Sacred and legendary art, volume 1 (of 2) / Containing legends of the angels and archangels, the evangelists, the Apostles, the doctors of the church, and St. Mary magdalene, as represented in the fine arts. - Mrs. Jameson

Woodcuts.

[1]. Laus Deo. Liberale di Verona.
[2]. Angel. Gaudenzio Ferrari.
[3]. Angels singing ‘Gloria in Excelsis Deo.’ Perugino.
[4]. Seraph. Greek Emblem, 9th Century.
[5]. Cherubim. Italian, 14th Century.
[6]. Cherubim. Pinturicchio.
[7]. Cherubim. Liberale di Verona.
[8]. Part of a Glory of Angels. Ambrogio Borgognone.
[9]. Winged Genius. Egyptian.
[10]. Winged Figure. Nineveh Marbles.
[11]. Seraph. Ancient Greek Mosaic.
[12]. Angels. Orcagna.
[13]. Fiery Cherub. Raphael.
[14]. Angel, hymning the Virgin. Francia.
[15]. Piping Angel. Gian Bellini.
[16]. Greek Angel bearing the Moon.
[17]. Angels on Horseback. Cathedral of Auxerre.
[18]. Angels expelling Adam and Eve. N. Pisano.
[19]. Angels who visit Abraham. Raphael.
[20]. Plan of the Riccardi Chapel. Florence.
[21]. Lamenting Angel. Campo Santo.
[22]. The Angel wrestles with Jacob. Greek Miniature.
[23]. Greek Angel. Miniature.
[24]. Greek Angels. Mosaic.
[25]. Angels. F. Granacci.
[26]. Angel in a Crucifixion. Albert Dürer.
[27]. Angels of the 17th Century.
[28]. Angel. Poussin.
[29]. Angels rejoicing. W. Blake.
[30]. Two Archangels. Cimabue.
[31]. The Archangels Michael and Raphael. Campo Santo.
[32]. Angels bearing the Instruments of the Passion. Campo Santo.
[33]. The Three Archangels bear the Infant Christ.
[34]. St. Michael as Patron Saint. Angelico da Fiesole.
[35]. Early Symbol of St. Michael and the Dragon. Bas-relief.
[36]. St. Michael overcomes the Demon. Martin Schoen.
[37]. The same subject. Raphael.
[38]. St. Michael as Patron Saint. Mabuse.
[39]. St. Michael as Angel of Judgment and Lord of Souls. Justus of Ghent.
[40]. St. Michael as Lord of Souls. Luca Signorelli.
[41]. Egyptian Symbol.
[42]. St. Gabriel. Lorenzo of Monaco.
[43]. St. Gabriel. Wilhelm of Cologne.
[44]. Angel announcing the Death of the Virgin. Filippo Lippi.
[45]. St. Gabriel. Van Eyck.
[46]. St. Raphael. Murillo.
[47]. St. Raphael. Rembrandt.
48. The Symbol of St. Matthew. Mosaic.
[49]. The Tetramorph. Greek.
[50]. Symbol of St. Luke. Mosaic.
[51]. Symbol of St. Luke. Mosaic.
[52]. Symbol of St. John. Mosaic.
[53]. Symbol of St. Mark. Mosaic.
[54]. Symbol of St. John. Miniature.
[55]. Symbol of St. Mark. Sculpture.
[56]. Mystical Figures of the Four Evangelists. Angelico da Fiesole.
[57]. Figure from Nineveh. British Museum.
[58]. Winged St. Mark. Hans Beham.
[59]. St. Matthew. Raphael.
[60]. St. John. Hans Hemling.
[61]. St. John with the Eagle. Raphael.
[62]. St. John as Prophet. Raphael.
[63]. St. John in the Island of Patmos. Lucas van Leyden.
[64]. The Twelve Apostles, as Sheep. Mosaic.
[65]. St. Philip. Orcagna.
[66]. St. Peter and St. Paul. Carlo Crivelli.
[67]. St. Peter. Greek Type.
[68]. St. Peter with one Key. Taddeo Gaddi.
[69]. St. Paul. Greek Type.
[70]. St. Peter as Pope. Cola dell’ Amatrice.
[71]. Repentance of Peter. Bas-relief, 3rd Century.
[72]. Crucifixion of Peter. Giotto.
[73]. St. Peter, as Keeper of the Gates of Paradise. Simone Memmi.
[74]. St. Andrew. Peter Vischer.
[75]. St. James Major. Giovanni Santi.
[76]. Santiago slaying the Moors. Carreño de Miranda.
[77]. St. James Major as Patron. Andrea del Sarto.
[78]. The Miracle of the Fowls. Lo Spagna.
[79]. St. Philip. Albert Dürer.
[80]. St. Bartholomew. Giotto.
[81]. St. Thomas. Raphael.
[82]. St. James Minor. L. van Leyden.
[83]. St. Matthias. Raphael.
[84]. Angel swinging the Censer. Albert Dürer.
[85]. St. Jerome doing Penance. Titian.
[86]. St. Jerome. Raphael.
[87]. St. Jerome healing the Lion. Coll’ Antonio da Fiore.
[88]. Venetian St. Jerome.
[89]. The Vision of St. Augustine. Murillo.
[90]. ‘La Pénitence de St. Jean Chrysostome.’ Albert Dürer.
[91]. St. Mary Magdalene. Statue. Donatello.
[92]. St. Mary Magdalene. L. van Leyden.
[93]. St. Mary Magdalene. Timoteo della Vite.
[94]. St. Mary Magdalene. Murillo.
[95]. St. Mary Magdalene. Annibale Caracci.
[96]. The Assumption of the Magdalene. Albert Dürer.
[97]. St. Mary of Egypt dying. Pietro da Cortona.
[98]. Angel. Raphael.

