body palpitates ; . . . the axes of iron and wood have been shattered to pieces, without having touched his flesh, and all are gazing at them. The tur- baned executioner with upraised hands shows the judge the broken handle with an air of amazement. . . . The judge, in a red Venetian pourpoint, springs half-way off his seat and from his marble steps. The assistants around stretch themselves out and crowd up, some in sixteenth cen- tury armour, others in cuirasses of Roman leather, others in barbaric simarres and turbans, others in Venetian caps and dal- matics, some with legs and arms naked, and one wholly so, except a mantle over his thighs and a handkerchief on his head, with splendid contrasts of light and dark, with a variety, a brilliancy, an inde- scribable seductiveness of light reflected in the polished depths of the armour, diffused over lustrous figurings of silks, THE EVANGELISTS. 59 imprisoned in the warm shadows of the flesh, and enlivened by the carnations, the greens, and the rayed yellows of the opulent materials. Not a figure is there that does not act, and act all over; not a fold of drapery, not a tone of the body, is there that does not add to the universal dash and brilliancy. . . . There is no ex- ample of such luxuriousness and success of invention. ... I believe that, before having seen this work, one can have no idea of the human imagination," and so on, page after page, Taine exalts the genius of Tintoretto, who thus glorified St. Mark. It is certainly a fortunate circumstance for the world that the bones of St. Mark were brought to Venice. In what other city would such a Basilica have been raised above them, and in what other school of art could this Evangelist have been thus honoured ? 60 SAINTS IN ART. Si. Luke, like St. Mark, was not called by Christ, but was a disciple of St. Paul, with whom he journeyed to Rome, where he remained during the life of the great apostle, serving him with zeal and devo- tion. There is some reason for believing that Luke had practised the healing art, since St. Paul called him "the beloved physi- cian." The claim that he was an artist, however, rests on no early tradition, but on a later Greek legend, which can only be traced to the tenth century. Neverthe- less, St. Luke is the chosen patron of painters, and is frequently represented in the act of painting the portrait of the Virgin Mary. The most famous picture of this subject is in the Academy of St. Luke at Rome, and is attributed to Raphael. The saint kneels on a footstool before his easel, while the Virgin, with the child in her Mabuse. — St. Luke Painting the Portrait of THE Virgin. THE EVANGELISTS. 63 arms, is resting on clouds near him ; she has a sweet expression of countenance, and the child seems to be very curious as to what the saint is doing. The ox is reposing behind St. Luke, and near it is a youthful figure — called that of Raphael — watching the progress of the artist. A small picture of the same subject in the Grosvenor Gallery is also attributed to Raphael, but a lover of his art would unwillingly admit his authorship of these works. They lack the exquisite senti- ment, the refinement of expression and of execution, which he must have ex- hibited in the painting of this poetic scene. In truth, while there is a picture of the same subject, by Van Eyck, in the Munich Gallery, which is quaint and un- usual, and one by Aldegraef, in the Belve- dere, and others in various public and private collections, I have seen none that 64 SAINTS IN ART. seemed to me worthy of this motive, that fitly represented the exquisite condescen- sion of the Virgin, or the rapturous inspi- ration which should have possessed the artist saint in her presence. The picture by Mabuse, also in the Vienna Gallery, however, while it does not satisfy one's ideal, is very interesting. The scene is laid in a richly ornamented open porch, where St. Luke kneels before a desk, on which his canvas is laid ; he holds his pencil, but an angel behind him guides his hand. The Virgin and Child appear on clouds sustained by three angels, while two others hold a splendid crown above her head. Nothing is omitted that could give the work a rich and luxurious aspect; the draperies on all the figures are abundant, and fall in heavy, graceful folds ; even the angels are draped ; the hair and veil of the Virgin are beautifully designed, and her position with the Child THE EVANGELISTS. 65 — his hand caressing her face — is tender and attractive. The angel assisting St. Luke is a mar- vel of drapery and splendid wings, and his hair is in rows of curls, so regular and unruffled that one is assured of the calm- ness of the air through which he de- scended to earth. St. Luke's dress is more sombre than the angel's, but even that is bordered with rich fur. Every part of the architectural back- ground is loaded with medallions and ex- quisite designs, and in an alcove is a statue of Moses with the Tables of the Law, mounted on an elaborate pedestal. This work is a fine example of the period, the end of the fifteenth century, and of the Van Eyck school, to which Mabuse belonged. When one studies the costumes in the pictures of Mabuse, a story that is told of him does not seem improbable. It is that 66 SAINTS IN ART. when in the service of a nobleman who expected a visit from the Emperor Charles v., Mabuse, with other retainers, was given a rich silk damask for a costume to be worn on the occasion. Mabuse obtained the consent of his patron to his superin- tendence of the making of his own suit. The artist then sold the silk, and made a costume of paper which he painted to represent the damask so well as to per- fectly deceive the nobleman. But some one told him of the trick, and he asked the emperor which of the suits pleased him most. Charles selected that of Ma- buse, and would not believe that it was paper until he had touched it. Of Sif. John, a near relative of the Sa- viour, and " the disciple whom Jesus loved," we have more knowledge than of the other Evangelists. A son of the fisherman Zebedee, a brother of James, a man of pure life and thought, of a sympathetic THE EVANGELISTS. 6/ nature, he was one of the earliest followers of Christ; and ever after his discipleship began he was the constant and devoted companion of the Saviour so long as he remained on earth. It was John who was beside the Master at the Last Supper ; who stood beside the cross when Jesus, in the solemn words, " Behold thy mother ! " manifested his love and confidence in him ; who placed the body of our Lord in the sepulchre ; who witnessed the Trans- figuration; and to the end of his Hfe la- boured for the spread of the religion that he loved. He preached in Judea with St. Peter; he founded seven churches in Asia Minor ; he was sent to Rome a prisoner, and is said to have been miraculously delivered from the boiling oil into which he was cast by his persecutors, who then accused him of sorcery, and confined him on Patmos, where, it is believed, he wrote his Revela- 68 SAINTS IN ART. tion. Being released from this exile, he returned to his church at Ephesus, where he wrote his Gospel when ninety years old, and died a few years later. So attractive is this Evangelist that he is more frequently seen in works of art, especially in devotional pictures, than are the other three. He has also been more frequently chosen as a patron saint. He is represented, not only as an Evangelist and saint, but also as a prophet. In very ancient representations of this Evangelist he appeared as an aged man ; gradually, however, he was pictured as young, beardless, with flowing hair, and a face expressive of absorbing and even ecstatic inspiration. The eagle is always near him, and when crowned with stars, or having an aureole, is intended to sym- bolise the Holy Ghost. In some ancient representations of St. John writing, the eagle holds the pen or the ink ; in other THE EVANGELISTS. 69 pictures, when the saint is thus engaged, he gazes upward at a vision of the Madonna. When St. John holds a sacramental cup from which a serpent issues, reference is made to the legend that in Rome, the cup from which he drank and which he presented to the communicants was poi- soned, but did them no harm, the poison having passed from the cup in the guise of a serpent, while the poisoner fell dead at the feet of the saint. It is said that this attempt to take the life of St, John was commanded by the Emperor Domitian, who also sentenced him to death in boil- ing oil. Another version is that St. John was challenged to prove the power of his faith by drinking of the poisoned cup, and that while the saint was unharmed the unbe- liever fell dead before him. The symbolism of the cup is also ex- plained as referring to the words, " Ye yo SAINTS IN ART. shall drink indeed of my cup," and again, as commemorating the institution of the celebration of the Eucharist This Evangelist was a popular subject with the masters. A very beautiful rep- resentation is that of Correggio in the series of the Evangelists in the Cathedral of Parma. Domenichino seems to have delighted in multiplying pictures of St. John, as Guido did his Magdalens. His pictures were frequently more picturesque and aesthetic than spiritual, as in one of the most noted, now in the Brera, Here the saint, pen in hand, kneels before the Madonna, apparently in an ecstasy. Two little beings, who might personate cupids as appropriately as angels, are seen, one caressing the eagle, the other holding the cup with the serpent. This picture is admirably composed and executed, and is a good example of Domenichino's excel- lence in expression and colour. E-1 O OS Pi. o (2! O < Pi THE EVANGELISTS. 73 There are pictures in which St. John Baptist and St. John EvangeHst are both represented. They were kinsmen, both were prophets, and the EvangeUst was a disciple of the Baptist before he became a follower of Jesus. They appear in cer- tain pictures of the Madonna, and I recall the bas-relief on the tomb of Henry VII, in Westminster Abbey, in which the con- trast between the prophet of the wilder- ness and the beautiful Evangelist is most effective. One of the most acceptable rep- resentations of the two Johns is in the Church of Santa Maria-Sopra- Minerva, at Rome. I do not know the sculptor of the group which shows these saints as children playing at the feet of the Madonna, as if to amuse the Christ-child. The eagle of the Evangelist is there, while the Baptist has his reed-pipe. Many historical pictures in which St. John appears belong more appropriately 74 SAINTS IN ART. to the Life of Christ than to that of the saint, and do not come within my province here. They are often very beautiful, and St. John is easily recognised. St. John in the Island of Patmos is usually represented as writing. He is seated on a rock or under a tree, in the midst of a desolate landscape, with the sea surrounding it. He looks at a vision of the Virgin in the clouds, while the eagle attends him, near at hand. This subject is usually one of a series illustrat- ing his life in chapels dedicated to the Evangelist ; it is also frequent in ancient manuscripts. Carlo Dolci's picture of the Vision in the Island of Patmos, in the Pitti Gallery, is quite different from others. The saint kneels beside a rock, on which he rests his open book, and with his right hand raised to the vision, appears to be praying for her protection and aid. The Virgin THE EVANGELISTS. 75 is here without the child, a winged figure, with hands clasped as though she, in turn, were interceding for the saint. Below the vision is a horrible dragon — symbol of evil — apparently falling into the sea. Be- hind the saint, on a jagged rock, the eagle stands, with outspread wings, having an air of intense interest in the scene before him. The face and head of the aged saint are very beautiful and the hands are finely executed ; the abundant and grace- ful drapery flowing out behind St. John serves to give a balance to the picture, and an element of comfort which some- what lessens the effect of the desolation surrounding him. To me, however, there is no picture of St, John, that I have seen, so satisfactory as that by Raphael, who introduces him in the midst of the prophets and apostles in his great picture of La Disputa, in the Vatican. The Evangelist here sits be- 76 SAINTS IN ART. tween Adam and David, apparently lost to all else in writing his visions ; his face is one of the most beautiful and spiritual among the many exquisite faces by this great master. There are several very interesting leg- ends connected with this Evangelist, and he is believed to have performed miracles both before and after his death. Many of these are celebrated in certain localities only, and I know of no representations of them to which I wish to refer, except one which has been finely illustrated in a chapel in Santa Maria Novella, in Flor- ence, in a most effective fresco by Filip- pino Lippi. The legend runs that when St. John returned from Patmos to Ephe- sus, he met a funeral cortege emerging from the gate of the city, and on inquiry learned that Drusiana had died, the woman at whose house he had formerly lived. The saint ordered the bier to be put FiLiPPiNO LiPPi. — St. John the Evangelist Restoring Drusiana to Life. THE EVANGELISTS. 79 down, and, when he had earnestly prayed, the woman was restored to life and re- turned with John to her house, where he again took up his abode. Lippi's fresco is impressive and dra- matic. In the background Ephesus is seen ; in the middle ground is the city gate, of splendid architectural effect. In the centre of the foreground is the bier, on which Drusiana has risen to a sitting posture, while the aged Evangelist, touch- ing her arm with one hand, raises the other toward heaven, calling on God to aid him in working this miracle. A number of men and women watch the scene with intense interest, among whom the bearers of the bier are striking figures. The whole picture is very spirited. Critics have objected to some of the details, as that of a child alarmed by a dog, but the work is realistic and there is no feature that is not legitimate in a street scene. 