A yet more beautiful example is a picture by Perugino in the Musee at Ma.r.s.eilles, which I have already cited and described (Sacred and Legendary Art): here also the relatives of Christ, destined to be afterwards his apostles and the ministers of his word, are grouped around him in his infancy. In the centre Mary is seated and holding the child; St. Anna stands behind, resting her hands affectionately on the shoulders of the Virgin. In front, at the feet of the Virgin, are two boys, Joseph and Thaddeus; and near them Mary, the daughter of Cleophas, holds the hand of her third son James Minor. To the right is Mary Salome, holding in her arms her son John the Evangelist, and at her feet is her other son, James Major. Joseph, Zebedee, and other members of the family, stand around. The same subject I have seen in illuminated MSS., and in German prints. It is worth remarking that all these appeared about the same time, between 1505 and 1520, and that the subject afterwards disappeared; from which I infer that it was not authorized by the Church; perhaps because the exact degree of relationship between these young apostles and the Holy Family was not clearly made out, either by Scripture or tradition.

In a composition by Parmigiano, Christ is standing at his mother's knee; Elizabeth presents St. John the Baptist; the other little St.

John kneels on a cushion. Behind the Virgin are St. Joachim and St.

Anna; and behind Elizabeth, Zebedee and Mary Salome, the parents of St. John the Evangelist. In the centre, Joseph looks on with folded hands.

A catalogue _raisonnee_ of the Holy Families painted by distinguished artists including from two to six figures would fill volumes: I shall content myself with directing attention to some few examples remarkable either for their celebrity, their especial beauty, or for some peculiarity, whether commendable or not, in the significance or the treatment.

The strictly domestic conception may be said to have begun with Raphael and Correggio; and they afford the most perfect examples of the tender and the graceful in sentiment and action, the softest parental feeling, the loveliest forms of childhood. Of the purely natural and familiar treatment, which came into fashion in the seventeenth century, the pictures of Guido, Rubens, and Murillo afford the most perfect specimens.

1. Raphael. (Louvre, 377.) Mary, a n.o.ble queenly creature, is seated, and bends towards her Child, who is springing from his cradle to meet her embrace; Elizabeth presents St. John; and Joseph, leaning on his hand, contemplates the group: two beautiful angels scatter flowers from above. This is the celebrated picture once supposed to have been executed expressly for Francis I.; but later researches prove it to have been painted for Lorenzo de' Medici, Duke of Urbino.[1]

[Footnote 1: It appears from the correspondence relative to this picture and the "St. Michael," that both pictures were painted by order of this Lorenzo de' Medici, the same who is figured in Michael Angelo's _Pensiero_, and that they were intended as presents to Francis I. (See Dr. Gaye's _Carteggio_, ii. 146, and also the new Catalogue of the Louvre by F. Villot.) I have mentioned this Holy Family not as the finest of Raphael's Madonnas, but because there is something peculiarly animated and dramatic in the _motif_, considering the time at which it was painted. It was my intention to have given here a complete list of Raphael's Holy Families; but this has been so well done in the last English edition of Kugler's Handbook, that it has become superfluous as a repet.i.tion. The series of minute and exquisite drawings by Mr. George Scharf, appended to Kugler's Catalogue, renders it easy to recognize all the groups described in this and the preceding pages.]

2. Correggio. Mary holds the Child upon her knee, looking down upon him fondly. Styled, from the introduction of the work-basket, _La Vierge au Panier_. A finished example of that soft, yet joyful, maternal feeling for which Correggio was remarkable. (National Gal.

23.)

3. Pinturicchio. In a landscape, Mary and Joseph are seated together; near them are some loaves and a small cask of wine. More in front the two children, Jesus and St. John, are walking arm in arm; Jesus holds a book and John a pitcher, as if they were going to a well. (Siena Acad.)

4. Andrea del Sarto. The Virgin is seated on the ground, and holds the Child; the young St. John is in the arms of St. Elizabeth, and Joseph is seen behind. (Louvre, 439.) This picture, another by the same painter in the National Gallery, a third in the collection of Lord Lansdowne, and in general all the Holy Families of Andrea, may be cited as examples of fine execution and mistaken or defective character. No sentiment, no action, connects the personages either with each other, or with the spectator.

