Wherever the Apostles appear as a series, we expect, of course, some degree of discriminating propriety of character in each face and figure. We seek it when they merely form a part of the general scheme of significant decoration in the architectural arrangement of a place of worship; we seek it with more reason when they stand before us as a series of devotional representations; and still more when, as actors in some particular scene, they are supposed to be animated by sentiments called forth by the occasion, and modified by the individual character. By what test shall we try the truth and propriety of such representations? We ought to know both what to require from the artist, and on what grounds to require it, before we can rest satisfied.
In the Gospel-histories the Apostles are consistently and beautifully distinguished in temper and bearing. Their characters, whether exhibited at full length, or merely touched upon, are sustained with dramatic truth. The mediæval legends, however wild, are, as far as character goes, in harmony with these scriptural portraits, and fill up the outline given. It becomes therefore a really interesting speculation to observe how far this variety of characteristic expression has been carried out in the early types, how far attended to, or neglected, by the great painters, since the revival of Art.
St. Peter and St. Paul.
Lat. SS. Petrus et Paulus. Ital. San Pietro or Piero, San Paolo. Fr. S. Pierre, S. Paul. Spa. San Pedro, San Pablo. (June 29 and 30.)
I have already observed, that, as apostles and preachers of the word, St. Peter and St. Paul take the first place. Even during their lives, a superiority was accorded to them; and this superiority, as the acknowledged heads and founders of the Christian Church, under Christ, has been allowed down to the present time. The precedence is by common consent given to St. Peter; but they are held to be equal in faith, in merit, and in sanctity.
The early Christian Church was always considered under two great divisions: the church of the converted Jews, and the church of the Gentiles. The first was represented by St. Peter, the second by St. Paul. Standing together in this mutual relation, they represent the universal Church of Christ; hence in works of art they are seldom separated, and are indispensable in all ecclesiastical decoration. Their proper place is on each side of the Saviour, or of the Virgin throned; or on each side of the altar; or on each side of the arch over the choir. In any case, where they stand together, not merely as Apostles, but Founders, their place is next after the Evangelists and the Prophets.
66 St. Paul St. Peter (Crivelli)
Thus seen almost everywhere in companionship, it becomes necessary to distinguish them from each other; for St. Peter does not always bear his keys, nor St. Paul his sword. In the earliest examples, these attributes are wholly omitted; yet I scarcely know any instance in which a distinct type of head has not been more or less attended to.