3o SAINTS IN ART. In the niches on the exterior of the cliurch of Or San Michele, in Florence, there are remarkable statues of the Evan- gelists, by famous sculptors. St. Matthew by Ghiberti ; St. Mark by Donatello, before which Michael Angelo exclaimed, " Mark, why do you not speak to me ? " St. Luke by Giovanni da Bologna; and St. John by Baccio da Montelupo. CHAPTER III. THE APOSTLES. ^HE most ancient representations of the apostles, like those of the Evangelists, consist of symbols only; and these, in the most direct man- ner possible, express the thought that the disciples of Christ were, at first, the sheep over whom he, as a Shepherd, watched ; and later, they, in their turn, became the shepherds who cared for those who were converted by the gospel which they were commanded to preach " to all nations." In the most ancient representations of the apostles, in mosaics and pictures, Christ, as the Lamb of God, crowned with a nimbus, is raised on an eminence in the centre of the picture, while the 8i 82 SAINTS IN ART. apostles are symbolised by twelve other lambs, ranged on each side the central figure. The four rivers of Paradise flow from the .eminence on which the symbol of Christ is placed, such rivers as St. John described in Revelation, — "a pure river of water of life, clear as crystal, proceeding out of the throne of the Lamb of God ; " or such as Dante saw in the empyrean. ..." I look'd And, in the likeness of a river, saw Light flowing, from whose amber-seeming waves Flash'd up effulgence, as they glided on 'Twixt banks, on either side, painted with spring, Incredible how fair : and, from the tide. There ever and anon, outstarting, flew Sparkles instinct with life ; and in the flowers Did set them, like to rubies chased in gold." In the study of Art there is great pleas- ure in thus tracing the same thought through Scripture, poetry, and the so- called Fine Arts. THE APOSTLES. 83 In the representation of the Shepherd and the Sheep, in Santa Maria-in-Traste- vere, in Rome, six of the sheep come out from Jerusalem, and six from Bethlehem. There are examples in which the sheep are entering the above cities, which prob- ably represent converts rather than the apostles themselves. Very rarely doves were used as emblems of the apostles. The lamb, as a symbol of the apostles, may be significant of the office of Christ as the Great Shepherd, or emblematical of the deaths of the disciples, — slain like sheep for his sake, — or may refer to the texts of Scripture in which believers and non-believers are likened to sheep and goats, as in Matthew 25 : 32. Sheep and lambs are used in other symbolic repre- sentations than those of the apostles, and care is necessary in deciding upon their significance in special cases. The apostles were also pictured as 84 SAINTS IN ART. twelve men, each holding a sheep, with Christ as the chief in the centre ; in the most ancient of these representations, the faces were all alike. Again, they held scrolls inscribed with their names, and later the Apostles' Creed was used accord- ing to the tradition that each apostle con- tributed one of its propositions. Thus, St. Peter, " I believe in God, the Father Almighty, maker of heaven and earth ; " St. Andrew, " and in Jesus Christ, his only Son, our Lord," and so on to the end. Figures of the apostles holding scrolls inscribed with these sentences are seen on the Tabernacle of the Church of Or San Michele, in Florence. After the sixth century each apostle had a distinct symbol, and was easily dis- tinguished by it. St. Peter rarely bears a fish, the keys being far more frequently given him. St. Paul has one, and, at THE APOSTLES. 85 times, two swords. The transverse cross belongs to St. Andrew, and a pilgrim's staff is the symbol of St. James the Great ; St. John, as an apostle, should have the chalice with the serpent, the eagle being his emblem as an evangelist. St. Thomas usually has a builder's rule, — more rarely, a spear ; St. James Minor bears a club ; and St. Philip has a cross in his hand, or bears a crosier ending in a cross ; St. Bartholomew has a large knife, St. Mat- thew a purse, St. Simon a saw, St. Jude — or Thaddeus — a lance or halberd, and St. Matthias a lance. The apostles are always represented as twelve in number, but the personality is varied in ancient mosaics and bronzes, in which they are sometimes presented according to the Byzantine rather than the Latin ritual. In some cases St. Paul replaces St. Jude, and there are exam- ples in which SS. Mark and Luke are in- 86 SAINTS IN ART. eluded, to the exclusion of SS. Simon and Matthias. Statues of the apostles are used in both the exterior and interior decoration of churches, and could not be omitted from any comprehensive system of ecclesi- astical decoration. In many representa- tions they are only superseded by Divine Beings, according to the words of Christ : " When the Son of Man shall sit in the throne of his glory, ye also shall sit on twelve thrones, judging the twelve tribes of Israel." The apostles by Jacobelli, on the top of the choir screen in the Basilica of St. Mark, in Venice, and those by Peter Vischer, on the; tomb of St. Sebald, in Nuremburg, — vastly different in treat- ment as ai-e the Italian and German schools which these statues represent, — are the finest that I have seen where all the Twelve are present. There are single THE APOSTLES. 87 figures which I much prefer ; for example, the St. James Major, by Thorwaldsen, in the Frue Kirke, in Copenhagen, and the St. Mark, on the exterior of Or San Michele, in Florence, already mentioned. The apostles of Jacobelli and Vischer are in a sincere, unaffected style of relig- ious art, far more devotional and accept- able than the dramatic groups of later date, such as Correggio painted in the churches of Parma. Picturesque and dramatic effects are unsuited to these single-hearted, fervent apostles, however artistically they may be handled. The representation of the apostles in the fresco of the Last Judgment, in the Sistine Chapel, by Michael Angelo, and that by Raphael in La Disputa, in the Stanza della Segnatura, — both in the Vatican, — are most important in the his- tory of Art. The first exhibits a company of undraped giants grouped about Christ 88 SAINTS IN ART. in his office of Judge of the World. They are grand figures, demonstrating the great master's marvellous powers of conception and execution, and testifying to the val- idity of his immortal fame, but one would shrink from them as judges. In the Disputa a number of the apostles are omitted, the company in- cluding prophets and saints also. It is an assemblage of great dignity, in which the figures are fully draped, and seated on clouds, on each side of the Three Persons of the Trinity. They appear to be calmly discussing the relations between God and man, — the subject of the picture, which is sometimes called " Theology." St. Peter and others are easily distinguished by their symbols. It is a most sympa- thetic representation of the " Communion of Saints." Pictures of the apostles in groups, in historical. Scriptural, and legendary sub- THE APOSTLES. 89 jects, are numerous and easily distin- guished. Scenes from the Hfe of Christ in which they are present were favourite motives with the masters, and the most important subjects connected with them after his death — the Descent of the Holy Ghost, the Dispersion to Preach the Gos- pel, and the Twelve Martyrdoms — were many times repeated. In these scenes other figures are introduced; indeed, in the wonderful representation of the Day of Pentecost, in the chief dome of the Basilica of St. Mark, — which consists of several distinct parts, — there are not only numerous figures, but fine architectural features, a charming landscape with trees and birds, and other effective details. But the apostles, in whatever company they appear, are distinguished by their figures, their bearing, and the expression of their faces, as well as by their symbols. A volume would be required were one go SAINTS IN ART. to satisfactorily treat of the single figures of the apostles in painting and sculpture, and explain the historical or devotional intention of such works. In groups of apostles Si. Peter is ac- corded the first place, by universal con- sent, and is frequently represented with St. Paul and St. John the Evangelist. SS. Peter and Paul are honoured, in old mosaics especially, as founders and de- fenders of the Christian Church in all the world. Important examples of these are seen in Santa Maria Maggiore, Santa Sabina, and SS. Cosmo and Damian in Rome ; these belong to the fifth and sixth centuries and are more curious and inter- esting than beautiful. In the Cathedral of Monreale, at Pa- lermo, the mosaic is of the twelfth century, and is admirable. SS. Peter and Paul are seated on magnificent thrones, the former holding a book in one hand, and ^^H ■ ^H ^^^^^^^^^^B f ,^ l^^^^^H ^^^^Hr ^^^^1 ^^l^^l ^Hk ^^H ^^^^HHhHH^ ^^^wWL i^^^^^l B^^Ki ^^Kv^ ^^ ^ '" '"'^^^^^l ^^KKSKj^^M ^Bfct^j:AiV.;.fe ^H^^^l ^sn^i^^pHi HB^jl ifl^^^^l Wbs^^^ ^HH ^^^^H ^^K^^Bki^i~0W^%*5?i3l^^ t^^%*/ - -^.'^■; %^fi^;v ^^^ m^ l# Smw^^I^^ fli ^kA •» ' >-jHH^^^^n°^^Q^^| ^^^1 i^M • ..« ■■^■■'■P^' !>*"' '^- mk\ m ^^^ ^3 :^ 1^^ M wM l^f'S%F'^iS: ■i. .yM t,i?i.»^ i ■■ f^^':f - ■ !« 1^^; Jii-S*-'^"'*.* "V"'- ■ ipi^ '#\ p-m^fi m. '"^ -^- i§^^ RosSETTi. — Mary Magdalene at the House OF Simon. OTHER SAINTS IMPORTANT IN ART. 309 with you; but me ye have not always." Simon is a dignified man, richly dressed. At a second table a number of guests are seated, and glimpses into other rooms show servants moving about. This pic- ture bears out the words of Kugler, who says that Mabuse, before going to Italy, was one of the first artists of the Van Eyck school, " displaying great knowledge of composition, able drawing, warm colour- ing, an unusual mastery in the manage- ment of the brush, and a solidity in the carrying out of every portion such as few of his contemporaries attained. His only deficiency consists sometimes in a certain coldness of religious feeling." The picture of the Magdalene at the House of Simon, by Dante Gabriel Ros- setti, is an especially interesting work. Here it is the outside of the house that is seen, and the Magdalene is making her way up the steps to the entrance, through 3IO SAINTS IN ART. a crowd of people, all of whom are intently watching her, and of whom she seems unconscious, her whole attention being fixed on what she can see through the open door of the supper-room. The manner of the people in this crowd plainly shows that they consider the Mag- dalene one to be stared and even leered at in the most insolent manner ; but all this now means nothing to her. She knows that Jesus is within the house she is about to enter, and it is of him alone that she thinks ; she has left her past behind her and is pressing forward in the new path which Jesus has opened to her. We can see in the picture what she cannot, since Jesus at a window is visible to us, and she can only see those who sat at meat with him. One of these, a gross looking man, near the door, regards her scornfully, while an attendant behind him views her approach with curiosity. OTHER SAINTS IMPORTANT IN ART. 3 II The face of the Magdalene is beautiful, and full of a fixed purpose. She tears the flowers from her hair, which is stream- ing about her shoulders ; the box of oint- ment hangs from her girdle. The details of the picture are numerous. In the lower corner of the work, beneath the window where Jesus is seen, a lamb — emblem of innocence and of sacrifice — is eating of the flowers which grow abun- dantly. The draperies on the two prominent figures at the side of the steps, in the foreground, have a tapestry effect, and are very rich; this pair seem like a gay youth and his mistress — suggested by the familiar and disrespectful manner in which he places his hands on her foot and knee — who have known the Magdalene in another phase of her life, and regard , , her with scornful surprise in this, her new character. 312 SAINTS IN ART. The beggar girl sitting on the lower step is a beautiful and effective figure. She turns from her bowl of food, holding her spoon in one hand, and lifts her face above her shoulder, looking up at the Magdalene ; thus she reveals her own at- tractive features and her luxuriant hair, and makes one tremble for her future when her surroundings are considered, for the men and women in the street below and beyond the Magdalene are not such as this child should be exposed to. Quite in the background musicians are playing, and through an opening figures are seenj gradually growing indistinct in the distance. Christ at the house of Martha and Mary has also been variously represented by painters of religious subjects. In some pictures the house, the sisters, and Lazarus are very commonplace in appearance, and suggest an ordinary labouring family in OTHER SAINTS IMPORTANT IN ART. 313 their home ; again the brother and sis- ters are seen in a luxurious dwelling, with all the accessories of wealth surrounding them; The legend relates that Martha, who was a Christian, and sadly mourned the life led by her sister, presented the erring Mary to Jesus. An engraving by Marc Antonio Raimondi, after Raphael, — no picture being known to exist of this scene, — represents this presentation, though not in the home of the sisters. Jesus is seated in the pillared entrance to the tem- ple, to which a flight of steps ascends, on which are the sisters, Martha leading Mary and being a little in advance. Martha is looking in her sister's face, and pointing toward Jesus as if to assure her that with him she would find forgiveness and peace. Mary's eyes are cast down while Jesus holds out his hand as if in encourage- ment and benediction. Near Our Lord is 314 SAINTS IN ART. a group of three men, probably his disci- ples, and just behind him another, who is thought by some critics to represent Laza- rus, as his regard is fixed on the sisters intently. In the street below a crowd of people watch the ascent of Martha and Mary with great interest. This engrav- ing is in the Louvre, and is not uncom- mon in other public collections. Jouvenet's picture of the same subject . is also in the Louvre. Here Mary kneels before Jesus, who is seated, while Martha, standing near by, is evidently talking, and gesticulates with vehemence. In pictures of the Raising of Lazarus the two sisters are present and are easily distinguished. This subject was frequently represented in the early centuries of Chris- tianity, and was thought a fitting emblem of the resurrection of the dead as taught in the Apostles' Creed. It is seen on the ancient sarcophagi, is one of the series of Rubens. — The Raising of Lazarus. OTHER SAINTS IMPORTANT IN ART. 317 the miracles of Christ, and is never omitted in scenes from the life of Mary Magdalene. In the Berlin Museum is the