Ital. La Madonna col Bambino. La Madonna col celeste suo figlio. Fr. La Vierge et l'enfant Jesus. Ger. Maria mit dem Kind.
There is yet another treatment of the Madonna and Child, in which the Virgin no longer retains the lofty goddess-like exaltation given to her in the old time. She is brought nearer to our sympathies. She is not seated in a chair of state with the accompaniments of earthly power; she is not enthroned on clouds, nor glorified and star-crowned in heaven; she is no longer so exclusively the VERGINE DEA, nor the VIRGO DEI GENITRIX; but she is still the ALMA MATER REDEMPTORIS, the young, and lovely, and most pure mother of a divine Christ. She is not sustained in mid-air by angels; she dwells lowly on earth; but the angels leave their celestial home to wait upon her. Such effigies, when conceived in a strictly ideal and devotional sense, I shall designate as the MATER AMABILIS.
The first and simplest form of this beautiful and familiar subject, we find in those innumerable half-length figures of the Madonna, holding her Child in her arms, painted chiefly for oratories, private or way-side chapels, and for the studies, libraries, and retired chambers of the devout, as an excitement to religious feeling, and a memorial of the mystery of the Incarnation, where large or grander subjects, or more expensive pictures, would be misplaced. Though unimportant in comparison with the comprehensive and magnificent church altar-pieces already described, there is no class of pictures so popular and so attractive, none on which the character of the time and the painter is stamped more clearly and intelligibly, than on these simple representations.
The Virgin is not here the dispenser of mercy; she is simply the mother of the Redeemer. She is occupied only by her divine Son. She caresses him, or she gazes on him fondly. She presents him to the worshipper. She holds him forth with a pensive joy as the predestined offering. If the profound religious sentiment of the early masters was afterwards obliterated by the unbelief and conventionalism of later art, still this favourite subject could not be so wholly profaned by degrading sentiments and associations, as the mere portrait heads of the Virgin alone. No matter what the model for the Madonna, might have been,—a wife, a mistress, a contadina of Frascati, a Venetian Zitella, a Madchen of Nuremberg, a buxom Flemish Frau,—for the Child was there; the baby innocence in her arms consecrated her into that "holiest thing alive," a mother. The theme, however inadequately treated as regarded its religious significance, was sanctified in itself beyond the reach of a profane thought. Miserable beyond the reach of hope, dark below despair, that moral atmosphere which the presence of sinless unconscious infancy cannot for a moment purify or hallow!
Among the most ancient and most venerable of the effigies of the Madonna, we find the old Greek pictures of the Mater Amabilis, if that epithet can be properly applied to the dark-coloured, sad-visaged Madonnas generally attributed to St. Luke, or transcripts of those said to be painted by him, which exist in so many churches, and are, or were, supposed by the people to possess a peculiar sanctity. These are almost all of oriental origin, or painted to imitate the pictures brought from the East in the tenth or twelfth century. There are a few striking and genuine examples of these ancient Greek Madonnas in the Florentine Gallery, and, nearer at hand, in the Wallerstein collection at Kensington Palace. They much resemble each other in the general treatment.
The infinite variety which painters have given to this most simple motif, the Mother and the Child only, without accessories or accompaniments of any kind, exceeds all possibility of classification, either as to attitude or sentiment. Here Raphael shone supreme: the simplicity, the tenderness, the halo of purity and virginal dignity, which he threw round the Mater Amabilis have, never been surpassed—in his best pictures, never equalled. The "Madonna del Gran-Duca," where the Virgin holds the Child seated on her arm; the "Madonna Tempi," where she so fondly presses her check to his,—are perhaps the most remarkable for simplicity. The Madonna of the Bridgewater Gallery, where the Infant lies on her knees, and the Mother and Son look into each other's eyes; the little "Madonna Conestabile," where she holds the book, and the infant Christ, with a serious yet perfectly childish grace, bends to turn over the leaf,—are the most remarkable for sentiment.
Other Madonnas by Raphael, containing three or more figures, do not belong to this class of pictures. They are not strictly devotional, but are properly Holy Families, groups and scenes from the domestic life of the Virgin.
With regard, to other painters before or since his time, the examples of the Mater Amabilis so abound la public and private galleries, and have been so multiplied in prints, that comparison is within the reach of every observer. I will content myself with noticing a few of the most remarkable for beauty or characteristic treatment. Two painters, who eminently excelled in simplicity and purity of sentiment, are Gian Bellini of Venice, and Bernardino Luini of Milan. Squarcione, though often fantastic, has painted one or two of these Madonnas, remarkable for simplicity and dignity, as also his pupil Mantegna; though in both the style of execution is somewhat hard and cold. In the one by Fra Bartolomeo, there is such a depth of maternal tenderness in the expression and attitude, we wonder where the good monk found his model. In his own heart? in his dreams? A Mater Amabilis by one of the Caracci or by Vandyck is generally more elegant and dignified than tender. The Madonna, for instance, by Annibal, has something of the majestic sentiment of an enthroned Madonna. Murillo excelled in this subject; although most of his Virgins have a portrait air of common life, they are redeemed by the expression. In one of these, the Child, looking out of the picture with extended arms and eyes full of divinity, seems about to spring forth to fulfil his mission. In another he folds his little hands, and looks up to Heaven, as if devoting himself to his appointed suffering, while the Mother looks down upon him with a tender resignation. (Leuchtenberg Gal.) In a noble Madonna by Vandyck (Bridgewater Gal.), it is she herself who devotes him to do his Father's will; and I still remember a picture of this class, by Carlo Cignani (Belvedere Gal., Vienna), which made me start, with the intense expression: the Mother presses to her the Child, who holds a cross in his baby hand; she looks up to heaven with an appealing look of love and anguish,—almost of reproach. Guido did not excel so much in children, as in the Virgin alone. Poussin, Carlo Dolce, Sasso Ferrato, and, in general, all the painters of the seventeenth century, give us pretty women and pretty children. We may pass them over.
A second version of the Mater Amabilis, representing the Virgin and Child full-length, but without accessories, has been also very beautifully treated. She is usually seated in a landscape, and frequently within the mystical enclosure (Hortus clausus), which is sometimes in the German pictures a mere palisade of stakes or boughs.
Andrea Mantegna, though a fantastic painter, had generally some meaning in his fancies. There is a fine picture of his in which the Virgin and Child are seated in a landscape, and in the background is a stone-quarry, where a number of figures are seen busily at work; perhaps hewing the stone to build the new temple of which our Saviour was the corner-stone. (Florence Gal.) In a group by Cristofano Allori, the Child places a wreath of flowers on the brow of his Mother, holding in his other hand his own crown of thorns: one of the fancies of the later schools of art.