5. Michael Angelo. The composition, in the Florence Gallery, styled a Holy Family, appears to me a signal example of all that should be avoided. It is, as a conception, neither religious nor domestic; in execution and character exaggerated and offensive, and in colour hard and dry.

Another, a bas-relief, in which the Child is shrinking from a bird held up by St. John, is very grand in the forms: the mistake in sentiment, as regards the bird, I have pointed out in the Introduction. (Royal Academy.) A third, in which the Child leans pensively on a book lying open on his mother's knee, while she looks out on the spectator, is more properly a _Mater Amabilis_.

There is an extraordinary fresco still preserved in the Casa Buonarotti at Florence, where it was painted on the wall by Michael Angelo, and styled a Holy Family, though the exact meaning of the subject has been often disputed. It appears to me, however, very clear, and one never before or since attempted by any other artist.

(This fresco is engraved in the _Etruria Pittrice_.) Mary is seated in the centre; her Child is reclining on the ground between her knees; and the little St. John holding his cross looks on him steadfastly.

A man coming forward seems to ask of Mary, "Whose son is this?" She most expressively puts aside Joseph with her hand, and looks up, as if answering, "Not the son of an earthly, but of a heavenly Father!"

There are five other figures standing behind, and the whole group is most significant.

6. Albert Durer. The Holy Family seated under a tree; the Infant is about to spring from the knee of his mother into the outstretched arms of St. Anna; Joseph is seen behind with his hat in his hand; and to the left sits the aged Joachim contemplating the group.

7. Mary appears to have just risen from her chair, the Child bends from her arms, and a young and very little angel, standing on tiptoe, holds up to him a flower--other flowers in his lap:--a beautiful old German print.

8. Giulio Romano. (_La Madonna del Bacino_.) (Dresden Gal.) The Child stands in a basin, and the young St. John pours water upon him from a vase, while Mary washes him. St. Elizabeth stands by, holding a napkin; St. Joseph, behind, is looking on. Notwithstanding the homeliness of the action, there is here a religious and mysterious significance, prefiguring the Baptism.

9. N. Poussin. Mary, a.s.sisted by angels, washes and dresses her Child.

(Gal. of Mr. Hope.)

10. V. Salimbeni.--An Interior. Mary and Joseph are occupied by the Child. Elizabeth is spinning. More in front St. John is carrying two puppies in the lappet of his coat, and the dog is leaping up to him.

(Florence, Pitti Pal.) This is one out of many instances in which the painter, anxious to vary the oft-repeated subject, and no longer restrained by refined taste or religious veneration, has fallen into a most offensive impropriety.

11. Ippolito Andreasi. Mary, seated, holds the Infant Christ between her knees; Elizabeth leans over the back of her chair; Joseph leans on his staff behind the Virgin; the little St. John and an angel present grapes, while four other angels are gathering and bringing them.

A branch of vine, loaded with grapes, is lying in the foreground.

Christ looks like a young Bacchus; and there is something mannered and fantastic in the execution. (Louvre, 38.) With this domestic scene is blended a strictly religious symbol, "_I am the vine_."

12. Murilio. Mary is in the act of swaddling her Child (Luke ii, 7), while two angels, standing near him, solace the divine Infant with heavenly music. (Madrid Gal.)

13. Rubens. Mary, seated on the ground, holds the Child with a charming maternal expression, a little from her, gazing on him with rapturous earnestness, while he looks up with responsive tenderness in her face. His right hand rests on a cross presented by St. John, who is presented by St. Elizabeth. Wonderful for the intensely natural and domestic expression, and the beauty of the execution. (Florence, Pitti Pal.)

14. D. Hopfer. Within the porch of a building, Mary is seated on one side, reading intently. St. Anna, on the other side, holds out her arms to the Child, who is sitting on the ground between them; an angel looks in at the open door behind. (Bartsch., viii. 483.)

15. Rembrandt. (_Le Menage du Menuisier_.) A rustic interior. Mary, seated in the centre, is suckling her Child. St. Anna, a fat Flemish grandame, has been reading the volume of the Scriptures, and bends forward in order to remove the covering and look in the Infant's face.

A cradle is near. Joseph is seen at work in the background. (Louvre.)