picture of this miracle by Rubens. Lazarus, who emerges from the tomb on one side, is already partly freed from his cerements and has his eyes fixed on the face of Our Lord, who, standing on the opposite side of the picture, raises his hands in benedic- tion. Lazarus is apparently unconscious of the presence of his sisters, who kneel between him and Jesus. Mary regards her brother earnestly and is busy unwinding still more of the grave- clothes, while Martha, looking up to Jesus, raises her hands in awe and amazement. Two men are behind this group, one of them looking at Lazarus attentively, while the other assists in removing the winding- sheet. A criticism has been made of this pic- ture because Mary is evidently thinking 3l8 SAINTS IN ART. only of her brother, for the moment for- getful of Jesus, as if more vitally inter- ested in the restoration of Lazarus than in the power which had effected it. This is very human, as Rubens was accustomed to be, but this scene is not usually so represented. The picture by Fra Angelico, in the Academy of Florence, is remarkable for its directness and simplicity. At the command of Christ, Lazarus, wrapped in grave-clothes, comes forth from his tomb ; his hands are clasped as he looks at Jesus, before whom his sisters are kneel- ing; behind Christ is a group of four figures, and near Lazarus are two others, one of whom covers his nose with his hands. Giotto, in his picture in the Arena Chapel, Padua, makes this refer- ence to the truth that Lazarus had been actually dead less disagreeably sugges- tive, by representing those nearest the OTHER SAINTS IMPORTANT IN ART. 319 risen man with their robes wrapped over their faces below the eyes. Tintoretto's picture in the Scuola di San Rocco, Venice, is not so fine a work as one would expect to see from the hand of this master. In the lower por- tion Christ is in a half-reclining position ; in the upper part the grave-clothes are being taken off Lazarus ; a group of spec- tators exhibit neither awe nor surprise; they are apparently as calm as if the dead were raised in their sight daily. Naturally, the most interesting picture of this subject is that by Sebastian del Piombo, in the National Gallery. The accepted story of this work is that, when Cardinal Giulio dei Medici commissioned Raphael to paint the Transfiguration, he also gave an order to Sebastian to paint a companion in size, representing the Rais- ing of Lazarus. Michael Angelo being in Rome, and, as it is said, sympathising 320 SAINTS IN ART. with Sebastian in his dislike of Raphael and jealousy of his fame, determined to aid Sebastian, and made a design for the picture which Del Piombo coloured. The Lazarus is believed to have been thus pro- duced. It is one of the most important and interesting pictures of the sixteenth century. The moment chosen is after Lazarus has left the tomb ; he is seated on a sar- cophagus in the right centre of the picture,, while his grave-clothes are being removed by others. Christ stands in the centre, and, with one hand raised, he points toward Lazarus with the other; he is evidently speaking, and various words have been attributed to this moment by different critics ; to me it seems that he is uttering the command, " Loose him, and let him go." The figure of Christ is artistically inferior to the rest of the work. At his feet Mary Magdalene is OTHER SAINTS IMPORTANT IN ART. 32 1 kneeling, and gazes in the face of the Master with faith and gratitude, while Martha stands on one side, turning her face away, as if afraid to look at the risen Lazarus. Many figures surround the principal personages in the scene, all expressing astonishment and curiosity. The back- ground represents Jerusalem, and a bridge above a river, in which a group of women are washing linen ; in the middle ground is a huge tree, the top of which is cut off by the size of the canvas. One may well study the draperies and all the different details of the figures, which are wonder- fully modelled. The light and shade, too, are fine, parts of the picture being in shadow, while other portions are brilliant with sunshine. We are so accustomed to see the Mag- dalene at the foot of the cross in pictures of the Crucifixion — a representation said 32 2 SAINTS IN ART. to have originated with Giotto — that it is scarcely needful to speak of it; in some cases she embraces the cross ; the box of ointment is frequently near her, in order that she may be distinguished from the Virgin and the third Mary, I have studied the Crucifixion by Ru- bens, in the Antwerp Cathedral, many times, and admire it beyond all other representations of this subject, but have always regretted tliat the Magdalene, with her arms around the cross, does not look at Jesus rather than at the executioner. By this regard of the saint Rubens gave himself an opportunity for a remarkable expression of detestation and horror on her face, but the more one studies the picture and realises the full meaning of the scene, the greater is the surprise that in this supreme moment the Magdalene could have realised the presence of any other than Our Lord. OTHER SAINTS IMPORTANT IN ART. 323 Vandyck painted several Crucifixions ; one is in the Cathedral of Mechlin ; one in Vienna, in the Belvedere ; and a third in the Museum of Antwerp. Vandyck's pictures of this and kindred subjects are full of profound emotion, and of an intense and elevated expression of religious faith and love. In the Crucifixion, the passionate feeling which he depicts in the face, figure, and action of the Magdalene is in striking contrast to the profound and patient pathos which he imparts to the Virgin. In some pictures of the Crucifixion, the Descent from the Cross, and the En- tombment, the Virgin faints in the arms of the Magdalene. At other times this saint is weeping, or embracing the feet she once anointed, as is the case in a design for a window made by the late Sir Edward Burne-Jones, in which Jesus is seated above the Magdalene, and she, with great humility, embraces his feet. 324 SAINTS IN ART. In the Piet^ the Magdalene is often a conspicuous figure, as in pictures of this subject by Fra Bartolommeo and Andrea del Sarto, both in the Pitti; in the first she passionately presses the feet of the dead Christ to her bosom while her whole figure speaks the very abandonment of hopeless grief ; in the second, she is kneel- ing and wringing her hands. The pictures of Mary Magdalene at the Sepulchre, when she is alone, are founded on the account of St. John the Evangel- ist In the other Gospels, both two and three women are mentioned, and they frequently appear like representations of the myrrh-bearers of the Greeks, who carried spices and perfumes to the tombs of the dead. This picture is very easily recognised, and I shall speak of but two, one very modern, by Sir Edward Burne- Jones, and a second, by Mantegna, almost four centuries old. Fra Angelico. — Jesus Appears to Mary Magdalene. OTHER SAINTS IMPORTANT IN ART. 327 In the first, two shining angels sit on the empty sarcophagus ; between them Mary stands, looking back over her shoulder and lifting her hand in her surprise, — wonder- fully expressed both in her face and figure, — at seeing Jesus, although St. John tells us that in this moment she " knew not that it was Jesus." The angels, too, seem greatly moved by his appearance ; one, whom Mary has been facing, points to Jesus, and turns his eyes toward him without turning the head; it is apparently the gesture of this angel which has caused Mary to look over her shoulder. John's account does not represent her as enter- ing the sepulchre, only as looking in, and when she turned herself back she saw Jesus. The second angel, nearest to the. Lord, looks directly at him, with sur- prised face, and rests one hand on the sarcophagus and bends slightly, as though drawing away from the risen Christ. Both. 328 SAINTS IN ART. the angels hold their robes over their mouths with one hand, in a manner which recalls the expression, " the silence of the tomb," and also symbolises a reverence that forbids speech; each has a flame above the brow, and their wings are folded behind their heads. Mantegna's picture is in the National Gallery, London. It represents the sar- cophagus from which Jesus has risen, on a platform in the midst of rocks which tower behind it. Below this platform there are rude steps cut in the rock itself. One exquisite angel, with wonderful wings, sits on the empty tomb and lifts the grave- clothes from it, as if to show the Mag- dalene, who stands near by, that there is no body here. She, holding her jar of spices, makes a gesture of surprise. She is a most graceful figure. Meantime the Virgin Mary, and the other Mary, who have been at the foot of the rock, begin Mantegna. — Mary Magdalene at the Sepulchre. 4 OTHER SAINTS IMPORTANT IN ART. 33 1 to ascend, as if to assure themselves of the miracle which has been wrought. The details of this picture are curious. In the foreground is a bit of water, on which are ducks; a turtle is lying on a small rock, and various small bunches of homely herbage are springing up. It is altogether a quaint and acceptable picture. There are series of pictures of the life of the Magdalene, founded on extraordi- narily wild legends, of which I shall not speak. The colouring, the abundant hair, and the general character of the represen- tations of this saint are such as make her easily recognised. Several such series, like that by Giotto, in the Bargello, Florence, are so much injured as to be in- effective ; another series is in the Chapel of the Magdalene at Assisi ; and separate scenes occur in the windows of some French cathedrals, as at Bourges and Chartres, while around the porch of the 332 SAINTS IN ART. Certosa, at Pavia, a series of bas-reliefs tells the same story. The appearance of Jesus to Mary Mag- dalene in the Garden — known as the Noli me tangere — has been many times represented, and is less subject to varia- tion than are many other pictures in the lives of saints. The Scriptural account of this event fixes the scene and the number of persons present, leaving to the artist the choice of their positions and the expression to be given the faces and figures. This subject did not appeal to the ear- liest painters, but from the fourteenth century, both in Italy and Germany, its ar- tistic importance was recognised. Much might be said of the manner in which the Christ has been pictured in this scene, many painters making the fatal error of extreme realism and putting a spade in the hand or on the shoulder of Jesus, — a OTHER SAINTS IMPORTANT IN ART. 333 most unhappy allusion to the declaration of St. John that when the Magdalene first beheld the risen Lord she supposed him to be a gardener, — even the spiritual Fra Angelico permitting himself to commit such an error; and when — as in a design which I believe to be wrongly ascribed to Raphael — the figure of Jesus is that of an old labourer, with a large pickaxe on his shoulder, wearing a broad shade hat, beyond which a generous and brilliant aureole appears, one cannot pardon this absurdity, nor even smile at it when con- nected with so sacred a motive. But these considerations are more suitable to a life of Christ than to one of the Mag- dalene, who, in these works, with few ex- ceptions, is properly represented. She is adoring and humble, and as one looks at a fitting picture of the scene he wonders why Jesus should have denied the saint that touch which would have assured her 334 SAINTS IN ART. of his identity as it later removed the doubts of Thomas. Was it not a recog- nition of her greater faith .? and was she not thus included among those of whom he spake when he said : " Thomas, be- cause thou hast seen me, thou hast believed : blessed are they that have not seen, and yet have believed ? " Lorenzo di Credi, in his picture in the Uffizi, painted a sweet and loving Mag- dalene, but one who scarcely represents a woman who has sinned and repented, and shown such force of character as had Mary Magdalene. Titian, in his picture in the National Gallery, has depicted a most beautiful woman, with more of the earnestness and energy which belong to this saint. Baroccio, in his picture in the Uffizi, has represented the moment of the recog- nition of Jesus by Mary; she has knelt in order to look into the sepulchre, and. OTHER SAINTS IMPORTANT IN ART. 335 hearing the one word, " Mary," she has turned to exclaim, " Rabboni." The picture by Angelico, in the Mu- seum of San Marco, Florence, represents a later moment. The scene is a garden ; on one side is the opening of the tomb, from which, not finding the body of Jesus, Mary has turned away, and then, seeing the risen One, she has dropped on her knees and holds out her hands as if to touch him; but he, looking at her sorrowfully, gently motions her away. The whole work is simple and quaint, and very characteristic of the Beato. The Assumption of Mary Magdalene has been frequently represented, she being borne to heaven by angels. Ribera's picture in the Louvre is a triumph of that master's composition and colour, and is a delightful example of his art since it has none of the repulsive features of many of his pictures. In too many cases 336 SAINTS IN ART. the Magdalene of the Assumptions might as suitably be called a Venus or a Cleo- patra, upheld by cupids. Above the high altar in the Madeleine, at Paris, is Marochetti's marble group representing this subject. The saint is borne upward by two angels, while on each side an archangel kneels in adora- tion. In considering the many artistic sub- jects illustrating the life of Mary Magda- lene, and showing the importance of her consideration in the Church, — only a por- tion of which I have mentioned, — and reflecting upon the manner of their representation, I recall with sympathy Mrs. Jameson's words : " In how few in- stances has the result been satisfactory to mind or heart, or soul or sense ! . . . A noble creature, with strong sympathies and a strong will, with powerful faculties of every kind, working for good or evil, — OTHER SAINTS IMPORTANT IN ART. 337 such a woman Mary Magdalene must have been, even in her humiliation ; and the feeble, girlish, commonplace, and even vulgar women who appear to have been usually selected as models by the artists, turned into Magdalenes by throw- ing up their eyes and letting down their hair, ill represent the enthusiastic convert or the majestic patroness." The name of .5"/. Genevieve of Paris is rarely heard outside of France, and her place in Art is in the French school. A peasant shepherdess, remarkable for her piety at a very early age, it was revealed — according to tradition — to the Bishop of Auxerre, when the child was but seven years old, that she was predestined to perform glorious works in the service of Christ. The bishop hung about her neck a chain on which was a coin, bear- ing the sign of the cross, and solemnly consecrated Genevieve to God's service. 