Full-length effigies of the Virgin seated on a throne, or glorified as queen of heaven, or queen of angels, without her divine Infant in her arms, are exceedingly rare in every age; now and then to be met with in the early pictures and illuminations, but never, that I know of, in the later schools of art. A signal example is the fine enthroned Madonna in the Campo Santo, who receives St. Ranieri when presented by St. Peter and St. Paul.

On the Dalmatica (or Deacon's robe) preserved in the sacristy of St. Peter's at Rome (which Lord Lindsay well describes as a perfect example of the highest style of Byzantine art) (Christian Art, i.

136), the embroidery on the front represents Christ in a golden circle or glory, robed in white, with the youthful and beardless face, his eyes looking into yours. He sits on the rainbow; his left hand holds an open book, inscribed, "Come, ye blessed of my Father!" while the right is raised in benediction. The Virgin stands on the right entirely _within_ the glory; "she is sweet in feature and graceful in att.i.tude, in her long white robe." The Baptist stands on the left _outside_ the glory.

In pictures representing the glory of heaven, Paradise, or the Last Judgment, we have this idea constantly repeated--of the Virgin on the right hand of her Son, but not on the same throne with him, unless it be a "Coronation," which is a subject apart.

In the great altar-piece of the brothers Van Eyck, the upper part contains three compartments;[1] in the centre is Christ, wearing the triple tiara, and carrying the globe, as King, as Priest, as Judge--on each side, as usual, but in separate compartments, the Virgin and St.

John the Baptist. The Virgin, a n.o.ble queenly figure, full of serene dignity and grace, is seated on a throne, and wears a superb crown, formed of lilies, roses, and gems, over her long fair hair. She is reading intently in a book--The Book of Wisdom. She is here the _Sponsa Dei_, and the _Virgo Sapientissima_, the most wise Virgin.

This is the only example I can recollect of the Virgin seated on the right hand of her Son in glory, and _holding a book_. In every other instance she is standing or seated with her hands joined or crossed over her bosom, and her eyes turned towards him.

[Footnote 1: It is well known that the different parts of this great work have been dispersed. The three compartments mentioned here are at Berlin.]

Among innumerable examples, I will cite only one, perhaps the most celebrated of all, and familiar, it may be presumed, to most of my readers, though perhaps they may not have regarded it with reference to the character and position given to the Virgin. It is one of the four great frescoes of the Camera della Segnatura, in the Vatican, exhibiting the four highest objects of mental culture--Theology, Poetry, Philosophy, and Jurisprudence. In the first of these, commonly, but erroneously, called _La Disputa dell' Sacramento_, Raphael has combined into one great scene the whole system of theology, as set forth by the Catholic Church; it is a sort of concordance between heaven and earth--between the celestial and terrestrial witnesses of the truth. The central group above shows us the Redeemer of the world, seated with extended arms, having on the right the Virgin in her usual place, and on the left, also in his accustomed place, St. John the Baptist; both seated, and nearly on a level with Christ. The Baptist is here in his character of the Precursor "sent to bear witness to the light, that through him all men might believe." (John i. 7.) The Virgin is exhibited, not merely as the Mother, the Sposa, the Church, but as HEAVENLY WISDOM, for in this character the Catholic Church has applied to her the magnificent pa.s.sage in Proverbs: "The Lord possessed me in the beginning of His way, before His works of old. I was set up from everlasting, from the beginning, or ever the earth was." "Then I was by Him as one brought up with Him, and I was daily His delight, rejoicing alway before Him."

(Prov. viii, 12-36, and Eccles. xxiv. 15, 16.)

Nothing can be more beautiful than the serene grace and the mingled majesty and humility in the figure of the Virgin, and in her countenance, as she looks up adoring to the Fountain of _all_ light, _all_ wisdom, and _all_ goodness. Above the princ.i.p.al group, is the emblematical image of the FATHER; below is the holy Dove, in the act of descending to the earth.[1]

[Footnote 1: For a detailed description of this fresco, see Pa.s.savant's Raphael, i. 140, and Kugler's Handbook, 2d edit., where a minute and beautiful reduction of the whole composition will give and idea of the general design.]

The Virgin alone, separate from her Son, standing or enthroned before us, simply as the _Virgine Dea_ or _Regina Coeli_, is rarely met with in modern art, either in sculpture or painting. I will give, however, one signal example.

In an altar-piece painted by Cosimo Rosselli, for the Serviti at Florence, she stands alone, and in a majestic att.i.tude, on a raised pedestal. She holds a book, and looks upward, to the Holy Dove, hovering over her head; she is here again the _Virgo Sapientiae_.

