The _motif_ does not vary. The child Mary, sometimes in a blue, but oftener in a white vesture, with long golden hair, ascends the steps which lead to the porch of the temple, which steps are always fifteen in number. She ought to be an infant of three years of age; but in many pictures she is represented older, veiled, and with a taper in her hand instead of a lamp, like a young nun; but this is a fault. The "fifteen steps" rest on a pa.s.sage in Josephus, who says, "between the wall which separated the men from the women, and the great porch of the temple, were fifteen steps;" and these are the steps which Mary is supposed to ascend.

1. It is sometimes treated with great simplicity; for instance, in the bas-relief by Andrea Orcagna, there are only three princ.i.p.al figures--the Virgin in the centre (too old, however), and Joachim and Anna stand on each side. (Florence, Or San Michele.)

2. In the fres...o...b.. Taddeo Gaddi we have the same artless grace, the same dramatic grouping, and the same faults of drawing and perspective as in the other compartments of the series. (Florence, Baroncelli Chapel.)

3. The scene is represented by Ghirlandajo with his usual luxury of accessories and accompaniments. (Florence, S. Maria Novella.) The locality is the court of the temple; on the right a magnificent porch; the Virgin, a young girl of about nine or ten years old, is seen ascending the steps with a book in her hand; the priest stretches out his arms to receive her; behind him is another priest; and "the young virgins who were to be her companions" are advancing joyously to receive her. (Adducentur Regi Virgines post eam. Ps. xlv.) At the foot of the steps are St. Anna and St. Joachim, and farther off a group of women and spectators, who watch the event in att.i.tudes of thanksgiving and joyful sympathy. Two venerable, grand-looking Jews, and two beautiful boys fill the foreground; and the figure of the pilgrim resting on the steps is memorable in art as one of the earliest examples of an undraped figure, accurately and gracefully drawn. The whole composition is full of life and character, and that sort of _elegance_ peculiar to Ghirlandajo.

4. In the composition of Albert Durer we see the entrance of the temple on the left, and the child Mary with flowing hair ascending the steps; behind her stand her parents and other personages, and in front are venders of provisions, doves, &c., which are brought as offerings.

5. The scene, as given by Carpaccio, appears to me exceedingly graceful. The perfectly childish figure of Mary with her light flowing tresses, the grace with which she kneels on the steps, and the disposition of the attendant figures, are all beautifully conceived.

Conspicuous in front is a page holding a unicorn, the ancient emblem of chast.i.ty, and often introduced significantly into pictures of the Virgin. (Venice Academy.)

6. But the most celebrated example is the Presentation by t.i.tian, in the academy at Venice, originally painted for the church of the brotherhood of charity (_Scuola della Carita_), and still to be seen there--the Carita being now the academy of art.

In the general arrangement, t.i.tian seems to have been indebted to Carpaccio; but all that is simple and poetical in the latter becomes in t.i.tian's version sumptuous and dramatic. Here Mary does not kneel, but, holding up her light-blue drapery, ascends the steps with childish grace and alacrity. The number of portrait-heads adds to the value and interest of the picture. t.i.tian himself is looking up, and near him stands his friend, Andrea de' Franceschi, grand-chancellor of Venice,[1] robed as a _Cavaliero di San Marco_. In the fine bearded head of the priest, who stands behind the high-priest, we may recognize, I think, the likeness of Cardinal Bembo. In the foreground, instead of the poetical symbol of the unicorn, we have an old woman selling eggs and fowls, as in Albert Durer's print, which must have been well known to t.i.tian. Albert Durer published his Life of the Virgin in 1520, and t.i.tian painted his picture about 1550. (Venice Academy.)

[Footnote 1: "_Amorevolissime del Pittare_," says Ridolfi. It is the same person whom t.i.tian introduced, with himself, in the picture at Windsor; there, by a truly unpardonable mistake, called "t.i.tian and Aretino."]

