Of course there is great variety in these representations: the later painters thought less of individual character and significant propriety of arrangement than of artistic grouping; therefore the above remarks have reference to the early painters only.
In the scenes taken from the Acts, St. John is always in companionship with St. Peter, and becomes the secondary figure.
St. John writing his Revelation in the island of Patmos is a subject which frequently occurs in MSS. of the Apocalypse, and in the chapels dedicated to St. John. The motif is generally the same in all; we have a desert island, with the sea in the distance, or flowing round it; St. John, seated on a rock or under a tree, is in the act of writing; or he is looking up to heaven, where the ‘Woman crowned with stars,’ or ‘the Woman fleeing from the dragon,’ appears as in his vision.[136] (Rev. xii.) Or he beholds St. Michael, armed, cast down the dragon in human form; he has the eagle and book, and looks up at the Virgin, as in a picture by Ambrogio Figino.[137] The eagle is always in attendance as the symbol of inspiration in a general sense; when represented with a diadem, or glory, as in some very early examples, it is a symbol of the Holy Ghost, which, among the Jews, was figured by the eagle.
The subjects from the legendary life of St. John are exceedingly interesting, but they are not easily recognised, and require particular attention; some are of frequent occurrence, others rarely met with.
1. Israel v. Meckenen. St. John instructing his disciples at Ephesus. (Acts iv. 37.) The scene is the interior of a Gothic church, the windows painted with heraldic emblazonments: St. John is seated expounding the Scriptures, and five disciples sit opposite to him with coarse ugly faces, but most intent, expressive countenances; in the background, a large chest full of money.
2. Vatican, Chr. Mus. St. John drinking from the poisoned chalice; a man falls down dead at his feet, several figures look on with awe and astonishment: this is a frequent subject in the elder schools of art, and in the illuminated MSS. of the Gospel and Apocalypse: but I have never met with a representation later than the beginning of the fourteenth century.[138]
3. It is related by Clement of Alexandria, that when St. John was at Ephesus, and before he was exiled to Patmos, he had taken to his care a young man of promising qualities of person and mind. During his absence he left him under the spiritual guidance of a certain bishop; but, after a while, the youth took to evil courses, and, proceeding from one excess to another, he at length became the leader of a band of robbers and assassins who struck terror into the whole country. When St. John returned to Ephesus, he went to the bishop and demanded ‘the precious deposit he had left in his hands.’ At first the priest did not understand him; but when St. John explained the allusion to his adopted son, he cast down his eyes with sorrow and shame, and told of what had befallen. Then St. John rent his garments, and wept with a loud voice, and cried out, ‘Alas! alas! to what a guardian have I trusted our brother!’ And he called for a horse and rode towards the forest in which the robbers sojourned; and when the captain of the robbers beheld his old master and instructor, he turned and would have fled from his presence; but St. John, by the most fervent entreaties, prevailed on him to stop and listen to his words. After some conference, the robber, utterly subdued, burst into tears of penitence, imploring forgiveness; and while he spoke, he hid beneath his robe his right hand, which had been sullied with so many crimes; but St. John, falling on his knees before him, seized that blood-polluted hand, and kissed it, and bathed it with his tears; and he remained with his re-converted brother till he had, by prayers and encouraging words and affectionate exhortations, reconciled him with Heaven and with himself.
This beautiful legend is the subject of some old engravings, in which St. John is represented embracing the robber, who is weeping on his neck, having flung away his weapons. It has been, however, too rarely treated; I have never met with a picture of the subject; and yet it abounds in picturesque capabilities: the forest background—the contrast of youth and age—bright armour, flowing drapery, and the most striking and affecting moral, are here all combined.