Transcriber’s Notes

Obvious typographical errors have been silently corrected. Variations in hyphenation and accents have been standardised but all other spelling and punctuation remains unchanged.

The woodcut number 48, The Symbol of St. Matthew. Mosaic., does not exist.

The cover was prepared by the transcriber and is placed in the public domain.

Sacred
AND
Legendary Art.
VOL. I.

THE LATEST EDITIONS OF MRS. JAMESON’S WORKS ON
SACRED AND LEGENDARY CHRISTIAN ART.

The Fifth Edition, in 2 vols. square crown 8vo. with 19 Etchings on Copper and 187 Woodcuts, price 31s. 6d.

LEGENDS of the SAINTS and MARTYRS as represented in the Fine Arts, forming the First Series of ‘Sacred and Legendary Art.’ By Mrs. Jameson.

II. LEGENDS of the MONASTIC ORDERS. Third Edition, with 11 Etchings and 88 Woodcuts. 1 vol. 21s.

III. LEGENDS of the MADONNA. Third Edition, with 27 Etchings and 165 Woodcuts. 1 vol. 21s.

IV. HISTORY of OUR LORD as exemplified in Works of Art. By Mrs. Jameson and Lady Eastlake. Second Edition, with 31 Etchings and 281 Woodcuts. 2 vols. 42s.

⁂ Of these 312 Illustrations, all prepared specially for the ‘History of Our Lord,’ nearly one-third of the whole number have now been engraved for the first time.

‘We have in these volumes, penned in a truth-seeking spirit and illustrated with a copious generosity which at once elucidates and adorns each section of the subject, contributions to the literature of Christian Art, for which every artist and every student of theology will confess debt of private gratitude. To thoughtful inquirers, richest mines are here opened for meditation. To minds prepared for deeper draughts to quench the thirst for knowledge, wells are dug and fountains are made to flow even in the desert tracks of time where pilgrim’s foot seldom attempts to tread. We think that Lady Eastlake has done special service in bringing into popular view recondite stores which have hitherto been sealed for public use. She has, by appeal to the early heads of Christ in the Catacombs, by reference to Christian sarcophagi of the fourth century, to ivories as old as the sixth century, and Greek MSS. and Byzantine miniatures of the ninth century, enabled the art-student to tract the history of types and antetypes, and to analyse the rudimentary germs which, from age to age accumulating strength and growing in comeliness, at length issued forth in perfected pictorial form. It is to this, the infancy of art, that at the present moment peculiar interest attaches.’

Blackwood’s Magazine.

The Assumption of the Magdalena.

Sacred
AND
Legendary Art.

BY MRS. JAMESON.

VOLUME I.
CONTAINING
LEGENDS OF THE ANGELS AND ARCHANGELS, THE EVANGELISTS,
THE APOSTLES, THE DOCTORS OF THE CHURCH,
AND ST. MARY MAGDALENE,

AS REPRESENTED IN THE FINE ARTS.

SIXTH EDITION.

LONDON:
LONGMANS, GREEN, AND CO.
1870.

LONDON: PRINTED BY
SPOTTISWOODE AND CO., NEW-STREET SQUARE
AND PARLIAMENT STREET

PREFACE
To
THE THIRD EDITION.

The Author ventures to hope that, on comparing this Third Edition of ‘Sacred and Legendary Art’ with the two preceding, it will be found greatly improved, and rendered more worthy of the kind approbation and sympathy with which it has been received. The whole has been carefully revised; the references to the pictures and other works of Art corrected from the latest authorities, and many new examples have been added. All the Illustrations, which were formerly etched on copper, have been newly etched on steel; two have been omitted, and three others, as more interesting and appropriate, have been substituted; and twelve new woodcuts have been introduced. In a work so multifarious in its nature, and comprising so many hundred subjects and references, there may remain some errors and omissions, but they have not occurred from want of care; and I must not omit to express due thanks for the observations and corrections which have been forwarded to me from time to time, and which have been in this Edition carefully attended to.

A. J.

January 1857.

PREFACE
To
THE FIRST EDITION.
(1848.)

This book was begun six years ago, in 1842. It has since been often laid aside, and again resumed. In this long interval, many useful and delightful works have been written on the same subject, but still the particular ground I had chosen remained unoccupied; and, amid many difficulties, and the consciousness of many deficiencies, I was encouraged to proceed, partly by the pleasure I took in a task so congenial—partly by the conviction that such a work has long been wanted by those who are not contented with a mere manual of reference, or a mere catalogue of names. This book is intended not only to be consulted, but to be read—if it be found worth reading. It has been written for those who are, like myself, unlearned; yet less, certainly, with the idea of instructing, than from a wish to share with others those pleasurable associations, those ever new and ever various aspects of character and sentiment, as exhibited in Art, which have been a source of such vivid enjoyment to myself.