Etchings.

	PAGE
I. The Assumption of the Magdalene. After Giulio Romano. The Original Fresco, which is in our National Gallery, was cut from the wall of the Church of the Trinità de’ Monti, at Rome	Title
II. A Venetian Votive Picture in commemoration of a Pestilence (probably the pestilence of 1512, in which Giorgione perished). St. Mark, enthroned as the Patron Saint of Venice, holds his Gospel; on the right St. Sebastian and St. Roch, Protectors against the Plague; on the left, St. Cosmo and St. Damian, Patron Saints of the Healing Art. Sketch after Titian. The Original Picture, remarkable for beauty of expression, and splendour and harmony of colour, in the Church of S. Maria della Salute, at Venice	[22]
III. Angels of the Planets. Raphael. From the fine set of Engravings by L. Gruner, after the Frescoes in the Cappella Chigiana at Rome	[80]
IV. 1. St. Luke painting the Virgin. After the Picture in the Academy of St. Luke attributed to Raphael. 2. St. Mark attended by St. Gregory. After Correggio	[156]
V. The Madonna della Cintola. The Virgin, as she ascends to heaven, presents her girdle to St. Thomas; who kneels by the tomb, which is full of roses. On the other side, the Archangel Michael, in reference to the Legend. From a Picture by Francesco Granacci in the Florence Gallery	[248]
VI. The Last Supper. 1. After Giotto. 2. After Leonardo da Vinci. 3. After Raphael. (For this etching I am indebted to Mr. George Scharf.)	[261]
VII. The Four Latin Fathers. From a Picture by Antonio Vivarini, in the Academy at Venice	[280]
VIII. The Five Greek Fathers. Drawing from an Ancient Greek Picture in the Vatican	[324]
IX. Martha conducts her Sister Mary Magdalene to the Presence of our Lord. From the Engraving by Marc’ Antonio, after Raphael	[381]

1 Laus Deo!

Introduction.

I. Of the Origin and General Significance of the Legends represented in Art.

We cannot look round a picture gallery—we cannot turn over a portfolio of prints after the old masters, nor even the modern engravings which pour upon us daily, from Paris, Munich, or Berlin—without perceiving how many of the most celebrated productions of Art, more particularly those which have descended to us from the early Italian and German schools, represent incidents and characters taken from the once popular legends of the Catholic Church. This form of ‘Hero-Worship’ has become, since the Reformation, strange to us—as far removed from our sympathies and associations as if it were antecedent to the fall of Babylon and related to the religion of Zoroaster, instead of being left but two or three centuries behind us and closely connected with the faith of our forefathers and the history of civilisation and Christianity. Of late years, with a growing passion for the works of Art of the Middle Ages, there has arisen among us a desire to comprehend the state of feeling which produced them, and the legends and traditions on which they are founded;—a desire to understand, and to bring to some surer critical test, representations which have become familiar without being intelligible. To enable us to do this, we must pause for a moment at the outset; and, before we plunge into the midst of things, ascend to higher ground, and command a far wider range of illustration than has yet been attempted, in order to take cognizance of principles and results which, if not new, must be contemplated in a new relation to each other.