From the life of the Virgin in the temple, we have several beautiful pictures. As she was to be placed before women as an example of every virtue, so she was skilled in all feminine accomplishments; she was as studious, as learned, as wise, as she was industrious, chaste, and temperate.

She is seen surrounded by her young companions, the maidens who were brought up in the temple with her, in a picture by Agnolo Gaddi.

(Florence, Carmine.) She is instructing her companions, in a charming picture by Luini: here she appears as a girl of seven or eight years old, seated on a sort of throne, dressed in a simple light-blue tunic, with long golden hair; while the children around her look up and listen with devout faces. (Milan, Brera.)

Some other scenes of her early life, which, in the Protevangelion, are placed after her marriage with Joseph, in pictures usually precede it.

Thus, she is chosen by lot to spin the fine purple for the temple, to weave and embroider it. Didron mentions a fine antique tapestry at Rheims, in which Mary is seated at her embroidery, while two unicorns crouching on each side look up in her face.

I remember a fine drawing, in which the Virgin is seated at a large tapestry frame. Behind her are two maidens, one of whom is reading; the other, holding a distaff, lays her hand on the shoulder of the Virgin, as if about to speak. The scene represents the interior of the temple with rich architecture. (Vienna, Col. of Archduke Charles.)

In a small but very pretty picture by Guido, the Virgin, as a young girl, sits embroidering a _yellow_ robe. (Lord Ellesmere's Gal.) She is attended by four angels, one of whom draws aside a curtain It is also related that among the companions of Mary in the temple was Anna the prophetess; and that this aged and holy woman, knowing by inspiration of the Holy Spirit the peculiar grace vouchsafed to Mary, and her high destiny, beheld her with equal love and veneration; and, notwithstanding the disparity of age, they become true and dear friends.

In an old illumination, the Virgin is seated spinning, with an angel by her side. (Office of the Virgin, 1408. Oxford, Bodleian.)

It is recorded that the angels daily ministered to her, and fed her with celestial food. Hence in some early specimens of art an angel brings her a loaf of bread and a pitcher of water,--the _bread of life_ and the _water of life_ from Paradise. In this subject, as we find it carved on the stalls of the cathedral of Amiens, Mary holds a book, and several books are ranged on a shelf in the background: there is, besides, a clock, such as was in use in the fifteenth century, to indicate the studious and regular life led by Mary in the temple.

St. Evode, patriarch of Antioch, and St. Germa.n.u.s, a.s.sert as an indubitable tradition of the Greek Church, that Mary had the privilege--never granted to one of her s.e.x before or since--of entering the Holy of Holies, and praying before the ark of the covenant. Hence, in some of the scenes from her early life, the ark is placed in the background. We must also bear in mind that the ark was one of the received types of her who bore the Logos within her bosom.

In her fourteenth year, Mary was informed by the high priest that it was proper that she should be married; but she modestly replied that her parents had dedicated her to the service of the Lord, and that, therefore, she could not comply. But the high-priest, who had received a revelation from an angel concerning the destiny of Mary, informed her thereof, and she with all humility submitted herself to the divine will. This scene between Mary and the high-priest has been painted by Luini, and it is the only example with which I am acquainted.

Pictures of the Virgin in her girlhood, reading intently the Book of Wisdom, while angels watch over her, are often of great beauty.

THE MARRIAGE OF THE VIRGIN

_Ital._ Il Sposalizio. _Fr._ Le Mariage de la Vierge. _Ger._ Die Trauung Maria. Jan. 23.

This, as an artistic subject, is of great consequence, from the beauty and celebrity of some of the representations, which, however, are unintelligible without the accompanying legends. And it is worth remarking, that while the incident is avoided in early Greek art, it became very popular with the Italian and German painters from the fourteenth century.

