The Madonna in Art.

by Estelle M. Hurll.

PREFACE.

This little book is intended as a companion volume to "Child-Life in Art," and is a study of Madonna art as a revelation of motherhood.

With the historical and legendary incidents in the life of the Virgin it has nothing to do. These subjects have been discussed comprehensively and finally in Mrs. Jameson's splendid work on the "Legends of the Madonna." Out of the great ma.s.s of Madonna subjects are selected, here, only the idealized and devotional pictures of the Mother and Babe. The methods of cla.s.sifying such works are explained in the Introduction.

Great pains have been taken to choose as ill.u.s.trations, not only the pictures which are universal favorites, but others which are less widely known and not easily accessible.

The cover was designed by Miss Isabelle A. Sinclair, in the various colors appropriate to the Virgin Mary. The lily is the Virgin's flower, _la fleur de Marie_, the highest symbol of her purity. The gold border surrounding the panel is copied from the ornamentation of the mantle worn by Botticelli's Dresden Madonna.

ESTELLE M. HURLL.

_New Bedford, Ma.s.s., May, 1897._

INTRODUCTION.

It is now about fifteen centuries since the Madonna with her Babe was first introduced into art, and it is safe to say that, throughout all this time, the subject has been unrivalled in popularity. It requires no very profound philosophy to discover the reason for this. The Madonna is the universal type of motherhood, a subject which, in its very nature, appeals to all cla.s.ses and conditions of people. No one is too ignorant to understand it, and none too wise to be superior to its charm. The little child appreciates it as readily as the old man, and both, alike, are drawn to it by an irresistible attraction. Thus, century after century, the artist has poured out his soul in this all-prevailing theme of mother love until we have an acc.u.mulation of Madonna pictures so great that no one would dare to estimate their number. It would seem that every conceivable type was long since exhausted; but the end is not yet. So long as we have mothers, art will continue to produce Madonnas.

With so much available material, the student of Madonna art would be discouraged at the outset were it not possible to approach the subject systematically. Even the vast number of Madonna pictures becomes manageable when studied by some method of cla.s.sification. Several plans are possible. The historical student is naturally guided in his grouping by the periods in which the pictures were produced; the critic, by the technical schools which they represent. Besides these more scholarly methods, are others, founded on simpler and more obvious dividing lines. Such are the two proposed in the following pages, forming, respectively, Part I. and Part II. of our little volume.

The first is based on the style of composition in which the picture is painted; the second, on the subject which it treats. The first examines the mechanical arrangement of the figures; the second asks, what is the real relation between them? The first deals with external characteristics; the second, with the inner significance.

Proceeding by the first, we ask, what are the general styles of treatment in which Madonna pictures have been rendered? The answer names the following five cla.s.ses:

1. The Portrait Madonna, the figures in half-length against an indefinite background.

2. The Madonna Enthroned, where the setting is some sort of a throne or dais.

3. The Madonna in the Sky or the "Madonna in Gloria," where the figures are set in the heavens, as represented by a glory of light, by clouds, by a company of cherubs, or by simple elevation above the earth's surface.

4. The Pastoral Madonna, with a landscape background.

5. The Madonna in a Home Environment, where the setting is an interior.

The foregoing subjects are arranged in the order of historical development, so far as is possible. The first and last of the cla.s.ses enumerated are so small, compared with the others, that they are somewhat insignificant in the whole number of Madonna pictures. Yet, in all probability, it is along these lines that future art is most likely to develop the subject, choosing the portrait Madonna because of its universal adaptability, and representing the Madonna in her home, in an effort to realize, historically, the New Testament scenes.

Of the remaining three, the enthroned Madonna is, doubtless, the largest cla.s.s, historically considered, because of the long period through which it has been represented. The pastoral and enskied Madonnas were in high favor in the first period of their perfection.

Our next question is concerned with the aspects of motherhood displayed in Madonna pictures: in what relation to her child has the Madonna been represented? The answer includes the following three subjects:

1. The Madonna of Love (The Mater Amabilis), in which the relation is purely maternal. The emphasis is upon a mother's natural affection as displayed towards her child.

2. The Madonna in Adoration (The Madre Pia), in which the mother's att.i.tude is one of humility, contemplating her child with awe.

3. The Madonna as Witness, in which the Mother is preeminently the Christ-bearer, wearing the honors of her proud position as witness to her son's great destiny.

These subjects are mentioned in the order of philosophical climax, and as we go from the first to the second, and from the second to the third, we advance farther and farther into the experience of motherhood. At the same time there is an increase in the dignity of the Madonna and in her importance as an individual. In the Mater Amabilis she is subordinate to her child, absorbed in him, so to speak; his infantine charms often overmatch her own beauty. When she rises to the responsibilities of her high calling, she is, for the time being, of equal interest and importance. aesthetically, she is now even more attractive than her child, whose seriousness, in such pictures, takes something from his childlikeness. Chronologically, our list reads backwards, as the religious aspect of Mary's motherhood was the first treated in art, while the naturalistic conception came last.

Regarded as expressive of national characteristics, the Mater Amabilis is the Madonna best beloved in northern countries, while the other two subjects belong specially to the art of the south.

It will be seen that any number of Madonna pictures, having been arranged in the five groups designated in Part I., may be gathered up and redistributed in the three cla.s.ses of Part II. To make this clear, the pictures mentioned in the first method of cla.s.sification are frequently referred to a second time, viewed from an entirely different standpoint. Since the lines of cleavage are so widely dissimilar in the two cases, both methods of study are necessary to a complete understanding of a picture. By the first, we learn a convenient term of description by which we may casually designate a Madonna; by the second, we find its highest meaning as a work of art, and are admitted to some new secret of a mother's love.

