5. We have the same idea carried out in the lower part of Raphael’s ‘Disputa’ in the Vatican. The Four Doctors are in the centre of what may be called the sublunary part of the picture: they are the only seated figures in the vast assembly of holy, wise, and learned men around; St. Gregory and St. Jerome on the right of the altar, St. Ambrose and St. Augustine on the left. As the two latter wear the same paraphernalia, they are distinguished by having books scattered at their feet, on which are inscribed the titles of their respective works.
The Madonna and Child enthroned, with the Doctors of the Church standing on each side, is a subject which has been often, and sometimes beautifully, treated; and here the contrast between all we can conceive of virginal and infantine loveliness and innocence enshrined in heavenly peace and glory—and these solemn, bearded, grand-looking old Fathers, attending in humble reverence, as types of earthly wisdom—ought to produce a magnificent effect, when conceived in the right spirit. I can remember, however, but few instances in which the treatment is complete and satisfactory.
1. One of these is a picture by A. Vivarini (A.D. 1446), now in the Academy at Venice. Here, the Virgin sits upon a throne under a rich canopy sustained by four little angels. She looks out of the picture with a most dignified, tranquil, goddess-like expression; she wears, as usual, the crimson tunic and blue mantle, the latter being of a most brilliant azure; on her brow, a magnificent jewelled crown; the Divine Child stands on her knee, and raises his little hand to bless the worshipper. To the right of the Virgin, and on the platform of her throne, stands St. Jerome, robed as cardinal, and bearing his church; with St. Gregory, habited as pope. To the left stands St. Ambrose, holding his crosier and knotted scourge, and St. Augustine with his book. This is a wonderful picture, and, as a specimen of the early Venetian school, unequalled. The accuracy of imitation, the dazzling colour, the splendid dresses and accessories, the grave beauty of the Madonna, the divine benignity of the Infant Redeemer, and the sternly thoughtful heads of the old Doctors, are not only positively fine, but have a relative interest and value as being stamped with that very peculiar character which belonged to the Vivarini and their immediate followers. It was painted for the Scuola della Carità.[246]
2. A different and a singular treatment of the Four Fathers occurs in another Venetian picture.[247] Christ is represented seated on a throne, and disputing with the Jewish doctors, who are eagerly arguing or searching their books. In front of the composition stand St. Jerome, St. Ambrose, St. Augustine, and St. Gregory; who, with looks fixed on the youthful Saviour, appear to be reverentially listening to, and recording, his words. This wholly poetical and ideal treatment of a familiar passage in the life of Christ, I have never seen but in this one instance.
3. A third example is a picture by Moretto, of extraordinary beauty.[248] The Virgin sits on a lofty throne, to which there is an ascent of several steps; the Child stands on her right; she presses him to her with maternal tenderness, and his arms are round her neck. At the foot of the throne stand St. Ambrose, with his scourge, and St. Augustine; St. Gregory, wearing the papal tiara, and without a beard, is seated on a step of the throne, holding an open book; and St. Jerome, kneeling on one knee, points to a passage in it; he wears the cardinal’s dress complete. This picture is worthy of Titian in the richness of the effect, with a more sober grandeur in the colour. The Virgin is too much like a portrait; this is the only fault.[249]
In the Chapel of San Lorenzo, in the Vatican, Angelico has painted eight Doctors of the Church, single majestic figures standing under Gothic canopies. According to the names now to be seen inscribed on the pedestals beneath, these figures represent St. Jerome,[250] St. Ambrose, St. Augustine, St. Gregory, St. Athanasius, St. Leo, St. John Chrysostom, and St. Thomas Aquinas. St. John Chrysostom and St. Athanasius represent the Greek doctors. St. Leo, who saved Rome from Attila, is with peculiar propriety placed in the Vatican; and St. Thomas Aquinas, the angelic doctor, naturally finds a place in a chapel painted by a Dominican for a pope who particularly favoured the Dominicans,—Nicholas V.
The Four Fathers communing on the mystery of the Trinity, or the Immaculate Conception, were favourite subjects in the beginning of the seventeenth century, when church pictures, instead of being religious and devotional, became more and more theological. There is an admirable picture of this subject by Dosso Dossi.[251] Above is seen the Messiah, as Creator, in a glory; he lays his hand on the head of the Virgin, who kneels in deep humility before him; St. Gregory sits in profound thought, a pen in one hand, a tablet in the other; St. Ambrose and St. Augustine are similarly engaged; St. Jerome, to whom alone the celestial vision appears to be visible, is looking up with awe and wonder. Guido, in a celebrated picture,[252] has represented the Doctors of the Church communing on the Immaculate Conception of the Virgin. The figures are admirable for thoughtful depth of character in the expression, and for the noble arrangement of the draperies; above is seen the Virgin, floating amid clouds, in snow-white drapery, and sustained by angels; visible, however, to St. Jerome and St. Ambrose only.