338 SAINTS IN ART. From this moment the little maiden regarded herself as separated from the world, and many wonderful deeds are attributed to her. But the chief example of her Heaven- sent power was given when Attila, with his Huns, besieged Paris. Then Gene- vieve addressed the terrified people, be- seeching them not to fly before the barbarians, from whom God would surely deliver them. While she elo- quently pleaded and the people hesi- tated, news was brought assuring them that the pagans had withdrawn from the city and marched in another direction. Then the inhabitants fell at her feet, and from that time Genevieve performed many miracles of healing and consolation, and was greatly reverenced. When Childeric took the city of Paris he respected Genevieve ; and through her influence King Clovis and Queen Clo- OTHER SAINTS IMPORTANT IN ART. 339 tilde were converted to Christianity, and the first Christian church in Paris was built upon Mont St. Genevieve, as the emi- nence was called, in her honour. Dying when eighty-nine years old, the saint was interred by the side of the sovereigns whom she had converted. The splendid Church of St. Genevieve, now better known as the Pantheon, can scarcely be considered a suitable memo- rial of this humble, holy woman. The commemorative monuments of modern days are often quite out of keeping with the characters of the persons thus hon- oured, and Paris furnishes two notable examples of this in the churches dedicated to SS. Mary Magdalene and Genevieve. The symbols of this peasant saint are a lighted taper, a breviary, and a demon crouching at her feet with a pair of bellows, referring to the legend that demons constantly extinguished the tapers 340 SAINTS IN ART. she burned in honour of God, which she as constantly rehghted by prayer. The earliest representations of Genevieve show her with all these symbols, and wearing a veil, but later she has been pictured as a simple shepherdess with her distaff and spindle, and her sheep near at hand. Occasionally she has a book, a loaf of bread, or a basket of food, in allusion to her charities. The numerous pictures of St. Gene- vieve in the churches and galleries of France are easily recognised, and no special description of them is required. They are not impressive as a rule, and even the painting in the dome of the Pantheon, in which the saint receives the homage of four kings, is in question- able taste. It is interesting to note that more than nine centuries after the God-inspired bravery of St. Genevieve had saved Paris OTHER SAINTS IMPORTANT IN ART. 34 1 from its enemies, another peasant maiden, Jeanne d'Arc, by the command of her " voices " led the army of France to vic- tory; and now, more than four cen- turies and a half having elapsed since her death, this Holy Maid of France is about to be canonised. She has already been declared " Ven- erable," that is, worthy of veneration, and the second title of " Blessed," and the third of Saint, will doubtless follow at no distant day. I have already seen a window, recently placed in a chapel in Georgetown, D. C, on which she is pre- sented as an object of religious veneration. Pictures of Jeanne d'Arc represent her as listening to the voices which directed her to raise the siege of Orleans and conduct Charles VII. to be crowned at Rheims; in her interview with Charles at Chinon, when she said: "Gentle dauphin, my name is Joan the 342 SAINTS IN ART. Maid, the King of Heaven hath sent me to your assistance ; if you please to give me troops, by the grace of God and the force of arms, I will raise the siege of Orleans, and conduct you to be crowned at Rheims, in spite of your enemies ; " again, when armed and riding to conquest, or on foot leading the attack at Orleans; in the scene of the corona- tion in the cathedral at Rheims; the Maid at her trial, and, lastly, the scene of her martyrdom. The pictures illustrating her life, on the walls of the Pantheon, by Lenepveu, are most interesting. That in which Jeanne leads the attack on the besieg- ing army, on foot, is spirited and full of motion. The Coronation Scene is most impressive ; Jeanne, standing in the midst of the cathedral, appears as the moving spirit of this important event, as indeed she was. OTHER SAINTS IMPORTANT IN ART. 343 The decorations for the cathedral at Domremy, by Boutet de Monvel — which are still in progress — are of the greatest possible interest, and no doubt many of those who have seen his recent exhibi- tions in this country will make pilgrim- ages to the birthplace of "the Maid," when these pictures are in their destined location. Together with the temple thus consecrated to her memory, in the midst of the scene in which she actually lived and evolved her saintly and patriotic impulses and character, they will con- stitute an important and fitting monu- ment to the second peasant maiden who so gloriously saved the honour of France, and through base ingratitude lost her own life. The story of Si. Elizabeth of Hungary presents to us a woman who was the very ideal of Christian charity, love, and tender- ness ; and when we remember that most 344 SAINTS IN ART. of what is related of her is historically- true, — with so little of the mystical that it also appears to be true, — the interest in her is greatly enhanced. She was the daughter of the King of Hungary, and was born in 1207. From her cradle the loveliness of her person and her character was so remarkable that its fame reached the ears of Hermann of Thuringia, who dwelt in the Castle of Wartburg. The visitors to his court brought news of the little princess, and so wonderful and charming did these re- ports make her to be, that Hermann sent an ambassador to ask her hand in mar- riage with his son Louis. Thus it happened that Elizabeth, when but four years old, was carried to the , Wartburg to be reared with the boy who was to be her husband. Here they were constant companions and playmates, even sleeping in the same cradle, and loving OTHER SAINTS IMPORTANT IN ART. 345 each other fondly through all their child- hood. The room which Elizabeth occu- pied at the castle is now carefully shown to visitors, because in it Martin Luther lived and worked at his translation of the Bible. When still a mere child Elizabeth prac- tised such works of charity as were possi- ble. She saved the scraps of food from the table, and sometimes ate sparingly herself, that she might better fill her basket to carry ta the poor of Eisenach. So long as Hermann of Thuringia lived Elizabeth was peacefully permitted to do as she liked, but he died when she was nine years old, and those to whose care she was left found her humility and Chris- tian graces but little to their liking in the maiden destined to preside at their court. The aunt and sisters of Louis treated her most unkindly, all of which she bore with patient sorrow. Louis, however, watched 346 SAINTS IN ART. her tenderly, and when he reached his twentieth year he married her. Elizabeth, now feeling her new respon- sibilities, redoubled the fervour of her piety, and even imposed severe penances on herself for her own sins and those of her people. Louis sometimes reproved her zeal, but secretly felt that he and all about her must profit by her devotions. Being told by her confessor that food for the royal table was taken from the people unjustly, and fearing lest she should eat of this, she often took but a piece of bread and a cup of water at the royal banquets. Louis remonstrated with her, and one day drank from her cup in a playful spirit, when, to his surprise, he tasted a more delicious wine than he had ever drunk, and calling the cup-bearer he demanded the name of this vintage. But the cup- bearer declared that he had poured water only for his mistress, to which Louis made OTHER SAINTS IMPORTANT IN ART. 347 no reply, as he had already suspected that Elizabeth was cared for by angels. Having, on an occasion when Louis made a splendid feast, given her royal mantle to a beggar who asked aid in the name of Christ, she greatly feared that Louis would upbraid her; but when she entered her chamber the mantle had been miraculously restored, and she wore it to the feast, where the guests were amazed at her beauty, for there was a light about her which was dazzling and more celestial than earthly in its glory. Again, she so pitied a poor leprous child, who had been cast out to die, that she gathered him in her arms and put him in her own bed. Her mother-in-law, furious at this, called Louis to see what Elizabeth had done, and he found there a beautiful infant, who smiled on him and then dis- appeared. These are examples of the miraculous tests which Our Lord was be- 348 SAINTS IN ART. lieved to employ for the trial of the faith of his servants, and whether he assumed the form of a loathsome beggar or a lep- rous child, Elizabeth was true to her Christian character. Louis feared that in her charities she exposed her health, and meeting her one day, as he was going up to the castle and she was- going down, with but a single attendant, he observed that she had in her apron what seemed a heavy burden ; it was, in truth, a variety of food for the poor. She was much disturbed when Louis asked what she carried, and feared his displeasure ; but loosing her apron, showed him, and was herself as- tonished to see many red and white roses. Then Louis would have kissed her, but so radiant was her face he dared not touch her, and, taking one of the roses, he bade her go on her way. OTHER SAINTS IMPORTANT IN ART. 349 In 1226 Louis was in Italy, and his peo- ple were afflicted by famine and plague. Elizabeth devoted herself to the children of Eisenach, who called her, " Mother, mother," and clung to her skirts when- ever she appeared. She founded a hos- pital for them, and, besides emptying the treasury, she sold her own jewels for charity. When Louis returned she met him with their children, saying : " See ! I have given the Lord what is his, and he has preserved what is ours ! " and Louis could not chide her for what she had done. Then Louis joined the third Crusade, and died in Jerusalem. His brothers now persecuted Elizabeth, but when the knights who had gone with Louis re- turned with his body, they insisted that she should have justice, and the city of Marburg was given her as her dower. Thither she went with her children, and, 350 SAINTS IN ART. as she already wore the cord of St. Fran- cis, she desired to give all she possessed to the poor, and beg her way through the world. This her confessor would not per- mit, but she gave away all that she could, and earned money to increase her gifts by spinning. Thus taxing her strength by labour and penance, she faded from the world when but twenty-four years old. In pictures St. Elizabeth of Hungary should be young and beautiful, and Italian artists so represented her, but some Ger- man painters made her mature, and even elderly. Her symbols are roses, red and white, such as are said to bloom in Para- dise ; she also has a crown, and sometimes even three are given her, to signify her blessedness as a virgin, wife, and widow ; a beggar is usually seen near hen In Fra Angelico's picture in the Acad- emy of Perugia, the roses are seen in her OTHER SAINTS IMPORTANT IN ART. 35 1 apron, and she wears a crown, indicating her rank. Holbein's picture in the Munich Gal- lery is very attractive. The saint is in royal attire, with a crown and aureole. Her face is serious, and her bearing dig- nified. On one side of her, and half-way concealed by her robe, is a kneeling beg- gar; on the other side, two are partly hidden in the same way, but one of them holds forward a bowl, into which the saint is pouring milk. In the background the Castle of the Wartburg is seen. This picture is most easy and natural as a whole, and the saint herself is a refined and elegant woman. Originally this work made a wing to an altar-piece executed in Augsburg, about 1516, by Hans Holbein the younger, although sometimes attrib- uted to his father. But all other pictures of St. Elizabeth of Hungary are overshadowed by that of 352 SAINTS IN ART, Murillo, painted for the Charity Hospital at Seville, and now in the Academy of San Fernando, at Madrid. Here the saint, in the dress of a nun, is in attend- ance on the poor in one of the halls of her hospital, and is engaged in washing the scalled head of a beggar boy, from which the work is called in Spanish el Tinoso. Other unpleasant-looking beg- gars are about her in close contact with the exquisite ladies of Elizabeth's court, who are evidently not in sympathy with their queen, although they aid her by holding such articles as she requires in her work. Behind them is an old woman in spectacles, peering over to see what the saint is doing. It has been said of this work that the figure of the saint equals the best pictures of Vandyck; that the beggar-boy's face would have done credit to Veronese, and the old woman to Velasquez. When one studies OTHER SAINTS IMPORTANT IN ART. 353 this picture he is as much disgusted by its sickening exhibitions of repulsive dis- ease as are the court ladies near the queen, but, — as Mr. Stirling remarks in his " Artists of Spain," after noticing the extreme realism and the lifelike effect of the scene, — " the high-born dame con- tinues her self-imposed task, her pale and pensive countenance betraying no inward repugnance, and her dainty fingers shrink- ing from no service that can alleviate human misery and exemplify her devo- tion to her Master." S^. Francis of Assist, known as the Padre Serafico, the founder of the Order of the Franciscans, is of great importance in the study of saints in Art. The par- ent convent and church of this Order, at Assisi, was, during three hundred years, the scene of the achievements of many notable artists, and remains to this day one of the most frequented, interesting, 354 SAINTS IN ART. and instructive of the splendid edifices decorated by the painters and sculptors of the Renaissance. Again, in Florence, the Church of Santa-Croce is a famous monument of this Order, in which not only excellent examples of