[Footnote 1: We often find on pictures and prints of the Immaculate Conception, certain scriptural texts which the theologians of the Roman Church have applied to the Blessed Virgin; for instance, from Ps. xliv. Omnis gloria ejus filiæ regis ab intus—"The king's daughter is all glorious within;" or from the Canticles, iv. 7, Tota pulchra es amica mea, et macula non est in te,—"Thou art all fair, my love, there is no spot in thee." I have also seen the texts, Ps. xxii. 10, and Prov. viii. 22, 28, xxxi. 29, thus applied, as well as other passages from the very poetical office of the Virgin In Festo Immaculatæ Conceptionis.]
We must be careful to discriminate between the Conception, so styled by ecclesiastical authority, and that singular and mystical representation which is sometimes called the "Predestination of Mary," and sometimes the "Litanies of the Virgin." Collectors and writers on art must bear in mind, that the former, as a subject, dates only from the beginning of the seventeenth century, the latter from the beginning of the sixteenth. Although, as representations, so very similar, yet the intention and meaning are different. In the Conception it is the sinless Virgin in her personal character, who is held up to reverence, as the purest, wisest, holiest, of created beings. The earlier theme involves a yet more recondite signification. It is, undoubtedly, to be regarded as an attempt on the part of the artist to express, in a visible form, the idea or promise of the redemption of the human race, as existing in the Sovereign Mind before the beginning of things. They do not personify this idea under the image of Christ,—for they conceived that, as the second person of the Trinity, he could not be his own instrument,—but by the image of Mary surrounded by those attributes which were afterwards introduced into the pictures of the Conception: or setting her foot, as second Eve, on the head of the prostrate serpent. Not seldom, in a series of subjects from the Old Testament, the pendant to Eve holding the apple is Mary crushing the head of the fiend; and thus the "bane and antidote are both before us." This is the proper interpretation of those effigies, so prevalent in every form of art during the sixteenth century, and which are often, but erroneously, styled the Immaculate Conception.
The numerous heads of the Virgin which proceeded from the later schools of Italy and Spain, wherein she appears neither veiled nor crowned, but very young, and with flowing hair and white vesture, are intended to embody the popular idea of the Madonna purissima, of "the Virgin most pure, conceived without sin," in an abridged form. There is one by Murillo, in the collection of Mr. Holford; and another by Guido, which will give an idea of the treatment.
Before quitting the subject of the Immaculate Conception. I must refer to a very curious picture[1] called an Assumption, but certainly painted at least one hundred years before the Immaculate Conception was authorized as a Church subject.
[Footnote 1: Once in the collection of Mr. Solly, and now in the possession of Mr. Bromley of Wootten.]
From the year 1496, when Sixtus IV. promulgated his Bull, and the Sorbonne put forth their famous decree,—at a time when there was less of faith and religious feeling in Italy than ever before,—this abstract dogma became a sort of watchword with theological disputants; not ecclesiastics only, the literati and the reigning powers took an interest in the controversy, and were arrayed on one side or the other. The Borgias, for instance, were opposed to it. Just at this period, the singular picture I allude to was painted by Girolamo da Cotignola. It is mentioned by Lanzi, but his account of it is not quite correct.
Above, in glory, is seen the Padre Eterno, surrounded by cherubim bearing a scroll, on which is inscribed, "Non enim pro te sed pro omnibus hec lex constitutura est."[1] Lower down the Virgin stands on clouds, with hands joined, and attired in a white tunic embroidered with gold, a blue mantle lined with red, and, which is quite singular and unorthodox, black shoes. Below, on the earth, and to the right, stands a bishop without a glory, holding a scroll, on which is inscribed, "Non puto verè esse amatorem Virginis qui respuit celebrare Festum suæ Conceptionis;" on the left is St. Jerome. In the centre are three kneeling figures: on one side St. Catherine (or perhaps Caterina Sforza in the character of St. Catherine, for the head looks like a portrait); on the other an elderly woman, Ginevra Tiepolo, widow of Giovanni Sforza, last prince of Pesaro; [2] between them the little Costanzo Sforza, looking up with a charming devout expression. [3] Underneath is Inscribed, "JUNIPERA SFOSTIA PATRIA A MARITO RECEPTA. EXVOTO MCCCCCXII." Giovanni Sforza had been dispossessed of his dominions by the Borgias, after his divorce from Lucrezia, and died in 1501. The Borgias ceased to reign in 1512; and Ginevra, apparently restored to her country, dedicated this picture, at once a memorial of her gratitude and of her faith. It remained over the high-altar of the Church of the Serviti, at Pesaro, till acquired by Mr. Solly, from whom it was purchased by Mr. Bromley. [4]
[Footnote 1: From the Office of the Blessed Virgin.]
[Footnote 2: This Giovanni was the first husband of Lucrezia Borgia.]
[Footnote 3: Lanzi calls this child Costanzo II., prince of Pesaro. Very interesting memoirs of all the personages here referred to may be found in Mr. Dennistoun's "Dukes of Urbino.">[