In the East, the prevalence of the monastic spirit, from the fourth century, had brought marriage into disrepute; by many of the ascetic writers of the West it was considered almost in the light of a necessary evil. This idea, that the primal and most sacred ordinance of G.o.d and nature was incompatible with the sanct.i.ty and purity acceptable to G.o.d, was the origin of the singular legends of the Marriage of the Virgin. One sees very clearly that, if possible, it would have been denied that Mary had ever been married at all; but, as the testimony of the Gospel was too direct and absolute to be set aside, it became necessary, in the narrative, to give to this distasteful marriage the most recondite motives, and in art, to surround it with the most poetical and even miraculous accessories.

But before we enter on the treatment of the subject, it is necessary to say a few words on the character of Joseph, wonderfully selected to be the husband and guardian of the consecrated mother of Christ, and foster-father of the Redeemer; and so often introduced into all the pictures which refer to the childhood of our Lord.

From the Gospels we learn nothing of him but that he was of the tribe of Judah and the lineage of David; that he was a _just_ man; that he followed the trade of a carpenter, and dwelt in the little city of Nazareth. We infer from his conduct towards Mary, that he was a mild, and tender, and pure-hearted, as well as an upright man. Of his age and personal appearance nothing is said. These are the points on which the Church has not decided, and on which artists, left to their own devices, and led by various opinions, have differed considerably.

The very early painters deemed it right to represent Joseph as very old, almost decrepit with age, and supported by a crutch. According to some of the monkish authorities, he was a widower, and eighty-four years old when he was espoused to Mary. On the other hand, it was argued, that such a marriage would have been quite contrary to the custom of the Jews; and that to defend Mary, and to provide for her celestial Offspring, it was necessary that her husband should be a man of mature age, but still strong and robust, and able to work at his trade; and thus, with more propriety and better taste, the later painters have represented him. In the best Italian and Spanish pictures of the Holy Family, he is a man of about forty or fifty, with a mild, benevolent countenance, brown hair, and a short, curled beard: the crutch, or stick, however, is seldom omitted; it became a conventional attribute.

In the German pictures, Joseph is not only old, but appears almost in a state of dotage, like a lean, wrinkled mendicant, with a bald head, a white beard, a feeble frame, and a sleepy or stupid countenance.

Then, again, the later Italian painters have erred as much on the other side; for I have seen pictures in which St. Joseph is not only a young man not more than thirty, but bears a strong resemblance to the received heads of our Saviour.

It is in the sixteenth century that we first find Joseph advanced to the dignity of a saint in his own right; and in the seventeenth he became very popular, especially in Spain, where St. Theresa had chosen him for her patron saint, and had placed her powerful order of the reformed Carmelites under his protection. Hence the number of pictures of that time, which represent Joseph, as the foster-father of Christ, carrying the Infant on his arm and caressing him, while in the other hand he bears a lily, to express the sanct.i.ty and purity of his relations with the Virgin.

The legend of "the Marriage of Joseph and Mary" is thus given in the Protevangelion and the History of Joseph the Carpenter:--

"When Mary was fourteen years old, the priest Zacharias (or Abiathar, as he is elsewhere called) inquired of the Lord concerning her, what was right to be done; and an angel came to him and said, 'Go forth, and call together all the widowers among the people, and let each bring his rod (or wand) in his hand, and he to whom the Lord shall show a sign, let him be the husband of Mary. And Zacharias did as the angel commanded, and made proclamation accordingly. And Joseph the carpenter, a righteous man, throwing down his axe, and taking his staff in his hand, ran out with the rest. When he appeared before the priest, and presented his rod, lo! a dove issued out of it--a dove dazzling white as the snow,--and after settling on his head, flew towards heaven. Then the high priest said to him, 'Thou art the person chosen to take the Virgin of the Lord, and to keep her for him.' And Joseph was at first afraid, and drew back, but afterwards he took her home to his house, and said to her, 'Behold, I have taken thee from the temple of the Lord, and now I will leave thee in my house, for I must go and follow my trade of building. I will return to thee, and meanwhile the Lord be with thee and watch over thee.' So Joseph left her, and Mary remained in her house."