the works of early Florentine painters, but also the wonderful sculptures of Delia Robbia and Maiano, are treasured. The Church of St. Antony, in Padua, rich in frescoes, marbles and bronze ; the Frari in Venice, in which Titian is buried ; the Santa Maria-in-Ara-Coeli, in Rome, and many other religious institutions scat- tered over Italy, Spain, and other coun- tries, are noble witnesses to the patronage of Art by the Franciscans. Murillo owed much to these monks, who were his earliest patrons in Seville. He first painted eleven pictures for a small cloister for one of the Franciscan Mendicant Orders, and later, twenty others OTHER SAINTS IMPORTANT IN ART. 355 for the Capuchins of Seville, also Francis- cans ; and these were among his finest works. Indeed, could a list of the works of art executed for the churches, hospitals, and other charitable institutions of the Franciscans — in which order are the Capuchins, Minimes, Observants, Conven- tuals, and several others — be made, all lovers and students of Art would feel themselves their grateful debtors. Mrs. Jameson says, " Some of the grandest productions of human genius in painting, sculpture, and architecture signallised the rise of the Mendicant Orders." The life of St, Francis is interesting from the fact that his varied personal experiences included all that would com- monly be shared by several men in differ- ent walks in life. Born of a rich family, he was reared in luxury, and was famous for his love of magnificent attire and of all the so-called pleasures affected by the 356 SAINTS IN ART. golden youth of all countries and periods. In the years of his prodigality he was also distinguished for his generosity, which even then foreshadowed the unselfishness of his after life. When still but a youth, in a quarrel between Assisi and Perugia, Francis was made a prisoner, and spent a year in the fortress of Perugia, and on his release suffered a severe illness. During the months passed in prison, and on a bed of sickness, his thoughts became more serious than before, and soon after he resumed his accustomed life and rich ap- parel he was so moved by pity of an almost naked beggar that he gave his garments to the man, and wrapped him- self in the rags of the mendicant. At this period Francis began to have dreams, or visions, in which Christ ap- peared to him, and in one of these he received the command, "Francis, repair OTHER SAINTS IMPORTANT IN ART. 357 my church ! it falleth in ruins ! " At first he did not understand the full meaning of this charge, and incurred the anger of his father by selling goods and giving the proceeds for the reparation of the Church of St. Damiano. At length the deeper intent of the com- mand was revealed to him, and he abjured his former life, and dedicated himself to the service of God and to poverty. For seven years he worked in hospitals and among the poor, begging his living, and saving every penny that he could spare for the reparation of churches. He lived in a cell, went barefooted, with barely such clothes as would cover him, these being girdled with a hempen cord. Preaching Christ and his salvation, Francis made many converts, and applied to the Pope for permission to establish an Order, that he might bind his converts more closely to himself and to each other. This Inno- 358 SAINTS IN ART. cent III. refused; but, being shown in a vision that the begging preacher merited his aid, he granted the founding of the Brotherhood, and Francis made the first condition of admission the taking of a vow of absolute poverty. In ten years from this beginning five thousand Franciscans assembled in Assisi. Francis then went to the Orient and spent four years in austere devotion to good works. Soon after his return he had a vision which impressed on his soul that it was not by good works alone, but by divine love, that he was to become the image of Christ. When this vision had passed he found himself marked with the Stigmata, — the wounds of Jesus in his hands, feet, and side. In the eleventh canto of the " Paradise " Dante wrote : "... and when He had, through thirst of martyrdom, stood up In the proud Soldan's presence, and there preach'd OTHER SAINTS IMPORTANT IN ART. 359 Christ and his followers, but found the race Unripen'd for conversion ; back once more He hasted (not to intermit his toil), And reap'd Ausonian lands. On the hard rock, 'Twixt Arno and the Tiber, he from Christ Took the last signet, which his limbs two years Did carry. Then the season came that He, Who to such good had destined him, was pleased To advance him to the meed, which he had earn'd By his self-humbling ; to his brotherhood, As their just heritage, he gave in charge His dearest lady ; ' and enjoin'd their love And faith to her ; and, from her bosom, will'd His goodly spirit should move forth, returning To its appointed kingdom ; nor would have His body laid upon another bier." ^ The Stigmata were believed by the contemporaries of St. Francis to have been inflicted by supernatural power, and on account of these he was called the Seraphic Father, which title was also given to his Order. ' Poverty, whom he had wedded. " He forbade any funeral pomp to be observed for him. 360 SAINTS IN ART. Two years after the death of St. Francis he was canonised, and in the same year, 1228, the foundations were laid for the church in which his relics now rest. To its erection the wealthy of all Europe contributed ; Assisi supplied the marbles, and artists were sent from various parts of Italy to decorate this shrine. The pictures of St. Francis are probably more numerous than those of any other saint. He is distinguished by his plain, cord-girdled robe, with long, loose sleeves, always of a gray colour in the oldest pic- tures, and changed to dark brown at about the end of the fourteenth century; a scanty cope and a hood hanging behind complete the habit. His symbols are the crucifix, the skull, the lamb, and the lily, all of which he shares with other saints, but the Stigmata are his distinguishing emblems, no other male saint having these. He has been many times represented in ■ ■ H ^^^l^^<^^ w^^ Wl t^^^^fc if^^t ■ M ^^R^P^^^^B ^^^^^k ^^^1 ^^■J^l I^N^'^^^^H ^^H| ^^Hj ^^^H H K ''■^^^^i^^i ^9 ^F^ "^ / 1 pH ^^r ^'^^^^- g 1 1 ^->,^^^^H EspiNOSA. — St. Francis of Assist. OTHER SAINTS IMPORTANT IN ART. 363 the act of opening his robe to disclose the wound in his side. The most beautiful pictures of St. Francis alone represent him in a devo- tional attitude, with clasped hands, bend- ing above a crucifix, looking up to one in prayer, or with uplifted eyes and ecstatic expression, apparently gazing at the glories of heaven revealed to him in visions. Of mystical subjects, St. Francis receiv- ing the Stigmata is very important, espe- cially to the Franciscans. In the Upper Church at Assisi, Giotto represented this in the simplest and most childlike manner. The saint kneels in a broad landscape and raises his hands, looking to the clouds, where an angel shoots out five direct lines which apparently inflict that number of wounds on the hands, side, and feet of St. Francis. Cigoli, whose picture is in the Academy of Florence, uses nearly the same design. Other artists have elabor- 364 SAINTS IN ART. ated it, but no picture of so mystical a subject could be other than too realistic, or even absurd. Rubens painted this ecstasy, and the picture is now in the Museum of Cologne, and is by no means a good example of his art. Agostino Ca- racci also represented it, and his work is in the Belvedere, Vienna, together with his picture of St. Francis in Contempla- tion. A far more poetical subject, and a favourite one, is the Vision of St. Francis, in which he, a beggarly and emaciated ascetic, beholds the Virgin and child. In pictures of this subject the saint merely gazes at the glorious vision, or he holds the child in his arms, or the Virgin her- self gives the child to him. The legend relates that St. Francis was in the Por- zioncula when he beheld this vision ; this was the small chapel, since called that of Santa Maria-degli-Angeli, at Assisi. OTHER SAINTS IMPORTANT IN ART. 365 Almost all Spanish churches have a chapel called the Porciuncula, which is dedicated to this vision, and Murillo's picture of this subject is known by the same name. Here there are thirty-three exquisite cherubim above, who cover the saint with the beautiful red and white roses that have blossomed from the briars with which he had scourged himself. This picture is now in the Madrid Mu- seum. The Capuchin pictures by Murillo num- bered more than twenty, seventeen of which are now in the Museum of Seville, and it has been said that the reason for the long stay of this artist in the convent — three years without once leaving it — was on account of his fear of the ofHcers of the Inquisition, who wished to punish him for having painted the Virgin Mary with bare feet. The protection of the Capuchins, who were powerful, enabled 366 SAINTS IN ART. him to pursue his art peacefully, and no works of Murillo's are more imbued with a fervent spirit of religion than are these, which were executed between 1670 and 1680. One of these works at Seville represents another vision of St. Francis, in which the saint looks up in adoration to Christ on the cross ; the Saviour has released one hand, — while the other remains nailed to the cross, — and touches the shoulder of the saint, as if in blessing; two angels hover above the scene. A picture very frequently mentioned is St. Francis espousing Poverty, Chastity, and Obedience. Giotto painted this sub- ject in several scenes on the walls of the Lower Church of Assisi. Interesting as they are in themselves, and as the work of Giotto, this interest is largely increased by the apparently well-founded belief that the artist received many suggestions re- OTHER SAINTS IMPORTANT IN ART. 367 garding these pictures- from Dante, who was a friend of Giotto. Of Giotto's four scenes, the first repre- sents the vow to Poverty, of which Dante wrote : " A dame, to whom none openeth pleasure's gate More than to death, was, 'gainst his father's will, His stripling choice : and he did make her his, Before the spiritual court, by nuptial bonds, And in his father's sight : from day to day, Then loved her more devoutly." In Giotto's picture a woman. Poverty, stands among thorns, and is given in mar- riage to the saint by Christ, while groups of angels appear as witnesses. On one side an angel conducts a youth who gives a garment to a beggar ; on the other side are the rich, who are invited to approach by^ second angel, but they turn away haughtily. The allegory of Chastity is represented 368 SAINTS IN ART, by a young woman, sitting in a fortress, to whom angels pay homage. Warriors are there for the defence of the fortress; on one side St. Francis leads men for- ward to pay their devotions to the maiden, and on the other side, Penance, as an anchorite, drives away impurity. The illustration of Obedience is more vague. Here, an angel in black robes places a finger of the left hand on his mouth, and with the right passes a yoke over the head of a kneeling Franciscan. St. Francis stands above this group, while two hands appear from the clouds holding the knotted cord of the Order. In the fourth picture St. Francis, in a deacon's dress, is enthroned in glory, and surrounded by hosts of angels, who praise him with instruments and voices. These works are of remarkable interest as im- portant among those of Giotto, who was the chief representative of this allegorical OTHER SAINTS IMPORTANT IN ART. 369 style of painting. Kugler says : " Popes and princes, cities and eminent monas- teries, vied in giving him honourable commissions, and were proud in the pos- session of his works." The life of St. Francis is illustrated in the Upper Church at Assisi in twenty- eight pictures which have been attributed to Giotto, but probably were executed by different artists at various periods, as they can be attributed to no one school or single century. There are many pretty stories of the love which St. Francis showed for all living creatures, calling them his brothers and sisters. A picture in the series of his life shows him preaching to birds, and the legend gives the words which he used. " Brother birds, greatly are ye bound to praise the Creator, who clotheth you with feathers, and giveth you wings to fly with, and a purer air to breathe, and who careth 370 SAINTS IN ART, for you, who have so little care for your- selves." Another series of six pictures from the life of this saint, by Ghirlandajo, is in Santa Trinita, Florence. It is needless to add that they are most interesting, as are the reliefs by Maiano, in Santa Croce. A series of small pictures by Giotto was also painted for Santa Croce, but are now separated, twenty being in the Academy of Florence, four in private collections, and two in the Berlin Gallery. Considerable space is devoted to a discussion of these works in Kugler's " Handbook of Paint- ing," it having been thought that in them a comparison is drawn between the life of Our Lord and that of St. Francis. An entire volume could well be devoted to pictures of St. Francis and his disciples, and to the serious student of Art it would have great value. In the Gallery at Bo- logna is a picture of the Madonna with OTHER SAINTS IMPORTANT IN ART. 37 1 SS. Paul and Francis, by Francesco Fran- cia ; in the Brera, Milan, a picture of the saint by Moretto ; in the Museum of Ant- werp is Rubens' picture of the Last Com- munion of St. Francis ; in the Dresden Gallery, an Angel appearing to the Saint, by Ribera ; in the Munich Pinacothek, St. Francis Healing a Paralytic, by Murillo; in the Belvedere, Vienna, SS. Francis and Andrew, by Bonifazio ; in the Madrid Mu- seum, Christ and the Virgin with St. Francis, by Murillo ; in the Museum of Valencia, St. Francis and Christ on the Cross, — as already described, — by Ri- balta; in the Louvre, Pope Nicholas and the Body of St. Francis, by Laurent de la Hire ; in the Hermitage, St. Petersburg, the Madonna, Child, and St. Francis, by Guido Reni ; and in the Academy of Flor- ence, twelve scenes from the life of St. Francis, painted by Taddeo Gaddi after designs by Giotto. 372 SAINTS IN ART. The above are among the best works relating to this saint. Many others exist in churches and galleries, but I believe that all will be recognised from what has been written above. 