CONTENTS.

Preface xv

Introduction. Origin of the Worship of the Madonna. Earliest artistic representations. Origin of the group of the Virgin and Child in the Fifth Century. The First Council at Ephesus. The Iconoclasts. First Appearance of the Effigy of the Virgin on Coins. Period of Charlemagne. Period of the Crusades. Revival of Art in the Thirteenth Century. The Fourteenth Century. Influence of Dante. The Fifteenth Century. The Council of Constance and the Hussite Wars. The Sixteenth Century. The Luxury of Church Pictures. The Influence of Classical Literature on the Representations of the Virgin. The Seventeenth Century. Theological Art Spanish Art. Influence of Jesuitism on Art. Authorities followed by Painters in the Earliest Times. Legend of St. Luke. Character of the Virgin Mary as drawn in the Gospels. Early Descriptions of her Person ; how far attended to by the Painters. Poetical Extracts descriptive of the Virgin Mary xvii

Symbols and Attributes of the Virgin. Proper Costume and Colours xliv

Devotional Subjects and Historical Subjects. Altarpieces. The Life of the Virgin Mary as treated in a Series. The Seven Joys and Seven Sorrows as a Series. Titles of the Virgin as expressed in Pictures and Effigies. Churches dedicated to her. Conclusion lii

Supplementary Notes lxviii

DEVOTIONAL SUBJECTS.

Part I.

THE VIRGIN WITHOUT THE CHILD.

La Vergine Gloriosa. Earliest Figures. The Mosaics. The Virgin of San Venanzio. The Virgin of Spoleto 3

The Enthroned Virgin without the Child, as type of heavenly Wisdom. Various Examples 7

L'Incoronata, the Type of the Church Triumphant The Virgin crowned by her Son. Examples from the old Mosaics. Examples of the Coronation of the Virgin from various Painters 13

The Virgin of Mercy, as she is represented in the Last Judgment 26

The Virgin, as Dispenser of Mercy on Earth. Various Examples 29

The Mater Dolorosa seated and standing with the Seven Swords 35

The Stabat Mater, the Ideal Pieta. The Votive Pieta, by Guido 37, 39

Our Lady of the Immaculate Conception. Origin of the Subject History of the Theological Dispute. The First Papal Decree touching the Immaculate Conception. The Bull of Paul V. The Popularity of the Subject in Spain. Pictures by Guido, by Roelas, Velasquez, Murillo 42

The Predestination of the Virgin. Curious picture by Cotignola 52

Part II.

THE VIRGIN AND CHILD.

The Virgin and Child enthroned. Virgo Deipara. The Virgin in her Maternal Character. Origin of the Group of the Mother and Child. Nestorian Controversy 57

The Enthroned Virgin in the old Mosaics. In early Italian Art. The Virgin standing as Regina Coedi 63

La Madre Pia enthroned. Mater Sapienticc with the Book 65

The Virgin and Child enthroned with attendant Figures ; with Angels ; with Prophets ; with Apostles 75

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

With Martyrs and Patron Saints 82

Various Examples of Arrangement. With the Fathers of the Church ; with St. Jerome and St. Catherine ; with the Marriage of St. Catherine. The Virgin and Child between St. Catherine and St. Barbara; with Mary Magdalene ; with St. Lucia 83, 90

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

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

The Virgin attended by the Monastic Saints. Examples from various Painters 94

Votive Madonnas. For Mercies accorded : for Victory ; for Deliverance from Pestilence ; against Flood and Fire 96

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

Half-length Enthroned Madonnas ; first introduced by the Venetians. Various Examples 108

The Mater Amabilis. The infinite Variety given to this Subject Early Greek Examples 114

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

The Madre Pia ; the Virgin adores her Son 125

Pastoral Madonnas of the Venetian School 127

Conclusion of the Devotional Subjects 133

HISTORICAL SUBJECTS.

Part I.

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

The Legend of Joachim and Anna 137, 138

Joachim rejected from the Temple. Joachim herding his Sheep on the Mountain. The Altercation between Anna and her Maid JuditL The Meeting at the Golden Gate 141

The Nativity of the Virgin. The Importance and Beauty of the Subject. How treated 146

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

The Virgin in the Temple 154

The Marriage of the Virgin. The Legend as followed by the Painters 157

Various Examples of the Marriage of the Virgin, as treated by Perugino, Raphael, and others 160

Part II.