There is nothing said of any marriage ceremony, some have even affirmed that Mary was only betrothed to Joseph, but for conclusive reasons it remains an article of faith that she was married to him.

I must mention here an old tradition cited by St. Jerome, and which has been used as a text by the painters. The various suitors who aspired to the honour of marrying the consecrated "Virgin of the Lord," among whom was the son of the high-priest, deposited their wands in the temple over night,[1] and next morning the rod of Joseph was found, like the rod of Aaron, to have budded forth into leaves and flowers. The other suitors thereupon broke their wands in rage and despair; and one among them, a youth of n.o.ble lineage, whose name was Agabus, fled to Mount Carmel, and became an anchorite, that is to say, a Carmelite friar.

[Footnote 1: The suitors kneeling with their wands before the altar in the Temple, is one of the series by Giotto in the Arena at Padua.]

According to the Abbe Orsini, who gives a long description of the espousals of Mary and Joseph, they returned after the marriage ceremony to Nazareth, and dwelt in the house of St. Anna.

Now, with regard to the representations, we find that many of the early painters, and particularly the Italians, have carefully attended to the fact, that, among the Jews, marriage was a civil contract, not a religious rite. The ceremony takes place in the open air, in a garden, or in a landscape, or in front of the temple. Mary, as a meek and beautiful maiden of about fifteen, attended by a train of virgins, stands on the right; Joseph, behind whom are seen the disappointed suitors, is on the left. The priest joins their hands, or Joseph is in the act of placing the ring on the finger of the bride. This is the traditional arrangement from Giotto down to Raphael. In the series by Giotto, in the Arena at Padua, we have three scenes from the marriage legend. 1. St. Joseph and the other suitors present their wands to the high-priest. 2. They kneel before the altar, on which their wands are deposited, waiting for the promised miracle. 3. The marriage ceremony.

It takes place before an altar, in the _interior_ of the temple. The Virgin, a most graceful figure, but rather too old, stands attended by her maidens; St. Joseph holds his wand with the flower and the holy Dove resting on it: one of the disappointed suitors is about to strike him; another breaks his wand against his knee. Taddeo Gaddi, Angelico, Ghirlandajo, Perugino, all followed this traditional conception of the subject, except that they omit the altar, and place the locality in the open air, or under a portico. Among the relics venerated in the Cathedral of Perugia, is the nuptial ring of the blessed Virgin; and for the altar of the sacrament there, Perugino painted the appropriate subject of the Marriage of the Virgin.[1] Here the ceremony takes place under the portico of the temple, and Joseph of course puts the ring on her finger. It is a beautiful composition, which has been imitated more or less by the painters of the Perugino school, and often repeated in the general arrangement.

[Footnote 1: It was carried off from the church by the French, sold in France, and is now to be seen in the Musee at Caen.]

But in this subject, Raphael, while yet a youth, excelled his master and all who had gone before him. Every one knows the famous "SPOSALIZIO of the Brera."[1] It was painted by Raphael in his twenty-first year, for the church of S. Francesco, in Citta di Castello; and though he has closely followed the conception of his master, it is modified by that ethereal grace which even then distinguished him. Here Mary and Joseph stand in front of the temple, the high-priest joins their hands, and Joseph places the ring on the finger of the bride; he is a man of about thirty, and holds his wand, which has blossomed into a lily, but there is no Dove upon it. Behind Mary is a group of the virgins of the temple; behind Joseph the group of disappointed suitors; one of whom, in the act of breaking his wand against his knee, a singularly graceful figure, seen more in front and richly dressed, is perhaps the despairing youth mentioned in the legend.[2] With something of the formality of the elder schools, the figures are n.o.ble and dignified; the countenances of the princ.i.p.al personages have a characteristic refinement and beauty, and a soft, tender, enthusiastic melancholy, which lends a peculiar and appropriate charm to the subject. In fact, the whole scene is here idealized; It is like a lyric poem, (Kugler's Handbook, 2d edit.)