6V. Antony of Padua, being a Francis- can, resembles St. Francis in his habit, and among his symbols has the book and lily also ; but he is distinguished by a flame of fire, which is in his hand or at his breast, by a mule kneeling, and by the infant Christ on his book or in his arms. St. Antony, through his sympathy with persecuted Christians and martyrs, de- termined to become a missionary, and, through circumstances quite beyond his control, it happened that he was landed on the coast of Italy, and reached Assisi just as St. Francis held the first General Chap- ter of his Order, of which Antony became a member. He was a learned man, and a distinguished professor of theology in OTHER SAINTS IMPORTANT IN ART. 373 the Universities of Bologna, Padua, and Toulouse; but he at length resigned his honourable position, and determined to devote himself to teaching the common people. In this work his intimate knowledge of the theological teaching of all schools, his eloquence, his ease with all conditions of men, and the benevolence of his manner, conspired to render him most successful in his self-appointed mission. Many miracles are ascribed to St. An- tony, and much of poetical and romantic incident are mingled with the story of his life. We are reminded of this saint by numerous representations of him, in both pictures and statues, but even more im- pressively by the church which is dedi- cated to him in Padua. Here his chapel, which required more than a half century of time, and the devo- tion of four master sculptors and many 374 SAINTS IN ART. assistants for its completion, remains a rarely splendid monument of the marble, alabaster, bronze, gold, and silver work of the sixteenth century. Indeed, I doubt if any church in Italy is richer in monu- ments of great interest in the history of Art than is Sant' Antonio di Padua. It is remarkable rather than beautiful in its exterior architecture, with six domes in an elaborate Byzantine style, rising above a Gothic basilica, and it is difficult to imagine or describe in words the effect of this arrangement. The interior is rich in works of early Italian masters ; series of bas-reliefs in bronze, the choir screen, and several other works by Donatello ; frescoes by the earlier artists of the Verona school ; candelabra by Andrea Riccio, which are especially fine ; a few frescoes by Giotto, and some exquisite examples of goldsmith's work, and the greater part of all these devoted OTHER SAINTS IMPORTANT IN ART. 375 to the illustration of the life of Sant' Antonio. In the Scuolo del Santo — school of the saint — the hall of the Brotherhood of Sant' Antonio is also rich in art treasures. Of the seventeen frescoes telling the story of the saint's life, three are by Titian, the others principally by Domenico Campa- gnola, a pupil of the great Venetian, who, it is said, became jealous of his disciple ; at all events, the frescoes of Campagnola do not suffer by contrast with those by his master in this hall. In the Church of San Petronio, in Bologna, there is a chapel dedicated to Sant' Antonio, in which is a statue of the saint, by Sansovino, and a series of pic- tures of eight miracles of St. Antony in grisaille, by Girolamo da Treviso. The most interesting representations of his miracles and of the prominent events in his life are, however, seen in a series of 376 SAINTS IN ART. bas-reliefs on the walls of his chapel in Padua, which are the work of several different sculptors. Here, too, is the earliest portrait of St. Antony, which has usually been made the groundwork of pictures of him by later artists. Several miracles ascribed to St. Antony are concerned with restoring life to the dead; such pictures explain themselves, but the so-called legend of the mule has been many times the subject for both painting and sculpture, and is not so easily understood. It is related that a heretic, who doubted the real presence in the Sac- rament, demanded a miracle in proof of it. St. Antony was about to carry the Host in procession, and meeting the mule of the heretic on the way, the saint com- manded the beast to kneel before the consecrated wafer. The animal obeyed at once, and, though his master tempted him with a portion of oats, the mule OTHER SAINTS IMPORTANT IN ART. 377 would not rise until the Host had passed. Vandyck painted this subject for the RecoUets at Malines ; it appears in al- most every edifice of the Franciscan Order, and is several times repeated in Sant' Antonio di Padua, one fresco of it being by Domenico Campagnola, and a relief by Donatello. The most attractive and beautiful pic- tures of St. Antony represent him with the Infant Jesus. Ludovico Caracci pic- tured the saint in a half-kneeling pos- ture, holding the child lovingly in his arms, the lily being in the hands of the infant, as if he had brought it to the saint from heaven. Elisabetta Sirani's picture of St. Antony adoring the Virgin and Child is in the Bologna Gallery; in the Brera, Milan, there is a lovely Madonna and St. Antony by Vandyck ; St. Antony's Vision, by Alonso Cano, is in the Pina- 378 SAINTS IN ART. cothek at Munich ; a picture of SS. Paul and Antony, by Velasquez, is in the Ma- drid Museum; two pictures of St. Antony and the Infant Jesus, by Murillo, are in the Provincial Museum of Seville, a third is in the Hermitage, St. Petersburg, and a fourth in the Gallery at Berlin. The preference is given, by general consent, to Murillo's pictures of this saint, above those of all other artists. He painted this subject, which seemed to fas- cinate him, nine times, and each one of these works is admirable, but the large picture in the Cathedral of Seville is doubtless the most beautiful. Of this Stirling, in his " Artists of Spain," says : " KneeUng near a table, the shaven brown-frocked saint is surprised by a visit from the Infant Jesus, a charming naked babe, who descends in a golden flood of glory, walking the bright air as if it were the earth, while around him floats and ! O Z o X •< H o OTHER SAINTS IMPORTANT IN ART. 38 1 hovers a company of cherubs, most of them children, forming a rich garland of graceful forms and lovely faces. Gazing up in rapture at this dazzling vision, St. Antony kneels with arms outstretched to receive the approaching Saviour. On a table is a vase containing white lilies, the proper attribute of the saint, painted with such Zeuxis-like skill that birds wandering among the aisles — of the cathedral — have been seen attempting to perch on it and peck the flowers." The story is current in Seville that the Duke of Wellington vainly offered the canons of the cathedral a sum of about two hundred and forty thousand dollars for this picture, and when, in 1874, the canvas was cut from its frame and stolen, all Seville was in mourning. For a long time no trace of it could be found, when two men took it to Mr. Schaus, the picture dealer in New York, and offered it to him 382 SAINTS IN ART. for two hundred and fifty dollars ! He recognised the work, bought it, and through the Spanish consul returned it to Seville. I have since seen it in its place, and had I not known of its wan- derings I could not have imagined that the rapturous saint kneeling in the solemn cathedral had ever been thus wantonly disturbed. I have said that St. Francis of Assisi is the only male saint to whom the Stig- mata is given in works of art, which is, of course, equivalent to saying that no other had the supreme honour of bearing the wounds of Christ. Among female saints this is equally true of St. Catherine of Siena, although these marks are given to St. Maria Maddalena di' Pazzi, without authority from the saintly legends. St. Catherine is one of the patron saints of Siena, her birthplace, and from the artists of the Sienese school she received OTHER SAINTS IMPORTANT IN ART. 383 loyal and generous recognition. Her father was a wealthy dyer of Siena, who was blessed with a numerous family, of which Catherine was the youngest. From her infancy, — as we read of many chosen servants of God, — she was a serious child, who loved solitude, and seemed to be gazing into a visionary world rather than watching the life about her. She had heard the story of St. Catherine of Alex- andria, and when but eight years old she dedicated herself to a religious life and to chastity. When older, she refused to marry, and her parents could not forgive her pecu- liarities, and imposed the most menial tasks on her, hoping that hardships would induce her to do what their wishes and commands had failed to recommend to her. She, however, accepted her burdens with- out a murmur, and laboured incessantly. One day her father suddenly entered her 384 SAINTS IN ART. room and saw her kneeling in prayer, while a white dove sat on her head, of which Catherine seemed to be uncon- scious. This greatly affected the stub- born dyer and convinced him that his child was protected by the Holy Ghost. He withdrew his opposition to her wishes, and Catherine soon took her vows as a penitent. She never became a professed nun, but she lived a most rigorous life, which was full of spiritual temptations and a constant struggle for peace. At length, in the convent church, she had glorious visions, when Jesus, her mystical spouse, appeared to her and comforted her with sweet counsel and his visible presence. To the care of the most unpleasant diseases and to all possible penances Catherine devoted herself, and shrank from no mortification or labour that could benefit others. At length, in Pisa, as she OTHER SAINTS IMPORTANT IN ART. 385 prayed before an especially sacred crucifix, she was lost in an ecstasy in which she received the Stigmata; this must have assured her of her acceptance with Christ, and brought peace to her troubled soul. The influence which Catherine exerted in inducing the Pope, who was then at Avignon, to return to Rome, with all the diplomatic service which this required of her, is a matter of history, and is recorded in the accounts of her life. Such a record of great interest is that by Adolphus Trollope in his charming book, " A Decade of Italian Women." Catherine of Siena died when but thirty- three years old, in 1380, full of the faith in which she had lived. A fresco in the Church of San Domenico, in Siena, is probably the oldest picture of St. Catherine, and may be considered an actual portrait, since it was painted by Andrea Vanni, who was long a valued 386 SAINTS IN ART. friend of the saint. She is represented standing, with her black mantle drawn about her ; in one hand she holds a stalk of lilies, while she presents the other — on which the sacred wound is plainly seen — to a kneeling nun, who, with hands folded on her breast, reverently touches her lips to the fingers of the saint. This picture can be seen but imperfectly as it is covered with glass for its preservation. Besides the Stigmata and the lily, the symbols of St. Catherine of Siena are the palm, a church, and a crown of thorns, as her legend relates that Christ appeared and offered her two crowns, one of gold, and a second of thorns, which last she accepted and pressed on her head until the thorns penetrated her brain. One of the most beautiful and famous pictures of St. Catherine is known as the Madonna of the Rosary, and is in the Church of St. Sabina, in Rome. It is OTHER SAINTS IMPORTANT IN ART. 387 by Sassoferrato, and represents SS. Dom- inic and Catherine kneeling before an enthroned Madonna, who, turning to St. Dominic, drops a rosary into his hand, while the child gives a second rosary to St. Catherine and presses a crown of thorns upon her head, which is covered by her hood. Above are two angels and three cherub heads. The picture is well composed, well balanced, and both digni- fied and elegant in effect. In the chapel in the Church of San Domenico, Siena, is the fresco by Razzi, which represents St. Catherine receiving the Stigmata. She is swooning, and sup- ported by two nuns of her Order. The black mantle has fallen entirely off St. Catherine and partly off the nun who kneels beside her ; the sister who stands behind, and bends tenderly over the saint while still guarding her from falling, re- tains the black garment. By this arrange- 388 SAINTS IN ART. ment the light and shade in the work are good ; the faces of the nuns are beautiful, and the contrast between the fainting saint and the expression of reverent sym- pathy on the countenances of the others is very fine and most effective. The picture of the same subject in the Borghese Gallery, Rome, shows the faint- ing saint supported by two angels. It is by Agostino Caracci. In one hand St. Catherine holds a lily, and with the other presses a heart to her bosom, in reference to the legend that on one occasion, when she was praying to Jesus for a new heart, he appeared, and, taking his heart from his breast, gave it to her. Here, too, the saint wears her hood, upon which rests the crown of thorns. The heads and faces of the angels are lovely, and the expression of the one who looks in the face of the saint is remarkable for its intense interest in what is occurring. Agostino Caracci. — St. Catherine of Siena. OTHER SAINTS IMPORTANT IN ART. 391 Other interesting works illustrating the life of Catherine are in San Domenico, and in her oratory, once the shop of her father, which Trollope says the veneration of the Sienese has not permitted to remain as when she lived in it. The walls are covered with frescoes by Salimbeni and Pachierotti, and the altar-piece is by Sodoma. In tracing the stories of the saints and their association with Art, from its infancy to its prime, — even in outline, — how many kinds of interest are awakened : the relig- ious, artistic, aesthetic, romantic, poetic, and historical are all involved. The sug- gestiveness of such an outline to travellers or stay-at-homes is of value, and I trust that the many pleasant hours that I havie spent, from time to time, during thirty- five years in searching for the history and traditions of the saints, and studying their relation to the Arts, may have gained for 392 SAINTS IN ART. me the privilege of interesting others in this rich and inexhaustible subject. And I trust that in this book " Th' unlearned their wants may view, The learned reflect on what before they knew. " APPENDIX APPENDIX. AN EXPLANATION OF THE SYMBOLISM PROPER TO REPRESENTATIONS OF THE SAINTS. jHE circle about the heads of sacred persons is known as the Aureole, the Glory, and the Nim- bus. Before the Christian era, such sym- bols, as seen on ancient coins, medals, and other objects, signified that dignity and power belonged to the person thus honoured, as to the gods. In the early centuries after Christ, even Satan was represented with a glory, as a symbol of his power, and by reason of its pagan origin this emblem was not readily adopted in Christian art; after the fifth 395 396 SAINTS IN ART. or sixth century, however, it came into more general use, and invariably indi- cated divine glory, a consecrated being, and saintly blessedness. The aureole is varied in size and form. It is a simple circle, of more or less brilliancy, about the head of representa- tions of saints no longer living; if the saint is portrayed as still alive, the form is square; if pictured as ascending to heaven, an oblong glory surrounds the entire person, and is known as mandorla, or almond shaped, in Italian. Didron, in his " Iconographie Chre- tienne," devotes many pages to the discus- sion of the various forms of glories which are seen, and designates the classes of beings for whom each one should be used, and gives the reasons by which these uses are properly governed; but the artists were not so learned as he in these dis- tinctions, and the general idea that is APPENDIX. 