Fra Filippo Lippi.—A divided Annunciation.
A very ancient Annunciation, of peculiar and elaborate arrangement, dating from the fifth century, is in mosaic, over the arch in front of the choir in the church of Santa Maria Maggiore, in Rome. The classical treatment of the dresses, and of the entire composition, makes this work so different from the usual conception of the subject as to be worthy of observation. There are two scenes: in the first, the archangel is sent on his mission, and is rapidly flying towards the earth, as if in haste to utter his joyous salutation, “Hail! thou art highly favored! Blessed art thou among women!”
The second scene presents Gabriel standing before the Virgin, who is seated on a throne, behind which are two guardian angels. This representation is so utterly unlike what is known as Christian art as to make a lasting impression, by reason of its classical treatment; all the details have an air of belonging to an earlier period than that known as mediæval, and the figures might be those of ancient Greeks.
It is extremely curious and interesting to observe the various methods of representing the Archangel Gabriel in pictures of the Annunciation. At times he might be mistaken for the ambassador of a proud and powerful earthly potentate. He is clothed in gorgeous raiment, with a rich train, sometimes borne by one, and again by three page-like angels, while he carries himself with majestic haughtiness.
We do not wonder that the difference between the estate of an archangel sent by God, and the humility of the Virgin of Galilee, should have misled some artists; or that with them the angel held the first place, especially as it was only thus that any element of splendor could be introduced into their pictures. Indeed, we have engravings after a picture by Raphael, in which the Virgin is kneeling before the angel, who raises the right hand in benediction.
But the gradual increase in the veneration accorded to the Virgin, and the titles of Queen of Heaven, and Queen of Angels, which were bestowed on her, soon changed the spirit of the representations of the Annunciation; and while the Virgin loses none of her humility and submission, the angel bows, and even kneels to her, thus emphasizing his acknowledgment of her superior holiness,—since an archangel could only kneel before spiritual perfection.