There is, however, one manner of treating them, with reference to their supposed relationship to our Saviour, which is peculiarly beautiful. Assuming that the three last-named apostles, James, the son of Mary Cleophas; Simon and Jude; Joseph or Joses the Just, also named by Matthew among the brethren of Christ; together with James and John, the sons of Mary Salome,—were all nearly related to the Saviour; it was surely a charming idea to group as children around him in his infancy those who were afterwards called to be the chosen ministers of his Word. Christianity, which has glorified womanhood and childhood, never suggested to the Christian artist a more beautiful subject, nor one which it would be more easy, by an unworthy or too picturesque treatment, to render merely pretty and commonplace. This version, however, of the Sacra Famiglia is rarely met with. There is an example in the Louvre, signed ‘Laurentius’ (Lorenzo di Pavia, A.D. 1513), which is remarkable as a religious representation; but the most beautiful instance of this treatment is a chef-d’œuvre of Perugino, in the Musée at Marseilles. In the centre is the Virgin, seated on a throne; she holds the Infant Christ in her arms. Behind her is St. Anna, her two hands resting affectionately on the shoulders of the Virgin. In front, at the foot of the throne, are two lovely children, undraped, with glories round their heads, on which are inscribed their names, Simon and Thaddeus. To the right is Mary Salome, a beautiful young woman, holding a child in her arms—St. John, afterwards the evangelist. Near her is Joachim, the father of the Virgin. At his feet another child, James Major. To the left of the Virgin, Mary the wife of Cleophas, standing, holds by the hand James Minor: behind her, Joseph, the husband of the Virgin, and at his feet another child, Joseph (or Joses) Justus. I have also seen this subject in illuminated MSS., and, however treated, it is surely very poetical and suggestive.[229]
St. Matthias.
Ital. San Mattia. Fr. St. Mathias. (Feb. 24.)
St. Matthias, who was chosen by lot to fill the place of the traitor Judas, is the last of the apostles. (Acts i.) He preached the Gospel in Judea, and suffered martyrdom at the hands of the Jews, either by the lance or by the axe. In the Italian series of the apostles, he bears as his attribute the lance; in the German sets, more commonly the axe.[230] The ceremony of choosing St. Matthias by lot is the subject of a mediocre picture by Boschi. St. Denis says that the apostles were directed in their choice by a beam of divine splendour, for it were impious to suppose that such an election was made by chance. In this picture of Boschi, a ray of light falls from heaven on the head of St. Matthias.
There is a figure of this apostle by Cosimo Roselli, holding a sword by the point: what might be the intention of that capricious painter it is now impossible to guess.[231] Separate pictures of St. Matthias are very rare, and he is seldom included in sets of the apostles.
Judas Iscariot.
Ital. Giuda Scariota. Fr. Judas Iscariote.
The very name of Judas Iscariot has become a by-word; his person and character an eternal type of impiety, treachery, and ingratitude. We shudder at the associations called up by his memory; his crime, without a name, so distances all possible human turpitude, that he cannot even be held forth as a terror to evil doers; we set him aside as one cut off; we never think of him but in reference to the sole and unequalled crime recorded of him. Not so our ancestors; one should have lived in the middle ages, to conceive the profound, the ever-present, horror with which Judas Iscariot was then regarded. The devil himself did not inspire the same passionate hatred and indignation. Being the devil, what could he be but devilish? His wickedness was according to his infernal nature: but the crime of Judas remains the perpetual shame and reproach of our humanity. The devil betrayed mankind, but Judas betrayed his God.