397 given above serves ordinarily to explain the works of art with which we are familiar. In the early centuries of our era, statues erected in the open air had metal discs fastened to the heads, as a protection from the weather, and many aureoles in ancient pictures resemble these, having the effect of metal plates behind the head. After the twelfth century a simple golden band behind the head was much used; again, several circles are seen, and these are sometimes set with precious stones, or inscribed with the name of the saint represented. After the fifteenth century a bright circle over the head was chiefly used, until the seventeenth century, when all these glories were essentially abandoned. In more modern pictures we sometimes see this symbol, though it is not used with the careful distinctions observed by the old painters. 398 SAINTS IN ART. In pictures this emblem is always golden ; on glass and ivory it is in vari- ous colours. Didron suggests that the colours are symbolical, as, for example, the black nimbus on the head of Judas. He speaks as follows of a miniature dated 1 1 20, which represents Christ with a nimbus and crown of gold, surrounded by the nine orders of saints who form the celestial court, intermingled with angels. " Virgins, apostles, martyrs, confessors, prophets, patriarchs, the chaste, the married, and lastly the penitents. The first four orders, the most exalted of all, have the nimbus of gold. Prophets and patriarchs, the saints of the Old Testa- ment, and who knew the truth imper- fectly only, through the veil of metaphor and allegory, have a nimbus of silver. The nimbus of the chaste is red ; that of the married, green ; and that of the APPENDIX. 399 penitents, yellow, but slightly tinted. Colour is evidently employed in these instances as a hierarchical medium; it loses its brilliancy in proportion as it descends from a lofty to an inferior grade, after which point the title of saint is no longer awarded, and the persons represented are regarded only as ordinary mortals." Interesting as this explanation of colour is, it must not be too seriously considered, as it is by no means true that all artists gave strict attention to the colour of aureoles. As time wore on, the only colour significance seems to me to be that yellow is the colour of gold or preciousness, while red is that of fire, and typifies zeal and passion ; blue and purple being emblems of penitence. The nimbus is, in its essential signifi- cance, a representation of light, issuing from the head, and it is not unusual to 400 SAINTS IN ART. see rays surrounding the head, more es- pecially in pictures of the persons of the Trinity. These rays are variously ar- ranged ; at times they are at regular dis- tances, and form a circle or some other regular form on the outer line ; again, three rays proceed from the top of the head, and three others from each side, and a line of light connects them, either on the outer line of the rays, or again at a distance within that line, leaving the ends of the rays beyond the circle. The general idea that these symbols indicate sacred or holy personages, and symbolise light radiating from these beings, will give an understanding of them in all cases, although one who cares to study this point will find a world of mysticism in their comprehensive in- terpretation. The Cross, when the symbol of a saint, is usually in the form of the Cross of the CoTiGNOLA. — St. Bernard Giving the Rule of His Order. APPENDIX. 403 Crucifixion, or the Latin Cross; but St. Andrew has the transverse or X cross, the form on which he suffered death. The Egyptian cross is given to St. An- thony as a symbol of his crutch, the cross- arms making the top, and is known by his name ; the same cross is seen with the Apostle Philip. The Greek cross is that in which the arms are of equal length. In some pictures of the Popes, a staff with a double cross on top is seen, which is never given to any ecclesiastic below the Pope ; a staff with a single cross indicates a Greek bishop, as a crosier is the symbol of a Latin bishop. The Fish is a very ancient and universal symbol of water and baptism, and was frequently seen on ancient baptismal fonts, and in the decoration of baptisteries. The letters of the Greek word for fish, ix®YS form the anagram of the name of Jesus Christ, — they give in the Latin, Jesus 404 SAINTS IN ART, Christus, Dei filius, Salvator, and in Eng- lish, Jesus Christ, the Son of God, the Saviour. For this reason the fish became a singularly sacred symbol. The special fish used as a pagan symbol was the dolphin, and this is seen on an- cient sarcophagi, tombs of martyrs, uten- sils of various kinds, and as an ornament in architecture. The fish is a symbol of those saints who made many converts to Christianity, referring to the promise of Jesus, " And I will make you fishers of men." When given to St. Peter it recalls his former occupation, his conversion, and his success in making converts. The Lion, when seen with St. Jerome and the hermit saints, is an emblem of solitude ; with the martyrs it denotes death in the amphitheatre, and, when placed at the feet, is significant of excep- tional courage and resolution in the face of persecution. APPENDIX. 405 The Lamb is a symbol of unblemished sacrifice, of modesty, and of innocence. In the first sense it is given to St. John Baptist, and in the second to St. Agnes. In the first five centuries of the Christian era, Christ was customarily represented as a lamb, until, in 692, the Church, fearing that allegory was displacing reality and history, decreed in council that the hu- man face and form of Christ should be substituted in works of art for the sym- bolic Lamb of God. It was not, however, until much later than the time of this council that Christ was generally repre- sented in the form of a man, and was more frequently seen as the Good Shepherd who cared for the sheep. The Peacock, which is ordinarily consid- ered a symbol of pride, was, in ancient days, an emblem of the apotheosis — or the passing of the soul — of an empress ; and as a Christian symbol it typifies the 406 SAINTS IN ART. passing of the spirit from mortal to im- mortal life. The Dove is the emblem of the Holy Ghost, and also of the soul of man ; it is seen issuing from the lips of dying martyrs, as a symbol of the flight of the soul to heaven. When represented as an attribute of female saints it denotes purity ; and it is also seen beside saints who were esteemed as especially in- spired, as were some of the Fathers of the Church. The Crown may be the symbol of a glorious martyrdom, or the attribute of a royal saint, or in the case of a royal martyr it would unite the two intentions. This symbol is also used in a mystic sense, to denote the "bride of Christ," as when it is placed on the head of a nun at the moment of her consecration, and doubtless had this significance also, when indicating the glorious martyrdom of such APPENDIX. 407 saints as Catherine, Lucia, and others. When on the head of the Madonna it symbolises her sovereignty as Queen of Heaven, and refers to the rank of royal saints who wear a crown or have one placed at their feet. The Palm, as in Revelation 7:9-14, indicates a glorious martyrdom. It is represented in a great variety of ways, and angels frequently descend from heaven to confer it on those who have suffered for the sake of their Christian faith. With the ancients, the palm denoted vic- tory over the enemy, and to the Christian it is emblematic of the spiritual victory over sin and death. The Sword, when given to warrior saints, is an attribute, but like the axe, lance, and club, the sword is frequently the symbol of a violent death. Arrows, signifying the manner of their martyrdom, are given to SS. Ursula, 408 SAINTS IN ART. Christina, and Sebastian. In the same sense wheels are represented with St. Catherine ; the poniard with St. Lucia ; pincers and shears with SS. ApoUonia and Agatha ; and the cauldron with SS. John the Evangelist and CeciHa. The Skull is a symbol of penance, and the shell of pilgrimage. The Bell is given to St. Anthony as a means of exorcising evil spirits or demons. Fire and Flames symbolise religious fervour, punishment, and martyrdom. The Flaming Heart is emblematic of fervent piety, and is a symbol of several saints, both men and women. The Anchor symbolises patience and hope, and is seen on very ancient objects, such as antique gems. It was much used in the symbolic decoration of the Cata- combs. The Banner is an emblem of victory. APPENDIX. 409 and is given to military saints and victo- rious martyrs. SS. Ursula and Reparata are the female saints to whom it belongs. The Church is a symbol of a founder of a church, but when represented with St. Jerome it is an emblem of the whole Catholic Church. When rays of light issue from the portal, they are emblem- atic of the light which emanates from the Christian Church. The Olive, the symbol of peace, is given to SS. Agnes and Pantaleon. It is much used in the decoration of tombs and fune- real monuments. The Lily is a symbol of purity, and is given to SS. Catherine of Siena, Francis of Assisi, Anthony of Padua, Dominic and others. The Unicorn is a very ancient symbol of purity. It is represented with St. Jus- tina only. The Book is an emblem of the Gospel, 4IO SAINTS IN ART. of the learning of certain saints, and of authorship. The Lamp, Taper, or Lantern symbolise wisdom and piety; in the hand of St. Lucia such an emblem is significant of her celestial wisdom. The Chalice is an emblem of faith, and is given to SS. Barbara and John. When the serpent is in the cup it is a symbol of wisdom. The Scourge symbolises penance, and usually indicates that which is self-inflicted by the saint to whom it is given. In rare cases, as in that of St. Ambrose, it refers to the penance prescribed for others. The Ship is an emblem of the Church. It is, however, associated with the legends of certain saints, as SS. Ursula, Nicholas, and Peter. Fruit and Flowers are lovely symbols ; roses are associated with the exquisite legends of SS. Cecilia, Dorothea, and APPENDIX. 411 Elizabeth of Hungary. An apple, pear, or pomegranate belong to St. Catherine, as the mystical bride of Christ. In the Old Testament the apple was significant of the fall of man ; in the New Testa- ment it is an emblem of the redemption from that fall, and as such is represented in pictures of the Madonna and Infant Jesus. The Crucifix, when held in the hand, is the attribute of a preacher ; it is also a symbol of devout faith, and has a special significance in pictures of St. Catherine of Siena, who received the Stigmata. The Standard with the Cross is seen in pictures of missionaries and preachers, when it is emblematic of the triumph of Christianity; it is also seen with warrior saints and those of royal blood who be- longed to the Monastic Orders. The Crown of Thorns is seen on the head of St. Catherine of Siena, and is also 412 SAINTS IN ART. occasionally represented with other saints, signifying suffering for Christ's sake. A Sun is sometimes represented on the breast of St. Thomas Aquinas, and occa- sionally in pictures of other saints ; it is symbolic of the light of Wisdom. Beggars, Children, Lepers, and Slaves, with broken chains, when at the feet of a saint are symbolic of charity; they are frequently of diminutive size. Several of the above symbols — the lily, rose, olive, apple, pomegranate, book, and dove — are seen in pictures of the Ma- donna, as well as in those of the saints, and have the same significance in all cases ; the double use of these symbols can cause no confusion, as the Madonna pictures are unmistakable. The serpent, however, has two meanings ; in the chalice of St. John the Evangelist it symbolises wisdom ; in pictures of the Madonna it is an emblem of sin, or of Satan, and is gen- Fra Bartolommeo. — St. Bridget of Sweden Giving the Rule to Her Nuns. APPENDIX. 415 erally beneath her feet, in reference to the text, " And I will put enmity between thee and the woman, and between thy seed and her seed ; it shall bruise thy head." The Hart is an emblem of solitude, purity, and spiritual aspiration. " Like as the hart panteth after the water-brooks, so panteth my soul for thee, O God." With St. Hubert or St. Eustace it is a symbol of the miraculous stag which ap- peared to them; or again, of the hind that spoke to St. Julian, or the doe in the legend of St. Giles. The Dragon, the emblem of sin and Satan, the spiritual foe of mankind, is represented with SS. Michael and Mar- garet, to symbolise their conquest of evil ; with SS. Sylvester and George it is an emblem of the paganism which they over- came; with St. Martha it is a symbol of a devouring flood, such as the inunda- tion of the Rhone in her lifetime. 4l6 SAINTS IN ART. In early religious art colours were used with special significance, and great care was taken to give them their appropriate place and to deepen the symbolism of pictures by their proper arrangement. White was emblematic of chastity in a woman, of integrity and humility in a man. Red, in a good sense, symbolised love, the Holy Spirit, royalty, and heat. White and red roses were emblems of love, inno- cence, and wisdom. In a bad sense, red was a symbol of hatred, war, blood, and punishment. Red and black combined symbolised purgatory and the devil. Green was an emblem of spring, hope, and victory, while Blue symbolised heaven, truth, fidelity, the firmament, and peni- tence. Yellow, in a good sense, was the emblem of the sun, beneficence, marriage, fruitful- ness, and faith ; thus St. Joseph and St. Peter are clothed in yellow. In its bad APPENDIX. 