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.

by Mrs. Jameson

Where the scheme of decoration is purely theological, the proper place of the Apostles is after the Angels, Prophets, and Evangelists; but when the motif, or leading idea, implies a special signification, such as the Last Judgment, Paradise, the Coronation of the Madonna, or the apotheosis of a saint, then the order is changed, and the Apostles appear immediately after the Divine Personages and before the angels, as forming a part of the council or court of heaven;—‘When the Son of man shall come in his glory, ye also shall sit on twelve thrones, judging the twelve tribes of Israel.’[149] Such is the arrangement in the Campo Santo, in Angelico’s ‘Paradiso’ in the Florence Gallery, in Raphael’s ‘Disputa,’ and many other instances: and I may add the architectural treatment on the façade of Wells Cathedral, where, immediately under the Saviour sitting in judgment, stand the Twelve Apostles, and beneath them the hierarchy of angels, each of the nine choirs being here expressed by a single angel.[150] Therefore to determine the proper place of the Apostles, it is necessary to observe well and to understand what has been the design of the artist, and the leading idea of the whole composition, whether strictly theological or partly scenic. In all monuments which have a solemn or a sacred purpose,—altars, pulpits, tombs,—the Apostles find an appropriate place, either in connection with other sacred personages, or as a company apart, the band of teachers. The range of statues along the top of the screen in front of the choir of St. Mark’s at Venice will be remembered by all who have seen them: in the centre stand the Virgin and St. Mark, and then the Apostles, six on each side, grand solemn figures, standing there as if to guard the sanctuary. These are by Jacobelli, in the simple religious style of the fifteenth century, but quite Italian. In contrast with them, as the finest example of German sculptural treatment, we have the Twelve Apostles on the tomb of St. Sebald, in his church at Nuremberg, cast in bronze by Peter Vischer (about 1500). These have become well known by the casts which have lately been brought to England; they are about two feet high, all remarkable for the characteristic expression of the heads, and the grand simplicity of the attitudes and draperies.

There are instances of the Apostles introduced into a scheme of ecclesiastical decoration as devotional figures, but assuming, from the style of treatment and from being placed in relation with other personages, a touch of the dramatic and picturesque. Such are Correggio’s Apostles in the cupola of the duomo at Parma (1532), which may be considered as the most striking instance that could be produced of studied contrast to the solemnity and simplicity of the ancient treatment: here the motif is essentially dramatic. They stand round the dome as spectators would stand in a gallery or balcony, all in picturesque attitudes, studiously varied (some, it must be confessed, rather extravagant), and all looking up with amazement, or hope, or joy, or adoration, to the figure of the glorified Virgin ascending into heaven.

Another series of Apostles in the San Giovanni at Parma, which Correggio had painted earlier (1522), are conceived, I think, in a finer spirit as to character, but, perhaps, not more appropriate to the scene. Here the Twelve Apostles are seated on clouds round the glorified Saviour, as they are supposed to be in heaven: they are but partially draped. In the heads but little attention has been paid to the ancient types, except in those of St. Peter and St. Paul; but they are sublime as well as picturesque in the conception of character and expression.

The Apostles in Michael Angelo’s Last Judgment (A.D. 1540) exhibit a still further deviation from the antique style of treatment. They stand on each side of the Saviour, who is not, here, Saviour and Redeemer, but inexorable Judge. They are grandly and artificially grouped, all without any drapery whatever, and with forms and attitudes which recall an assemblage of Titans holding a council of war, rather than the glorified companions of Christ. In early pictures of Christ in glory, the Apostles, his companions in heaven as on earth, form, with the Patriarchs and Prophets, the celestial court or council: they sit upon thrones to the right and to the left.[151] Raphael’s ‘Disputa’ in the Vatican is a grand example of this arrangement.

Sets of the Apostles, in devotional pictures and prints are so common, that I shall particularise only a few among the most interesting and celebrated. Engravings of these can easily be referred to.

1. A set by Raphael, engraved by Marc Antonio: grand, graceful figures, and each with his appropriate attribute. Though admirably distinguished in form and bearing, very little attention has been paid to the ancient types, except perhaps in St. Peter and St. John. Here St. James Minor is omitted to make room for St. Paul.

2. A set by Lucas van Leyden, smaller than Raphael’s, but magnificent in feeling: here also the ancient types are for the most part neglected. These two sets should be compared as perfect examples of the best Italian and the most characteristic German manner. Some of the German sets are very curious and grotesque.

3. By H. S. Beham, a most curious set, in what may be called the ultra German style: they stand two and two together, like a procession of old beggars; the workmanship exquisite. Another set by Beham, in which the figures stand singly, and which includes the Four Evangelists, dressed like old burgomasters, with the emblematical wings, has been already mentioned.

4. A set by Parmigiano, graceful and mannered, as is usual with him.

5. By Agostino Caracci. This set, famous as works of art, must, when compared with those of Raphael and Lucas van Leyden, be pronounced absolutely vulgar. Here St. John is drinking out of his cup, —an idea which might strike some people as picturesque; but it is in vile taste. Thaddeus has a saw as well as Simon; Peter has the papal tiara at his feet; St. James Minor, instead of Thomas, carries the builder’s rule; and St. Bartholomew has his skin thrown over his shoulders. This set is an example of the confusion which prevailed with respect to the old religious types and attributes, after the first half of the sixteenth century.