This is the utmost limit of my ambition; and, knowing that I cannot escape criticism, I am at least anxious that there should be no mistake as to purpose and intention. I hope it will be clearly understood that I have taken throughout the æsthetic and not the religious view of those productions of Art which, in as far as they are informed with a true and earnest feeling, and steeped in that beauty which emanates from genius inspired by faith, may cease to be Religion, but cannot cease to be Poetry; and as poetry only I have considered them.

The difficulty of selection and compression has been the greatest of all my difficulties; there is not a chapter in this book which might not have been more easily extended to a volume than compressed into a few pages. Every reader, however, who is interested in the subject, may supply the omissions, follow out the suggestions, and enjoy the pleasure of discovering new exceptions, new analogies, for himself. With regard to the arrangement, I am afraid it will be found liable to objections; but it is the best that, after long consideration and many changes, I could fix upon. It is not formal, nor technical, like that of a catalogue or a calendar, but intended to lead the fancy naturally from subject to subject as one opened upon another, with just sufficient order to keep the mind unperplexed and the attention unfatigued amid a great diversity of objects, scenes, stories, and characters.

The authorities for the legends have been the Legenda Aurea of Voragine, in the old French and English translations; the Flos Sanctorum of Ribadeneira, in the old French translation; the Perfetto Legendario, editions of Rome and Venice; the Legende delle Sante Vergini, Florence and Venice; the large work of Baillet, Les Vies des Saints, in thirty-two volumes, most useful for the historical authorities; and Alban Butler’s Lives of the Saints. All these have been consulted for such particulars of circumstance and character as might illustrate the various representations, and then compressed into a narrative as clear as I could render it. Where one authority only has been followed, it is usually placed in the margin.

The First Part contains the legends of the scriptural personages and the primitive fathers.

The Second Part contains those sainted personages who lived, or are supposed to have lived, in the first ages of Christianity, and whose real history, founded on fact or tradition, has been so disguised by poetical embroidery, that they have in some sort the air of ideal beings. As I could not undertake to go through the whole calendar, nor yet to make my book a catalogue of pictures and statues, I have confined myself to the saints most interesting and important, and (with very few exceptions) to those works of Art of which I could speak from my own knowledge.

The legends of the monastic orders, and the history of the Franciscans and Dominicans, considered merely in their connexion with the revival and development of the Fine Arts in the thirteenth and fourteenth centuries, open so wide a range of speculation,—the characteristics of these religious enthusiasts of both sexes are so full of interest and beauty as artistic conceptions, and as psychological and philosophical studies so extraordinary, that I could not, in conscience, compress them into a few pages: they form a volume complete in itself, entitled ‘Legends of the Monastic Orders.’

The little sketches and woodcuts are trifling as illustrations, and can only assist the memory and the fancy of the reader but I regret this the less, inasmuch as those who take an interest in the subject can easily illustrate the book for themselves. To collect a portfolio of prints, including those works of art which are cited under each head as examples, with a selection from the hundreds of others which are not cited, and arrange them in the same order—with reference, not to schools, or styles, or dates, but to subject merely—would be an amusing, and I think not a profitless, occupation. It could not be done in the right spirit without leading the mind far beyond the mere pleasure of comparison and criticism, to ‘thoughts more elevate and reasonings high’ of things celestial and terrestrial, as shadowed forth in form by the wit and the hand of man.

CONTENTS
OF
THE FIRST VOLUME.

