There are, however, limits to liberties of this kind, which may not be transgressed without incurring censure. Overbold speculation has ere now betrayed even orthodox theologians into accidental error. And a Catholic artist may depict, as a Catholic schoolman may enunciate, views which deserve to be stigmatized as rash, offensive, erroneous, scandalous, or even, in themselves, heretical. There have been occasions in which the Church has felt herself bound to interfere with wanderings of the artistic imagination, as injurious, morally or doctrinally, to the faithful committed to her charge. Nor have theologians failed to protest from time to time against similar abuses. Bellarmine frowned upon the muse in Christian art. Savonarola, in his best days, made open war upon the pagan corruptions which in his time had begun to abound in Florentine paintings. Father Canisius denounces those painters as inexcusable who, in the face of Scripture, represent our Lady as swooning at the foot of the cross; and Father de Ligny reprobates, on the same grounds, the introduction of St. Joseph into pictures of the meeting between the Blessed Virgin and St. Elizabeth. For—whatever we may think as to his having accompanied our Lady on the journey—had he been present at the interview, he would have been enlightened upon the mystery, his ignorance of which afterward threw him into such perplexity.
As to the order of the work, Lady Eastlake gives ample explanation in the preface:
"In the short programme left by Mrs. Jameson, the ideal and devotional subjects, such as the Good Shepherd, the Lamb, the Second Person of the Trinity, were placed first; the scriptural history of our Lord's life on earth next; and, lastly, the types from the Old Testament. There is reason, however, to believe, from the evidence of what she had already written, that she would have departed from this arrangement. After much deliberation, I have ventured to do so, and to place the subjects chronologically. The work commences, therefore, with that which heads most systems of Christian art—The Fall of Lucifer and Creation of the World—followed by the types and prophets of the Old Testament. Next comes the history of the Innocents and of John the Baptist, written by her own hand, and leading to the Life and Passion of our Lord. The abstract and devotional subjects, as growing out of these materials, then follow, and the work terminates with the Last Judgment."
Mrs. Jameson's own share in the work is confined mainly to some of the types, the histories specified above, and familiar scenes in the earlier portions of the Gospel narrative, including a few of the miracles and parables of our Lord. The notes are fragmentary, but written in her usual interesting and lively style. How refreshing, for instance, and characteristic are the following comments upon some pictures representing the dismissal of Hagar and Ishmael at the imperious request of Sarah:
"I believe the most celebrated example is the picture by Guercino, in the Brera; but I do not think it deserves its celebrity—the pathetic is there alloyed with vulgarity of character. I remember that, when I first saw this picture, I could only think of the praises lavished on it by Byron and others, as the finest expression of deep, natural pathos to be found in the whole range of art. I fancied, as many do, that I could see in it the beauties so poetically described. Some years later, when I saw it again, with a more cultivated eye and taste, my disappointment was great. In fact, Abraham is much more like an unfeeling old beggar than a majestic patriarch, resigned to the divine will, yet struck to the heart by the cruel necessity under which he was acting. Hagar cries like a housemaid turned off without wages or warning, and Ishmael is merely a blubbering boy. For expression, the picture by Govaert Hiricke (Berlin Gallery, 815) seems to me much superior; the look of appealing anguish in the face of Hagar as she turns to Abraham, and points to her weeping boy, reaches to the tragic in point of conception, but Ishmael, if very natural, with his fist in his eye, is also rather vulgar. Rembrandt's composition is quite dramatic, and, in his manner, as fine as possible. Hagar, lingering on the step of the dwelling whence she is rejected, weeps reproachfully; Ishmael, in a rich Oriental costume, steps on before, with the boyish courage of one destined to become an archer and a hunter in the wilderness, and the father of a great and even yet unconquered nation; in the background Sarah is seen looking out of the window at her departing rival, with exultation in her face."
