4. The ROSE.—She is the rose of Sharon, as well as the lily of the valley; and as an emblem of love and beauty, the rose is especially dedicated to her. The plantation or garden of roses[1] is often introduced; sometimes it forms the background of the picture. There is a most beautiful example in a Madonna by Cesare di Sesto (Milan, Brera); and another, "the Madonna of the Rose Bush," by Martin Schoen. (Cathedral, Colmar.)
[Footnote 1: Quasi plantatio rosæ in Jericho.]
5. The ENCLOSED GARDEN (Hortus conclusus) is an image borrowed, like many others, from the Song of Solomon. (Cant. iv. 12.) I have seen this enclosed garden very significantly placed in the background of the Annunciation, and in pictures of the Immaculate Conception. Sometimes the enclosure is formed of a treillage or hedge of roses, as in a beautiful Virgin by Francia.[1] Sometimes it is merely formed of stakes or palisades, as In some of the prints by Albert Durer.
[Footnote 1: Munich Gal.; another by Antonio da Negroponte in the San Francesco della Vigna at Venice, is also an instance of this significant background.]
The WELL always full; the FOUNTAIN forever sealed; the TOWER of David; the TEMPLE of Solomon; the CITY of David (Civitas sancti), (Cant iv. 4. 12, 15); all these are attributes borrowed from the Canticles, and are introduced into pictures and stained glass.
6. The PORTA CLAITSA, the Closed Gate, is another metaphor, taken from the prophecy of Ezekiel (xliv. 4).
7. The CEDAR of Lebanon (Cedrus exaliata, "exalted as a cedar in Lebanon"), because of its height, its incorruptible substance, its perfume, and the healing virtues attributed to it in the East, expresses the greatness, the beauty, the goodness of Mary.
The victorious PALM, the Plantain "far spreading," and the Cypress pointing to heaven, are also emblems of the Virgin.
The OLIVE, as a sign of peace, hope, and abundance, is also a fitting emblem of the graces of Mary.[1]
[Footnote 1: Quasi oliva speciosa in campis.]