PAGE
Prefacev
Introduction:
I. Of the Origin and general Significance of the Legends represented in Art[1]
II. Of the Distinction to be drawn between Devotional and Historical Subjects[11]
III. Of the Patron Saints of particular Countries, Cities, and Localities[18]
IV. Of certain Emblems and Attributes of general Application[23]
V. Of the Significance of Colours. Conclusion[35]
OF ANGELS AND ARCHANGELS.
Of Angels. Antiquity of the Belief in Angels. Early Notions respecting them.How represented in the Old Testament. In the New Testament. AngelicHierarchies. The Nine Choirs. Seraphim, Cherubim. General Characteristicsin Painting. Infant Angels. Wings. Angels of Dante. Angelsas Messengers, Choristers, Guardians. As Ministers of Wrath. As Agentsin the Creation. Manner in which the principal Painters have set forth theAngelic Forms and Attributes[41]
The Archangels. The Seven Archangels. The Four Archangels. The ThreeArchangels[87]
St. Michael[94]
St. Gabriel[118]
St. Raphael[126]
Additional Notes on Angels[131]
THE FOUR EVANGELISTS.
The earliest Types: as Four Books; as Four Rivers; as the Four MysteriousAnimals; the Human and Animal Forms combined; with Wings; as Men[132]
St. Matthew. His Legend. His Attributes. Pictures from his Life notcommon[143]
St. Mark. His Legend. Devotional Pictures: as Evangelist; as the Discipleof Peter; as the Patron Saint of Venice. The Legend of the Fisherman.The Legend of the Christian Slave. The Translation of the Body of St.Mark[147]
St. Luke. His Legend. Devotional Figures. Attributes: as Evangelist andPainter. St. Luke painting the Virgin[154]
St. John. His Legend. Devotional Pictures: as Evangelist; as Apostle; asProphet. Subjects from his Life; Legend of St. John and the Robber; ofthe two Young Men; of Drusiana; of the Huntsman and the Partridge. TheMartyrdom of St. John. Legend of the Death of St. John. Legend ofGalla Placidia. Of King Edward the Confessor[157]
The Six Writers of the Canonical Epistles, as a series[172]
THE TWELVE APOSTLES.
Ancient Types: as Twelve Sheep; as Twelve Doves; as Twelve Men. Howgrouped in Ecclesiastical Decoration. In the Old Mosaics; their properplace. Examples from various Painters. Historical Subjects relating to theTwelve Apostles: the Pentecost; the Separation of the Twelve Apostles topreach the Gospel; the Twelve Baptisms; the Twelve Martyrdoms[173]
St. Peter and St. Paul. The Ancient Greek Types. Examples of the earlyTreatment of these two Apostles: in the old Mosaics; in early Sculpture;in Pictures[185]
St. Peter. His peculiar Attributes: as Apostle and Patron Saint; as the Headand Founder of the Roman Church; St. Peter as Pope. Subjects from theScriptural Life of St. Peter. Legendary Stories connected with St. Peter.The Legend of Simon Magus; of the ‘Domine, quo vadis?’ of Processus and Martinian. The Martyrdom of St. Peter. St. Peter as Keeper of theGates of Paradise. The Legend of St. Petronilla. The Life of St. Peter ina Series of Subjects[193]
St. Paul. Earliest Type. Attributes of St. Paul: the Sword. Subjects fromhis Life. Stoning of Stephen. Conversion of St. Paul. The Vision of St.Paul. Miracles of St. Paul. His Martyrdom. The Legend of Plautilla.The Life of St. Paul in a Series of Subjects[212]
St. Andrew. The Legend. Attributes. Historical Subjects from the Life ofSt. Andrew. Flagellation. Adoration of the Cross. Martyrdom as representedby Guido, Domenichino, and Murillo[226]
St. James Major. Story and Character as represented in Scripture. St.James as Patron of Spain. The Legend of Santiago. The Battle of Clavijo.The Pilgrims of Compostella. The Devotional Figures and Attributes ofSt. James the Apostle. As Tutelar Saint of Spain. Pictures from hisLegend[230]
St. Philip. The Legend of the Idol and the Serpent. Devotional Pictures andAttributes. Subjects from his Legend. Distinction between St. Philip theApostle and St. Philip the Deacon[241]
St. Bartholomew. The Legend. The Attributes. Martyrdom[244]
St. Thomas. Origin of his peculiar Attribute. The Legend of King Gondoforus.The Incredulity of St. Thomas. The Legend of the ‘Madonna della Cintola.’Martyrdom of St. Thomas[245]
St. James Minor. First Bishop of Jerusalem. Attributes. Resemblance toChrist. Subjects from his Life. Martyrdom. Frescoes at Padua[250]
St. Simon and St. Jude. Legend and Attributes. Represented as Children[252]
St. Matthias. Attributes[254]
Judas Iscariot. Scriptural Character. Legends relating to him; how representedin various Subjects[255]
The Last Supper. Its importance as a Sacred Subject. Devotional when itrepresents the Institution of the Eucharist. Historical when it representsthe Detection of Judas. Various Examples. Giotto. Duccio of Siena.Angelico da Fiesole. Luca Signorelli. Ghirlandajo. Albert Dürer.Leonardo da Vinci. Raphael. Andrea del Sarto. Titian. Poussin.[261]
Faults and Mistakes committed by Painters in representing the Last Supper[273]
St. Barnabas. His Legend. Popular at Venice as Kinsman of St. Mark. Representedwith the Gospel of St. Matthew[278]
THE DOCTORS OF THE CHURCH.
The Four Latin Fathers. Their Particular Attributes. Their proper placein Ecclesiastical Decoration. Subjects in which they are introducedtogether[280]
St. Jerome. History and Character. Influence over the Roman Women.Origin of his Attributes. Legend of the Wounded Lion. DevotionalFigures of St. Jerome: as Patron Saint; as Translator of the Scriptures; asPenitent. Subjects from the Life of St. Jerome. The Communion ofSt. Jerome[285]
St. Ambrose. Story and Character of St. Ambrose. The Emperor Theodosius.The Discovery of the Martyrs St. Protasius and St. Gervasius. Legendsrelating to St. Ambrose. The Prefect Macedonius. The Nobleman ofTuscany. Devotional Figures of St. Ambrose. His peculiar Attributes.His Church at Milan; his Life as represented on the Altar. Statue of St.Ambrose[300]
St. Augustine. Character of St. Augustine. His Shrine at Pavia, and Bassorelievosrepresenting his Life. Devotional Figures of St. Augustine. Representedwith his Mother, Monica. Various Subjects from his Life. TheVision of St. Augustine[308]
St. Gregory. His Story and Character. His Popularity. Legends connectedwith his Life. Origin of his Attribute, the Dove. The Supper of St.Gregory. The Mass of St. Gregory. The Miracle of the Brandeum. St.Gregory releases the Soul of the Emperor Trajan. The Legend as representedin Pictures. The Legend of the Monk. St. Gregory’s Doctrine ofPurgatory. How represented[315]
The Four Greek Fathers. How represented in the Greek Pictures, and bythe Latin Artists[324]
St. John Chrysostom. Singular Legends with regard to him. The Penanceof St. Chrysostom. As represented in the German Prints. By LucasCranach. By Beham. By Albert Dürer[325]
St. Basil the Great. His Character. How represented. Story of the EmperorValens. Legends which refer to St. Basil[335]
St. Athanasius. How represented. Unpopular as a Subject of Art[339]
St. Gregory Nazianzen. His History and Character. His celebrity as a Poet.Beautiful Miniatures relative to his Life[340]
St. Cyril. How represented[342]
ST. MARY MAGDALENE, ST. MARTHA, ST. LAZARUS, ST. MAXIMIN,ST. MARCELLA, ST. MARY OF EGYPT, AND THE BEATIFIEDPENITENTS.
Character of Mary Magdalene. Disputes concerning her Identity. The Popularand Scriptural Legend. The old Provençal Legend. The Devotional Representations:as Patron Saint; as Penitent. Sacred Subjects in which sheis introduced. Legendary Subjects. La Danse de la Madeleine. The Assumptionof the Magdalene. The Legend of the Mother and Child. HerLife in a Series of Subjects. Legends of Mary Magdalene and St. John theEvangelist[343]
St. Martha. Her Character. Legends of St. Martha. How represented.Where introduced[381]
St. Lazarus[383]
St. Mary of Egypt. The Legend. Distinction between St. Mary of Egypt andMary Magdalene. Proper Attributes of Mary of Egypt. Stories andPictures from her Life[385]
Mary the Penitent, not to be confounded with Mary of Egypt. Her Story.Landscapes of Philippe de Champagne[390]
St. Thais. St. Pelagia[393]