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

The Annunciation. Its Beauty as a Subject. Treated as a Mystery and as an Event As a Mystery ; not earlier than the Eleventh Century. Its proper Elace in Architectural Decoration. On Altarpieces. As an Allegory. The Annunciation as expressing the Incarnation. Ideally treated with Saints and Votaries. Examples by Simone Memmi, Fra Bartolomeo, Angelico, and others 166

The Annunciation as an Event The appropriate Circumstances. The Time, the Locality, the Accessories. The Descent of the Angel ; proper Costume ; with the Lily, the Palm, the Olive 176

Proper Attitude and Occupation of Mary ; Expression and Deportment The Dove. Examples from various Painters. Mistakes 181

The Visitation. Character of Elizabeth. The Locality and Circumstances. Proper Accessories. Examples from various Painters 186

The Dream of Joseph. He entreats Forgiveness of Mary 193

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

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

The Adoration of the Shepherds 209

The Adoration of the Magi ; they are supposed to have been Kings. Prophecy of Balaam. The Appearance of the Star. The Legend of the Three Kings of Cologne. Proper Accessories. Examples from various Painters. The Land Surveyors, by Giorgione 210

The Purification of the Virgin. The Prophecy of Simeon. Greek Legend of the Nunc Dimittis. Various Examples 223

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

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

The Legend of the Gipsy 243

The Return from Egypt 245

Part III.

THE LIFE OF THE VIRGIN FROM THE SOJOURN IN EGYPT TO THE CRUCIFIXION OF OUR LORD.

The Holy Family. Proper Treatment of the Domestic Group as distinguished from the Devotional The simplest Form that of the Mother and Child. The Child fed from his Mother's Bosom. The Infant sleeps 249

Holy Family of Three Figures ; with the little St. John ; with St. Joseph ; with St. Anna 256

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

The Holy Family of Five and Six Figures 260

The Family of the Virgin grouped together 261

Examples of Holy Family as treated by various Artists 263

The Carpenter's Shop 267

The Infant Christ learning to read 269

The Dispute in the Temple. The Virgin seeks her Son 271

The Death of Joseph 274

The Marriage at Cana. Proper Treatment of the Virgin in this subject ; as treated by Luini and by Paul Veronese 276

The Virgin attends on the Ministry of Christ. Mystical Treatment by Fra Angelico 279

Lo Spasimo. Christ takes leave of his Mother. Women who are introduced into Scenes of the Passion of our Lord. The Five Maries 280

The Procession to Calvary. Lo Spasimo di Sicilia 282

The Crucifixion. Proper Treatment of the Virgin in this Subject. The impropriety of placing her upon the Ground. Her Fortitude. Christ recommends his Mother to St. John 284

The Descent from the Cross. Proper Place and Action of the Virgin in this Subject 288

The Deposition. Proper Treatment of this Form of the Mater Dolorosa. Persons introduced. Various Examples 289

The Entombment. Treated as an Historical Scene. As one of the Sorrows of the Rosary ; attended by Saints 292

The Mater Dolorosa attended by St. Peter. Attended by St. John and Mary Magdalene 294

Part IV.

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

The Apparition of Christ to his Mother. Beauty and Sentiment of the old Legend ; how represented by the Artists 299

The Ascension of our Lord. The proper Place of the Virgin Mary 302

The Descent of the Holt Ghost ; Mary being one of the principal Persons 303

The Apostles take leave of the Virgin 303

The Death and Assumption of the Virgin. The old Greek Legend 306

The Angel announces to Mary her approaching Death 310

The Death of the Virgin, an ancient and important Subject. As treated in the Greek School ; in early German Art ; in Italian Art Various Examples 312

The Apostles carry the Body of the Virgin to the Tomb 316

The Entombment 317

The Assumption. Distinction between the Assumption of the Body and the Assumption of the Soul of the Virgin. The Assumption as a Mystery ; as an Event 317

La Madonna della Cintola. The Legend of the Girdle ; as painted in the Cathedral at Prato 320

Examples of the Assumption as represented by various Artists 323

The Coronation as distinguished from the Incur onata : how treated as an Historical Subject. Conclusion 328

LIST OF ILLUSTRATIONS.