417 sense it indicates jealousy and deceit. Judas was represented in a dingy yellow, with few exceptions, when a dirty brown was used ; but so rarely was the ugly yel- low omitted from pictures of the traitor, it came to be called " Judas colour." Gray was symbolic of mourning and of innocence unjustly accused. Violet was emblematic of passion and suffering, or of love, truth, and penitence. As each Order of monks wore a habit of a special colour it is not difficult to distinguish them in pictures, and by this means one can usually know for what Order the work in question was painted. The Benedictines wore black originally, and for that reason were called Monaci Neri, — Black Monks, — but the Reformed Benedictines adopted the white habit, and St. Benedict himself is represented in both colours, according to the Order for which the picture was painted. 41 8 SAINTS IN ART. The Franciscans originally wore gray, but the Reformed Communities of that Order adopted the dark brown habit. The hempen cord as a girdle is, however, an unfailing characteristic of the Francis- can monk. The black habit presents some difficulties, as it is worn by the Augusiines, the Servi, the Oratorians, and the Jesuits. The same perplexity occurs in the case of a white habit, as it is worn by Cister- cians and several other Orders, among which are the Trappists, Camaldolesi, and Trinitarians. The Dominicans wear black over white, and the Carmelites and Premonstraten- sians reverse these colours, wearing white over black. The illustration which shows St. Ber- nard giving Rules to his Order, the Cistercians, well displays the white habit of these monks, over which the founder wears a rich vestment, and also a mitre, APPENDIX. 419 as Abbot of Clairvaux. Several religious symbols are also introduced here. This picture is in the Berlin Gallery. The picture of St. Bridget of Sweden giving the Rule to her Nuns, is of the same character; it is in Santa Maria Nuova Florence. The Abbess of the Brigittines wears a black habit and cloak, white wimple, and white veil, while the nuns have a gray habit and black hood, with a red band around the head, and across the top, to distinguish the habit from that of the Benedictine orders. It requires but little study to familiarise one with the symbols and other distin- guishing characteristics of religious pic- tures, while a knowledge of them explains much that is not comprehended without it, and greatly enhances the enjoyment of these works. THE END. INDEX, Agatha, St., 281. Agnati, Marco, 122. Aldegraef, 63. Alexander, Emperor, 181. Altdorfer, Albrecht, 291. Ambrose, St., 135, 136, 149- 153- Ambrosian Chant, The, 150. Anachronisms, 29. Andrew, St., 84, 85, 111-116. Angelico, Fra, 22, 38, 51, 132, 285, 292, 296, 318, 333, 33S, 35°- Angelo, Michael, 37, 38, 49, 80, 87, 104, 121, 165, 319. Antony of Padua, St., 372-382. Antwerp, Cathedral, 322. " Church of San Gior- gio de Li^re, 187. Antwerp, Church of St. Augus- tine, 160. Antwerp, Gallery or Museum, 125. 323. 371- Apostle's Creed, The, 84. Arc, Jeanne d', 341-343. Assisi, Chapel of the Magda- lene, 331. Assisi, Church of San Dami- ano, 357. Assisi, Lower Church of, 366. " Santa Maria-degli-An- geli, 364. Assisi, Upper Church of, 363, 369. Athanasius, St., 135. Augsburg Gallery, 304. Augustine, St., 135, 137, 152- i6i. Augustine, St., Tomb of, 160. Augustines, The, 418. Banco, Nanni di, 121. Baroccio, 97, 98, 285, 334. Bartholomew, St., 85, I2i, 122,. 324- Basaiti, 97, 150. Basil the Great, St., 135. Beccafumi, 121. Bellini, Gentile, 51, 52. " Giovanni, 172. Benedictines, The, 417. Berlin, Gallery, 50, 95, 288, 292, 370. 378. Berlin Museum, 45, 317. 421 422 INDEX. Bernini, 196. Bologna, Church of San Pe- tronio, 375. Bologna, Gallery, 28, 37, iii, 165, 280, 300, 370, 377. Bologna, Giovanni da, 80. Bonifazio, 120, 371. Bonvicino, 51. Bordone, Paris, 56. Borromeo, St. Charles, 152. Bourges, Cathedral of, 331. Brandeum, Miracle of the, 164, 1 66. Bridget of Sweden, St., 419. Brussels, Gallery or Museum ofi 45. 97. 3°6. 419- Burne- Jones, Sir Edward, 323, 324- Camaldolesi, The, 418. Campagnola, Domenico, 375, 377- Campiglione, Bonino da, 160. Cano, Alonso, 377. Caracci, Agostino, 364. " Annibale, 104. " Ludovico, 44, 180, 377. Caravaggio, 45. Carmelites, The, 418. Carpaccio, 186, 288, 292. Catherine of Siena, St., 382- 391- Charles I., 185. " v., 66. Chartres, Cathedral of, 331. Chimenti, Jacopo, 43, 44. Chrysostom, St. John, 135, 171. Cigoli, 291, 363. Cigonara, 160. Cimabue, 38. Cistercians, The, 418. Civitale, Matteo, 197. Clavijo, Battle of, 118, 119. Cologne, Museum of, 364. Copenhagen, Frue Kirche, 87, 116. Cordieri, 165. Correggio, 38, 70, 87, 124, 138, 187, 300, 302. Cortona, Pietro da, 292. Credi, Lorenzo di, 334. Cyril of Alexandria, St., 135. Dalmasius, Pope, 136. Dante, 82, 93, 132, 163, 171, 358. 367- Delia Robbia, 354. Devotional pictures, 21. Didron, 396, 398. Diocletian, Emperor, 188, 189. Disputa, La, 75, 87. Dolci, Carlo, 74, 113, 285. Domenichino, 38, 39, 70, 113, 115, 146, 280. Domes, Decorated, 38. Domine, quo vadis ? 104, 105. Dominicans, The, 418. , Domitian, The Emperor, 69. Domremy, 343. Donatello, 80, 178, 179, 299, 374. 377- Dosso Dossi, 143. Dresden Gallery, 44, 143, 187, 301, 302,371. Diirer, Albert, 144, 180, 291. Elizabeth of Hungary, St., 343-353- Empoli, 43. Escurial, The, 294, 295. Eyck, Van, 22, 63. INDEX. 423 " Faerie Queene," The, 176. Fantacchiotti, Signer, 122. Ferdinand II., 50. Florence, Academy of, 22, 27, 43. 51. 132' 299. 318, 363. 370, 371- Florence Baptistery, The, 299. Bargello, The, 331. " Brancacci' Chapel, The, 94, 102, 103. Florence, Cathedral of, 122. » Church of Santa Croce, 354. Florence, Church of Santa Maria Novella, 76, 103, 107. Florence, Church of Santa Maria Nuova, 419. Florence, Church of Or San Michele, 80, 84, 87, 120, 178. Florence, Church of Santa Trinita, 370. Florence, Convent of San Marco, 49. Florence, Museum of San Marco, 335. Florence, Pitti Gallery, 49, 50, 74. ii3> 121' 154. 281, 324. Tlorence, Rinuccini Chapel, 305- Florence, Uffizi Gallery, 117, 126, 285, 291. " Four Beasts," The, 34, 37. .Francia, Francesco, 288, 371. Franciscans, The Order of, 3S3' 418- Francis of Assisi, St., 353-372. Gaddi, Agnolo, 129. Taddeo, 305, 371. 'Garofalo, 159. Genevieve of Paris, St., 337- 341- Genoa, Church of Santa Maria in Carignano, 197. George of England, St., 176- 187. Gerardo dalle Notti, 96. Ghent, Church of St. Bavon, 22. Ghiberti, 80. Ghirlandajo, 97, 103, 370. Giorgione, 55, 56. Giorgini, 197. Giotto, 38, 129, 318, 322, 331, 363, 366-371, 374- Granacci, 126. Grandi, Ercole, 186. Gregory, St., 135, 137, 161- 171. Gregory Nazianzen, St., 135. Guercino, 125. Guido Reni, 109, 113, 115, 143, 193. 3°°' 303' 371- H Henry VII., 181. " " Tomb of, 73. Hippolytus, St., 296, 297. Hire, Laurent de la, 371. Hogarth, 109. Holbein, 351. Honthorst, Gerard, 95. Inferno, Dante's, 132. J JacobeUi, 86, 87, 160. James the Great, St., 85, 87, 116-119. James Minor, St., 85, 129. 424 INDEX. Jameson, Mrs., 301, 336, 355. Jeanne d'Arc, 341-343. Jerome, St., 135, 136, 143-149- Jeronymites, The, 144. Jesuits, The, 418. John, St., 66-80, 85, 90. Jouvenet, 314. Juanes, Juan, 292. Judas, 131-133. Jude, St., 85, 130. Justina, St., 175. K Kugler, 15s, 186, 196, 309, 369. Lawrence, St., 20, 287, 293- 296. Le Brun, 291. Legend of St. Augustine, 156. " " " John, 69. " " " Marie, 52-55. " " " Peter, 104. " " " Thomas, 123. Lenepven, 342. Leonardo da Vinci, 37. Leo X., Pope, 96. Leyden, Lucas von, 180. Lippi, Filippino, 76, 79, 94. London, Grosvenor Gallery, The, 63. London, Lincoln's Inn Fields, 109. London, National Gallery, The, 104, 152, 159, 182, 319, 328, 334- London, Queen's Gallery, The, 185. London, South Kensington Museum, The, no. London, St. Paul's Cathedral, 109. Lucca, Cathedral of, 197. Lucia, St., 281-285. Luke, St., 60-66, 85. Luther, Martin, 345. M Mabuse, 64-66, 305, 309. Madrid, Academy of San Fer- nando, 352. Madrid, Museum, 45, 115, 122, 155. 292. 365. 371, 378. Magdalene, St. Mary, 297-337. Maiano, 354. Mair, Ulrich, 121. Malines, RecoUets at, 377. Mantegna, Andrea, 212, 324, 328. Mark, St., 47-59, 85, loi, I75- Marochetti, 336. Marriage of St. Catherine, 26. Marseilles, Museum of, 130. Mass of St. Gregory, The, 164, 166. Matthew, St., 40-47, 85. Matthias, St., 85, 131. Mechlin, Cathedral of, 323. Memling, Hans, 22. Memmi, Simone, 107. Mendicante of Bologna, The, 44. Milan, Basilica of Sant 'Am- brogio, or Cathedral of, 122, 151, 153- Milan, Brera, The, 51, 109, 145, 288, 292, 371, 377. Milan, Santa Maria delle Grazie, 37. Milton, 93. Miranda, Carreno de, 119. Modern Art, Birth of, 13. Monica, St., 154, 155. Monreale, Cathedral of, 90, 93, 171. INDEX. 425 Montelupo, Baccio da, 80. Monvel, Boutet de, 343. Moretto, 371. Munich, Gallery or Pinacothek of, 22, 122, 304, 351, 371, 378. Murano, Andrea and Giovanni da, 139. Murillo, 96, II5,*ISS, 303, 352, 354.365.366,371,378. N Noli me tangere. The, 305, 332 -335- Nuremburg, 86. Royal Gallery of, 291. Oelenschlager, 302. Oliphant, Mrs., 148. Oratorians, The, 418. Orcagna, 22. Order of the Cross of St. Andrew, 114. Order of the Garter, 178, 181, 182. Order of the Golden Fleece, 114. Pachierotti, 391. Padre Serafico, The, 353. Padua, Arena Chapel, The, 318. Padua, Church of St. Anthony, 119.354.374- Padua, Scuola dd Santo. The, 375- Palermo, 90, 171. Palma, 120, 285. Pareja, Juan de, 45. Paris, Church of St. Genevieve or Pantheon, 339, 340, 342. Paris, Gallery of the Louvre, 180, 285, 291, 292, 297, 303, 314. 335. 371- Paris, Madeleine, The, 336. Parma, 38. " Cathedral of, 70. " Church of San Gio- vanni, 138. Parma, Gallery of, 300. Passavant, no. Patmos, Island of, 67, 74. Patrons of Christendom, 31. Paul, St., 84, 90-94. Paula, St., 147, 148. Pavia, Cathedral of, 160. " Certosa, The, 332. Perugia, 38. " Academy of, 350. Perugino, 28, 38, 130-132, 288. Peter, St., 84, 88, 90-107, 175. Petersburg, St., Gallery of the Hermitage, 96, 97, 143, 180, 181, 292, 371, 378. Philip, St., 85, 119-121. " Pilgrim's Progress," The, 29. Piombo, Sebastian del, 172, 281, 319, 320. Pisa, Campo Santo, The, 22. " Cathedral of, 279. Pordenone, 44. Porzioncula, The, 364, 365. Pourbus, F., 45. Prato, Cathedral of, 126, 129. Premonstratensians, The, 418. Puget, 197. Raimondi, Marc Antonio, 313. Ramirez, King, 118. Raphael, 37, 60, 63, 75. 87, 94 -96, no, 112, 146, 180, 288, 293. 300. 313. 319. 333- 426 INDEX. Ravenna, 38. Razzi, 387. Ribalta, 371. Ribera, 121, 335, 371. Riccio, Andrea, 374. Roch, St., 198-205. Roelas, 114. Rome, Academy of St. Luke, 60, 61. Rome, Borghese Gallery, 388. " Capitoline Museum, 193. " Church of Sant' Andrea- della-Valle, 113. Rome, Church of SS. Cosmo and Damian, 90. Rome, Church of San Grego- rio, 113. Rome, Church of San Grego- rio Magno, 165. Rome, Church of Santa Maria- in-Ara-Coeli, 354. Rome, Church of Santa Maria- in-Trastevere, 83. Rome, Church of Santa Maria Maggiore, 90. Rome, Church of Santa Maria- Sopra-Minerva, 73, 104. Rome, Church of Santa Sa- bina, 90, 386. Rome, Church of St. Peter, 102, 169. Rome, Corsini Gallery, 186. " Doria " 303. " Sistine Chapel, The, 38, 49. 87, 97, 121- Rome, Vatican, The, 38, 75, 87, 94, 292. Rome, Vatican, Stanza di Eliodoro, 94. Rome, Vatican, Stanza della Segnatura, 87. Rome, Vatican, Stanza della Torre Borgia, 104. Rossetti, Dante Gabriel, 309. Rubens, 125, 152, 159, 180, 185-187, 304, 317, 322, 364, 371- Rufina, St., 175. Ruskin, Mr., 182, 194, 289. S Sacchi, Andrea, 169. Sacra coraiersazione, 27. Salimbeni, 391. Santiago, The war-cry, 118. Sarto, Andrea del, 27, 43, 117, 154. 279> 324- Sassoferrato, 387. Schaus, Mr., 381. Schwanthaler, 180. Sebald, St., 86, 108. Sebastian, St., 20, 188-198. Servi, The, 418. Seville, Cathedral of, 378. " Hospital of, 96, 352. " Provincial Museum of, 115, 148, 365, 378. Siena, Academy of, 285. " Cathedral of, 121. '.' Church of San Domen- ico, 385, 387. Simon, St., 85. Sirani, Ellsabetta, 377. Sodoma, 391. Spenser, 179. Stephen, St., 286-293. Stigmata, The, 358, 360-363, 382, 385-387. Stirling, Mr., 353, 378. Subleyras, 297. Supper of St. Gregory, The, 164. Symbolism, 33. " of Colours, 416. Symbols — Anchor, The, 408. Arrows, 417. INDEX. 427 Symbols — Aureole, The, 395-400. Banner, The, 408. Beggars, Children, Lepers, and Slaves, 412. Bell, The, 408. Book, " 409. Chalice, The, 410. Church, " 409. Cross, " 400. Crown, " 406. " of Thorns, The, 411. Crucifix, The, 410. Dove, The, 406. Dragon, The, 415. Fire and Flames, 408. Fish, The, 403. Flaming Heart, The, 408. Fruit and Flowers, 410. Glory, The, 395-400. Hart, " 415. Lamb, " 405. Lamp, Taper, or Lantern, 410. Lily, The, 409. Lion, " 404. Nimbus, The, 395-400. Olive, The, 409. Palm, " 407. Peacock, The, 405. Scourge, " 410. Serpent, " 412. Shell, The, 408. Ship, " 410. Skull, " 408. Standard, The, 411. Sun, A, 412. Sword, The, 407. Unicorn, The, 409. Taine, 47, 57, 59. Tetramorph, The, 36. Thaddeus, St., 85, 130. Theodore, St., 180. Theodosius, Emperor, 149, 151. Thomas, St., 85, 122-129. Thorwaldsen, 87, n6. Tintoretto, 50, 57, 59, 180, 182, 194, 280, 288, 319. Titian, 47, 49, 120, 145, 149, 295. 302, 303, 334, 354, 375. Torrigiano,- 148. Trappists, The, 418. Treviso, Girolamo da, 375. Trinitarians, The, 418. Trollope, Adolphus, 385, 391. Turin, Gallery of, 262, 305. Valencia, Museum of, 371. Vandyck, 125, 152, 155, 159, 186, 187, 304, 323, 352, 377. Vanni, Andrea, 385. Vasari, 165. Velasquez, 45, 352, 378. Venice, Academy of, 45, 52, 57, 120, 132, 138, 279. Venice, Baptistery of St. Mark, 171. Venice, BasUica of St. Mark, 48, 50, 59, 86, 89. Venice, Church of the Frari, 148-150. Venice, Church of the Gesuiti, 295- Venice, Church of San Giorgio Maggiore, 289. Venice, Church of San Giorgio degli Schiavoni, i85. Venice, Church of Santa Maria dell' Orto, 280. Venice, Church of San Sebas- tiano, 195. Venice; D.ucal Palace, The, 182. 428 INDEX. Venice, Piazzetta, The, i8o. " Scuola di San Rocco, 194, 198. 319- Verona, Church of San Gior- gio, 187. Veronese, 45-47, 165, 186, 187, 195, 196, 279, 305, 352. Vicenza, Santa Maria del Monte, 165. Vienna, Belvedere, The, 63, 64, 97, izi> 151, 323. 364,371- Vinci, Leonardo da, 37. Vischer, Peter, 87, 108. Vittoria, Alessandro, 148. Vivarini, Luigi, 150, 151. Votive pictures, 25. W Wartburg, Castle of the, 344, 351- Wellington, Duke of, 381. Westminster Abbey, 73. Windsor Castle, 185. Zelotes, St. Simon, 130. Zuccati, 49.