16. Le Brun. (_The Benedicite_.) Mary, the Child, and Joseph, are seated at a frugal repast. Joseph is in the act of reverently saying grace, which gives to the picture the t.i.tle by which it is known.[1]

[Footnote 1: Louvre, Ecole Francaise 57. There is a celebrated engraving by Edelinck.]

It is distinctly related that Joseph brought up his foster-Son as a carpenter, and that Jesus exercised the craft of his reputed father.

In the Church pictures, we do not often meet with this touching and familiar aspect of the life of our Saviour. But in the small decorative pictures painted for the rich ecclesiastics, and for private oratories, and in the cheap prints which were prepared for distribution among the people, and became especially popular during the religious reaction of the seventeenth century, we find this homely version of the subject perpetually, and often most pleasingly, exhibited. The greatest and wisest Being who ever trod the earth was thus represented, in the eyes of the poor artificer, as enn.o.bling and sanctifying labour and toil; and the quiet domestic duties and affections were here elevated, and hallowed, by religious a.s.sociations, and adorned by all the graces of Art. Even where the artistic treatment was not first-rate, was not such as the painters--priests and poets as well as painters--of the fourteenth and fifteenth centuries would have lent to such themes,--still if the sentiment and significance were but intelligible to those especially addressed, the purpose was accomplished, and the effect must have been good.

I have before me an example in a set of twelve prints, executed in the Netherlands, exhibiting a sort of history of the childhood of Christ, and his training under the eye of his mother. It is ent.i.tled _Jesu Christi Del Domini Salvatoris nostri Infantia_, "The Infancy of our Lord G.o.d and Saviour Jesus Christ;" and the t.i.tle-page is surrounded by a border composed of musical instruments, spinning-wheels, distaffs, and other implements, of female industry, intermixed with all kinds of mason's and carpenter's tools. To each print is appended a descriptive Latin verse; Latin being chosen, I suppose, because the publication was intended for distribution in different countries, and especially foreign missions, and to be explained by the priests to the people.

1. The figure of Christ is seen in a glory surrounded by cherubim, &c.

2. The Virgin is seated on the hill of Sion. The Infant in her lap, with outspread arms, looks up to a choir of angels, and is singing with them.

3. Jesus, slumbering in his cradle, is rocked by two angels, while Mary sits by, engaged in needlework.[1]

[Footnote 1: The Latin stanza beneath, is remarkable for its elegance, and because it has been translated by Coleridge, who mentions that he found the print and the verse under it in a little inn in Germany.

Dormi, Jesu, mater ridet, Quae tam dulcem somnum videt, Dormi, Jesu, blandule!

Si non dormis mater plorat, Inter fila cantans orat, Blande, veni, somnule!

Sleep, sweet babe! my cares beguiling, Mother sits beside thee smiling, Sleep, my darling, tenderly!

If thou sleep not, mother mourneth, Singing as her wheel she turneth"

Come, soft slumber, balmily!"]

4. The interior of a carpenter's shop. Joseph is plying his work, while Joachim stands near him. The Virgin is measuring linen, and St.

Anna looks on. Two angels are at play with the Infant Christ, who is blowing soap-bubbles.

5. While Mary is preparing the family meal, and watching a pot which is boiling on the fire, Joseph is seen behind chopping wood: more in front, Jesus is sweeping together the chips, and two angels are gathering them up.

6. Mary is reeling off a skein of thread; Joseph is squaring a plank; Jesus is picking up the chips, a.s.sisted by two angels.

7. Mary is seated at her spinning-wheel; Joseph, a.s.sisted by Jesus, is sawing through a large beam; two angels looking on.

8. Mary is spinning with a distaff; behind, Joseph is sawing a beam, on which Jesus is standing above; and two angels are lifting a plank.

9. Joseph is seen building up the framework of a house, a.s.sisted by an angel; Jesus is boring a hole with a large gimlet: an angel helps him; Mary is winding thread.

10. Joseph is busy roofing in the house; Jesus, a.s.sisted by the angels, is carrying a beam of wood up a ladder; below, in front, Mary is carding wool or flax.

11. Joseph is building a boat, a.s.sisted by Jesus, who has a hammer and chisel in his hand: two angels help him. The Virgin is knitting a stocking; and the new-built house is seen in the background.