LIST OF ILLUSTRATIONS
IN
THE FIRST VOLUME.

Woodcuts.

Etchings.

PAGE
I. The Assumption of the Magdalene. After Giulio Romano. The Original Fresco, which is in our National Gallery, was cut from the wall of the Church of the Trinità de’ Monti, at RomeTitle
II. A Venetian Votive Picture in commemoration of a Pestilence (probably the pestilence of 1512, in which Giorgione perished). St. Mark, enthroned as the Patron Saint of Venice, holds his Gospel; on the right St. Sebastian and St. Roch, Protectors against the Plague; on the left, St. Cosmo and St. Damian, Patron Saints of the Healing Art. Sketch after Titian. The Original Picture, remarkable for beauty of expression, and splendour and harmony of colour, in the Church of S. Maria della Salute, at Venice[22]
III. Angels of the Planets. Raphael. From the fine set of Engravings by L. Gruner, after the Frescoes in the Cappella Chigiana at Rome[80]
IV. 1. St. Luke painting the Virgin. After the Picture in the Academy of St. Luke attributed to Raphael. 2. St. Mark attended by St. Gregory. After Correggio[156]
V. The Madonna della Cintola. The Virgin, as she ascends to heaven, presents her girdle to St. Thomas; who kneels by the tomb, which is full of roses. On the other side, the Archangel Michael, in reference to the Legend. From a Picture by Francesco Granacci in the Florence Gallery[248]
VI. The Last Supper. 1. After Giotto. 2. After Leonardo da Vinci. 3. After Raphael. (For this etching I am indebted to Mr. George Scharf.)[261]
VII. The Four Latin Fathers. From a Picture by Antonio Vivarini, in the Academy at Venice[280]
VIII. The Five Greek Fathers. Drawing from an Ancient Greek Picture in the Vatican[324]
IX. Martha conducts her Sister Mary Magdalene to the Presence of our Lord. From the Engraving by Marc’ Antonio, after Raphael[381]

1 Laus Deo!