Those who are acquainted with Italian paintings of the 15th century must have remarked the frequency with which the great masters of the Tuscan school in that era treat the subject of "The Massacre of the Innocents." Though our Lord is not an actor in the scene, it is intimately connected with his history. The Innocents were the first martyrs in his cause, and from the earliest times attracted the veneration and tender affection of Christians. Painful as the subject is, it affords scope for the exercise of the highest tragic power. The mere fact that Herod's sword swept the nurseries of Bethlehem, though necessarily entering into the picture, becomes subordinate to the {254} sorrow which then started into life in so many mothers' hearts. That is the point made most prominent in the Gospel by the citation of the pathetic words of Jeremias in the prophecy: "In Rama was there a voice heard, lamentations, and weeping, and great mourning. Rachel weeping for her children, and would not be comforted, because they are not." The mind is carried back to the time when the very sound of those tottering feet sufficed to waken the pulses of love in the mother's bosom; when those confiding hands were ever locked in hers. How dear had been the pretty prattle of those little ones, the first stammerings of the tongue, the silvery laughter, even the cries of passion or of pain! Hitherto all had bsen sunshine, or once and again the shadow of some light cloud had drifted across the face of heaven; but now agony comes on the wings of the whirlwind—a pitiless storm that leaves nothing but blank, broken hearts behind. Here we see a bereaved mother, wildly passionate, tossing her frantic arms heavenward; we almost fancy we hear her rave and moan. There we mark the wandering footsteps, no longer obedient to the helm of reason. Another, with clasped hands, kneels, gazing on the purple stains which dye the ivory limbs of her slaughtered darling. Or the eye rests with awful compassion on a standing figure, another speechless Niobe, pale and unconscious as a statue, still pressing her dead infant to her breast. Upon one or two upturned faces a light has broken; the grand thought seems just to have flashed upon their souls —that the purple stains are the dye of martyrdom, destined by a loving Providence to adorn a robe of unfading glory. And so sorrow passes almost into joy, and the imagination reaches forward to another sorrowful Mother —Mother of sorrows—who is to sit in desolation, yet mastering her deep woe, and, with a sacrificing love that transcends resignation, entering into and uniting herself with the mysterious designs of God. In spite, however, of the interest of the subject, for ages it was rarely depicted. Mrs. Jameson gives the following account of its sudden rise into general favor:
"All at once, however, in the latter half of the 15th century—that is, after 1450—we find the subject of the Holy Innocents assuming an extraordinary degree of popularity and importance. Then, for the first time, we find chapels dedicated to them, and groups of martyred children in altar-pieces round the throne of Christ or the Virgin. From this period we have innumerable examples of the terrible scene of the massacre at Bethlehem, treated as a separate subject in pictures and prints, while the best artists vied with each other in varying and elaborating the details of circumstantial cruelty and frantic despair.
"For a long time, I could not comprehend how this came about, nor how it happened that through all Italy, especially in the Tuscan schools, a subject so ghastly and so painful should have assumed this sort of prominence. The cause, as it gradually revealed itself, rendered every picture more and more interesting; connecting them with each other, and showing how intimately the history of art is mixed up with the life of a people.
"There had existed at Florence, from the 13th century, a hospital for foundlings, the first institution of the kind in Europe. It was attached to the Benedictine monastery of San Gallo, near one of the gates of the city still bearing the name. In the 15th century, when the population and extent of the city had greatly increased, it was found that this hospital was too small, and the funds of the monastery quite inadequate to the purpose. Then Lionardo Buruni, of Arezzo, who was twice chancellor of Florence—the same Lionardo who gave to Ghiberti the subjects of his famous gates—filled with compassion for the orphans and neglected children, addressed the senate on the subject, and made such an affecting appeal in their behalf, that not the senate only, but the whole people of [{255}] Florence, responded with enthusiasm, frequently interrupting him with cries of 'Viva Messer Lionardo d'Arezzo!' 'And,' adds the historian, 'never was a question of importance carried with such [more] quickness and unanimity' (mai con maggior celerità e pienezza de' voti fu vinto partito di cosa grave come questa). Large sums were voted, offerings flowed in, a superb hospital was founded, and Brunelleschi was appointed architect. When finished, which was not till 1444, it was solemnly dedicated to the 'Holy Innocents.' The first child consigned to the new institution was a poor little female infant, on whose breast was pinned the name 'Agata,' in remembrance of which an altar in the chapel was dedicated to St. Agatha. We have proof that the foundation, progress, and consecration of this refuge for destitute children excited the greatest interest and sympathy, not only in Florence, but in the neighboring states, and that it was imitated in Pisa, Arezzo, and Siena. The union of the two hospitals of San Gallo and the 'Innocenti' took place in 1463. Churches and chapels were appended to the hospitals, and, as a matter of course, the painters and sculptors were called upon to decorate them. Such are the circumstances which explain, as I think, the popularity of the story of the Innocents in the 15th century, and the manner in which it occupied the minds of the great cotemporary artists of the Tuscan school, and others after them."