WOODCUTS

1. The Virgin Mary. Ancient Greek Bas-relief in Alabaster. 8. Maria in Porto Ravenna.

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

3. The Virgin. Mosaic. Cathedral, Spoleto.

4. Ancient Mosaic. Zateran.

5. The Virgin enthroned. Campo Santo, Pua.

6. Virgo Sapientissima. Van Eyck.

7. Kegina Virginum. Guido.

8. Kegina Coeli. Holbein.

9. Santa Maria Vergine. Guido.

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

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

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

13. L'Incoronata. Piero Laurati.

14 L'Incoronata. Ancient French Carving.

15. L'Incoronata. Early German.

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

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

18. Madonna di Misericordia. Piero delta Francesco*

19. Vision of the Virgin of Mercy. Moretto,

20. Mater Dolorosa. Raphael.

21. Mater Dolorosa. Murillo.

22. Mater Dolorosa, with the Seven Swords.

23. Notre Dame des Sept Douleurs. Guido.

24 Mater Dolorosa at the Foot of the Cross. Champaign*.

25. Ideal Pieto. Angelico da Fiesole.

26. Lamenting Angel. In an ancient Greek Pietd,

27. Our Lady of the Immaculate Conception. Guide

28. La Madonna Purissima. Guido.

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

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

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

32. Virgin and Child enthroned. Guido da Siena.

33. Virgin and Child enthroned. Cimabue.

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

35. Virgin and Child standing. Early German.

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

37. La Madre Pia. Vivarini.

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

39. Enthroned Virgin and Child. (Madonna in Trono.)

40. Madonna in Trono. Carlo Crivelli.

41. Madonna in Gloria. Raphael.

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

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

44. Virgin and Child enthroned. Raphael.

45. Votive Madonna. Siena.

46. Votive Madonna.

47. Half-length Enthroned Madonna. Milanese School.

48. Half-length Enthroned Madonna. Francesco Francia.

49. Half-length Enthroned Madonna. Botticelli.

50. Half-length Enthroned Madonna. Titian.

51. The Virgin and Child with St. John, St. Joseph, and Zachariae. Caesare di Sesto.

52. Mater Amahilis Zuini.

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

54. Mater Amabilis. Greco-Italian. Perugia.

55. Mater Amabilis. Greco-Italian. Padua.

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

57. Mater Amabilis. G. Bellini.

58. Mater Amabilis. Squarcione.

59. Mater Amabilis. School of Luini.

60. Mater Amabilis. Fra Bartolomeo.

61. Mater Amabilis. Annibal Caracci.

62. Mater Amabilis. Murillo.

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

64. Mater Amabilis. Allori.

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

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

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

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

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

70. La Madre Pia. Correggio.

71. La Madre Pia. Botticelli.

72. La Madre Pia, Guido,

73. Pastoral Madonna and Child. Palma Vecchio.

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

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

76 Virgin and Child, with St. Joseph and St. Catherine. (Sacra Conversazione.) Titian.

77. Sacra Conversazione. Parmigiano.

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

79. The Annunciation to St. Anna. Luini.

80. Joachim rejected from the Temple. Taddeo Gaddi,

81. Meeting of Joachim and Anna. Albert Diirer.

82. Meeting of Joachim and Anna. Taddeo Gaddi.

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

84. La Vergine Bambina.

85. The Dedication of the Virgin. Vittore Garpaccio.

86. The Virgin in the Temple. Luini.

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

88. Angel. Vignette.

89. The Annunciation. Old Italian.

90. The Annunciation as a Mystery. Lorenzo Monaco.

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

92. The Annunciation as a Mystery. Simone Memmi.

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

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

95. The Annunciation as an Event Albert Dwrer.

96. The Annunciation as an Event. Cimabue.

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

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

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

100. The Visitation with Angels. Finturicchio.

101. The Visitation. Lucca delta Robbia.

102. The Visitation. Cimabue.

103. The Visitation. Lucas Van Leyden.

104. The Sibyl's Prophecy. Baldassare Peruzzk

105. The Nativity as a Mystery. Albertinelli.

106. The Nativity as a Mystery. Lorenzo di Credit

107. The Nativity. Taddeo Gaddi.

108. The Nativity. Lorenzo di Credi.

109. The Adoration of the Shepherds. Raphael

110. An Ideal Nativity. Perugino.

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

112. Adoration of the Magi. Taddeo Gaddi.

113. Adoration of the Magi. Pimturicchio.

114. Adoration of the Magi. Albert Diirer.

115. The Presentation in the Tenrole. Fra Bartolomeo.

116. The Nunc Dimittis. Byzantine.

117. Presentation in the Temple. John Van Eyck.

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

119. The Flight into Egypt. The Massacre of the Innocents in the Background. Pinturicchio.

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

121. The Flight into Egypt. Guido.

122. The Flight into Egypt. Poussin.

123. The Riposo. Jan Schoreel.

124. The Riposo with dancing Angels. Van Dyck.

125. Sacra Conversazione. Milanese School.

126. Sacra Famiglia. Ludovico Caracci.

127. La Vierge a TOreiller Verd. Andrea Solario.

128. La Madonna della Campanella. Allori.

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

130. La Madonna del Giglio. Raphael.

131. Holy Family. Raphael.

132. The Family of the Virgin Mary. Parmigiano.

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

134. Christ learning to read. Schidone.

135. Mary and Joseph conduct Jesus home. Rubens.

136. The Virgin seeks her Son. Giotto.

137. Group of the Fainting Virgin at the foot of the Cross. Andrea Martegna.

138. Descent from the Cross. Duccio di Siena.

139. Deposition. B. de Bruyn.

140. The Virgin in the Entombment Ancient Greek.

141. The Entombment. Raphael.

142. The Ascension. Giotto.

143. The Descent of the Holy Ghost. Hemmelinck.

144. Assumption of the Virgin. Titian.

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

146. The same subject Filippo Lippi.

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

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

149. The Coronation of the Virgin. FUippo LippL

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

151. Isis nursing Horus.

152. Greek Virgin and Child.

153. An Effect of Light and Shade.

154. Popular Image of the Virgin.

155 — 164. Plans of Altarpieces.

