EZEKIEL, "This gate shall be shut." (ch. xliv. 2.)
Certain of these personages, Moses, Aaron, Gideon, Daniel, Ezekiel, are not merely accessories and attendant figures, but in a manner attributes, as expressing the character of the Virgin. Thus in many instances, we find the prophetical personages altogether omitted, and we have simply the attribute figuring the prophecy itself, the burning bush, the rod, the dewy fleece, &c.
The Sibyls are sometimes introduced alternately with the Prophets. In general, if there be only two, they are the Tiburtina, who showed the vision to Augustus, and the Cumean Sibyl who foretold the birth of our Saviour. The Sibyls were much the fashion in the classic times of the sixteenth century; Michael Angelo and Raphael have left us consummate examples.
But I must repeat that the full consideration of the Prophets and Sibyls as accessories belongs to another department of sacred art, and they will find their place there.
The Evangelists frequently, and sometimes one or more of the Twelve Apostles, appear as accessories which assist the theological conception. When other figures are introduced, they are generally either the protecting saints of the country or locality, or the saints of the Religious Order to whom the edifice belongs: or, where the picture or window is an ex-voto, we find the patron saints of the confraternity, or of the donor or votary who has dedicated it.
Angels seated at the feet of the Madonna and playing on musical instruments, are most lovely and appropriate accessories, for the choral angels are always around her in heaven, and on earth she is the especial patroness of music and minstrelsy.[1] Her delegate Cecilia patronized sacred music; but all music and musicians, all minstrels, and all who plied the "gaye science," were under the protection of Mary. When the angels are singing from their music books, and others are accompanying them with lutes and viols, the song is not always supposed to be the same. In a Nativity they sing the "Gloria in excelsis Deo;" in a Coronation, the "Regina Coeli;" in an enthroned Madonna with votaries, the "Salve Regina, Mater Misericordiæ!" in a pastoral Madonna and Child it may be the "Alma Mater Redemptoris."
[Footnote 1: The picture by Lo Spagna, lately added to our National
Gallery, is a beautiful example.]
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In all the most ancient devotional effigies (those in the catacombs and the old mosaics), the Virgin appears as a majestic woman of mature age. In those subjects taken from her history which precede her return from Egypt, and in the Holy Families, she should appear as a young maiden from fifteen to seventeen years old.
In the subjects taken from her history which follow the baptism of our Lord, she should appear as a matron between forty and fifty, but still of a sweet and gracious aspect. When Michael Angelo was reproached with representing his Mater Dolorosa much too young, he replied that the perfect virtue and serenity of the character of Mary would have preserved her beauty and youthful appearance long beyond the usual period.[1]