PART I.

MADONNAS CLa.s.sED BY THE STYLE OF COMPOSITION.

THE MADONNA IN ART.

CHAPTER I.

THE PORTRAIT MADONNA.

The first Madonna pictures known to us are of the portrait style, and are of Byzantine or Greek origin. They were brought to Rome and the western empire from Constantinople (the ancient Byzantium), the capital of the eastern empire, where a new school of Christian art had developed out of that of ancient Greece. Justinian's conquest of Italy sowed the new art-seed in a fertile field, where it soon took root and multiplied rapidly. There was, however, little or no improvement in the type for a long period; it remained practically unchanged till the thirteenth century. Thus, while a Byzantine Madonna is to be found in nearly every old church in Italy, to see one is to see all. They are half-length figures against a background of gold leaf, at first laid on solidly, or, at a somewhat later date, studded with cherubs.

The Virgin has a meagre, ascetic countenance, large, ill-shaped eyes, and an almost peevish expression; her head is draped in a heavy, dark blue veil, falling in stiff folds.

Unattractive as such pictures are to us from an artistic standpoint, they inspire us with respect if not with reverence. Once objects of mingled devotion and admiration, they are still regarded with awe by many who can no longer admire. Their real origin being lost in obscurity, innumerable legends have arisen, attributing them to miraculous agencies, and also endowing them with power to work miracles. There is an early and widespread tradition, imported with the Madonna from the East, which makes St. Luke a painter. It is said that he painted many portraits of the Virgin, and, naturally, all the churches possessing old Byzantine pictures claim that they are genuine works from the hand of the evangelist. There is one in the Ara Coeli at Rome, and another in S. Maria in Cosmedino, of which marvellous tales are told, besides others of great sanct.i.ty in St. Mark's, Venice, and in Padua.

It would not be interesting to dwell, in any detail, upon these curious old pictures. We would do better to take our first example from the art which, though founded on Byzantine types, had begun to learn of nature. Such a picture we find in the Venice Academy, by Jacopo Bellini, painted at the beginning of the fifteenth century, somewhat later than any corresponding picture could have been found elsewhere in Italy, as Venice was chronologically behind the other art schools. The background is a glory of cherub heads touched with gold hatching. Both mother and child wear heavy nimbi, ornamented with gold. These points recall Byzantine work; but the gentler face of the Virgin, and the graceful fall of her drapery, show that we are in a different world of art. The child is dressed in a little tunic, in the primitive method.

With the dawn of the Italian Renaissance, the old style of portrait Madonna pa.s.sed out of vogue. More elaborate backgrounds were introduced from the growing resources of technique. In the fifteenth and sixteenth centuries, pictures of the portrait style were comparatively rare. Raphael, however, was not above adopting this method, as every lover of the Granduca Madonna will remember. His friend Bartolommeo also selected this style of composition for some of the loveliest of his works.

[Ill.u.s.tration: JACOPO BELLINI.--MADONNA AND CHILD.]

The story of the friendship between these two men is full of interest.

At the time of Raphael's first appearance in Florence (1504), Bartolommeo had been four years a monk, and had laid aside, apparently forever, the brush he had previously wielded with such promise. The young stranger sought the Frate in his cell at San Marco, and soon found the way to his heart. Stimulated by this new friendship, Bartolommeo roused himself from lethargy and resumed the practice of art with increasing success. It is pleasant to trace the influence which the two artists exerted upon each other. The older man had experience and learning; the younger had enthusiasm and genius. Now it happened that, by nature, Bartolommeo was specially gifted in the arrangement of large compositions, with many figures and stately architectural backgrounds. It is by these that he is chiefly known to-day. So it is the more interesting that, when Raphael's sweet simplicity first touched him, he turned aside, for the time, from these elaborate plans and gave himself to the portrayal of the Madonna in that simplest possible way, the half-length portrait picture.

Several of these he painted upon the walls of his own convent, glorifying that dim place of prayer and fasting with visions of radiant and happy motherhood. One of these may still be seen in the cell sometimes called the Capella Giovanato. It instantly recalls the Tempi Madonna of Raphael, both in the pose of the figure and in the genuineness of feeling exhibited. Damp and decay have warred in vain against it, and the modern visitor lingers before the Mother and Babe with hushed admiration.

Two other similar frescoes have been removed to the Academy. They show the same motherly tenderness, the same innocent and beautiful babyhood. The mother holds her child close in her arms, pressing her forehead to his, or bending her cheek to receive his kiss. He throws his little arm about her neck, clinging to her veil or caressing her face.

Besides this group of pictures by Bartolommeo, there are other scattered instances of portrait Madonnas during the Italian Renaissance, by men too great to be tied to the fashions of their day.

Mantegna was such a painter, and Luini another. All told, however, their pictures of this sort make up a cla.s.s too rare to deserve longer description.

A century later, the Spanish school occasionally reverted to the same style of treatment. A pair of notable pictures are the Madonna of Bethlehem, by Alonzo Cano, and the Madonna of the Napkin, by Murillo.

Both are in Seville, the latter in the museum, the former still hanging in its original place in the cathedral.

Of Cano's work, a great authority[1] on Spanish art has written, that, "in serene, celestial beauty, it is excelled by no image of the blessed Mary ever devised in Spain." Murillo's picture is better known, and has a curious interest from its history. The cook in the Capuchin monastery, where the artist had been painting, begged a picture as a parting gift. No canvas being at hand, a napkin was offered instead, on which the master painted a Madonna, unexcelled among his works in brilliancy of color.