165. Head of the Virgin. After Donatello.

ETCHINGS

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

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

III. 'Mater Sapientissima' After Piero di Cosimo. 2. La Madonna della Cintola. After Francesco Granacci 10

IV. 1. The Coronation of the Virgin, as a Mystery. After a Cartoon by Raphael, prepared for the High Altar of the Sistine Chapel, and expressing the Three Great Points of Doctrine, viz., The Exaltation of the Virgin as the Symbol of the Church. On the Right, Salvation through Baptism (St. John the Baptist). On the Left, Salvation through Penitence or Penance (St. Jerome). 2. The Coronation of the Virgin, as an Event. A fter Albert Diirer 24

V. Stabat Mater. 1. After Angelico da Fiesole. 2. After Michael Angelo. 3. After Lorenzo di Credi 37

VI. Ideal Pieta. After Michael Angelo. 1. The Composition engraved by Bonasone. 2. The Famous Marble Group in St. Peter's at Rome. (Etched from a Photograph.) 39 VII. Ideal Pieta. 1. After Luini. 2. After Martin Schoen. Contrasting the Italian and German Treatment 40

VIII. 'La Divina Pastora.' After Alonzo M. de Tobar (v. p. 34). 2. 'Our Lady of the Immaculate Conception.' After the Picture by Murillo, styled 'La Grande Conception de Seville' 45

IX, 1. The Virgin and Child enthroned between the two Spose, St. Catherine of Alexandria and St. Catherine of Siena. After Ambrogio Borgognone. (v. Legendary Art, and the Legends of the Monastic Orders for the details of the subject) 2. The 'Mater Dei,' enthroned, and attended by Angels. After Nicolo Alunno. 3. The 'Mater Dei.' Standing figure. German Sculpture. Nuremberg. 88

X. The Virgin and Child enthroned. 1. Between two Angels, one of whom offers the Apple. After Hemling. 2. Between St. Catherine and St. Barbara. After Hugo van der Goes. Both in the Florence Gallery 90

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

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

XIII. Ancient Greek Mater Amabilis. 1. 'Virgin Niko-peja' (i.e. Bringer of Victory), supposed to be the same which the Empress Eudocia sent to her sister-in-law Pulcheria, now in the Cathedral of St. Mark at Venice. 2. The Virgin of Casopo in Corcyra. 3. The Virgin of the Cathedral at Undine. 4. The Virgin of the Cathedral at Padua. All these effigies are popularly attributed to St. Luke, and are accounted miracolosissime. Repetitions in every form abound 116

XIV. Mater Amabilis. 1. After Giorgione, in the Leuchtenberg Gallery at Munich. 2. After Hemling, at Bruges, Contrasting the Italian and Early Flemish Treatment. 121 XV. The Nativity of the Virgin. After the Fresco by Ghirlandajo, in S. Maria Novella at Florence 148

XVI. The Marriage of the Virgin to Joseph (styled a ' Sposalizio'). After the Fresco by Pinturicchio, in S. Maria del Popolo, at Rome. 160 XVII. The Annunciation as a Mystery. 1. After Raphael. 2. After Alvarez Petri (1429), on the Doors of an Altarpiece 167

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

XIX. 1. Holy Family, with Saints. After Giacomo Francia. Berlin Gallery. 2. Holy Family. After Michael Angelo. From a Fresco in the Casa Buonarroti, at Florence 264 XX. Domestic Holy Family. 1. After Albert Durer. 2. After Giulio Romano (called 'La Madonna del Bacino') 266

XXI. The Procession to Calvary. From the Picture by Raphael, styled 'Lo Spasitno di Sicilia,' now at Madrid 283

XXII. The Descent from the Cross. Sculpture. After Mccold Pisano. Lucca 289

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

XXIV. 1. The Apparition of Christ to his Mother. After Albert Durer. 2. Mary and St. John returning from the Crucifixion. After Zurbaran 301

XXV. 1. The Death of the Virgin Mary. After Albert Durer. 2. Christ bears the Virgin into Heaven. After Giovanna Pisano 313

XXVI. The Assumption of the Virgin. 1. Standing. After Pinturicchio. 2. Seated. After Perugino 317

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