(Fl. Gal.) On one side is St. John the Evangelist and St. Antonino of Florence (see Legends of the Monastic Orders); on the other, St. Peter and St. Philip Benozzi; in front kneel St. Margaret and St. Catherine: all appear to contemplate with rapturous devotion the vision of the Madonna. The heads and att.i.tudes in this picture have that character of elegance which distinguished the Florentine school at this period, without any of those extravagances and peculiarities into which Piero often fell; for the man had evidently a touch of madness, and was as eccentric in his works as in his life and conversation. The order of the Serviti, for whom he painted this picture, was inst.i.tuted in honour of the Virgin, and for her particular service, which will account for the unusual treatment.

The numerous--often most beautiful--heads and half-length figures which represent the Virgin alone, looking up with a devout or tender expression, or with the head declined, and the hands joined in prayer, or crossed over the bosom with virginal humility and modesty, belong to this cla.s.s of representations. In the ancient heads, most of which are imitations of the old Greek effigies ascribed to St. Luke, there is often great simplicity and beauty. When she wears the crown over her veil, or bears a sceptre in her hand, she figures as the queen of heaven (_Regina Coeli_). When such effigies are attended by adoring angels, she is the queen of angels (_Regina Angelorum_). When she is weeping or holding the crown of thorns, she is Our Lady of Sorrow, the _Mater Dolorosa_. When she is merely veiled, with folded hands, and in her features all the beauty, maiden purity, and sweetness which the artist could render, she is simply the Blessed Virgin, the Madonna, the _Santa Maria Vergine_. Such heads are very rare in the earlier schools of art, which seldom represented the Virgin without her Child, but became favourite studies of the later painters, and were multiplied and varied to infinitude from the beginning of the seventeenth century. From these every trace of the mystical and solemn conception of antiquity gradually disappeared; till, for the majestic ideal of womanhood, we have merely inane prettiness, or rustic, or even meretricious grace, the borrowed charms of some earthly model.

L'INCORONATA.

The Coronation of the Virgin. _Lat._ Coronatio Beatae Mariae Virginis.

_Ital._ Maria coronata dal divin suo Figlio. _Fr._ Le Couronnement de la Sainte Vierge. _Ger._ Die Kronung Maria.

The usual type of the Church triumphant is the CORONATION OF THE VIRGIN properly so called, Christ in the act of crowning his Mother; one of the most popular, significant, and beautiful subjects in the whole range of mediaeval art.

When in a series of subjects from the life of the Virgin, so often met with in religious prints and in the Roman Catholic churches, we find her death and her a.s.sumption followed by her coronation; when the bier or sarcophagus and the twelve apostles appear below, while heaven opens upon us above; then the representation a.s.sumes a kind of dramatic character: it is the last and most glorious event of her history. The Mother, dying on earth, is received into glory by her Son who had gone before her, and who thus celebrates the consummation of his victory and hers.

But when the scene is treated apart as a single subject; when, instead of the apostles gazing up to heaven, or looking with amazement into the tomb from which she had risen, we find the lower part of the composition occupied by votaries, patron saints, or choral angels; then the subject must be regarded as absolutely devotional and typical. It is not a scene or an action; it is a great mystery. It is consecrated to the honour of the Virgin as a type of the spiritual Church. The Espoused is received into glory and crowned with the crown of everlasting life, exalted above angels, spirits, and men. In this sense we must understand the subject when we find it in ecclesiastical sculpture, over the doors of places of worship, in the decorative carving of church utensils, in stained gla.s.s. In many of the Italian churches there is a chapel especially dedicated to the Virgin in this character, called _la Capella dell' Incoronata_; and both in Germany and Italy it is a frequent subject as an altar-piece.

In all the most ancient examples, it is Christ only who places the crown on the head of his Mother, seated on the same throne, and placed at his right hand. Sometimes we have the two figures only; sometimes the _Padre Eterno_ looks down, and the Holy Spirit in the form of the dove hovers above or between them. In some later examples the Virgin is seated between the Father and the Son, both in human form: they place the crown on her head each holding it with one hand, the Holy Spirit hovering above. In other representations the Virgin _kneels_ at the feet of Christ; and he places the crown on her head, while two or more rejoicing and adoring angels make heavenly music, or all Paradise opens to the view; and there are examples where not only the choir of attendant angels, but a vast a.s.sembly of patriarchs, saints, martyrs, fathers of the Church--the whole company of the blessed spirits--a.s.sist at this great ceremony.

I will now give some celebrated examples of the various styles of treatment.

There is a group in mosaic, which I believe to be singular in its kind, where the Virgin is enthroned, with Christ. She is seated at his right hand, at the same elevation, and altogether as his equal. His right arm embraces her, and his hand rests on her shoulder. She wears a gorgeous crown, which her Son has placed on her brow Christ has only the cruciform nimbus; in his left hand is an open book, on which is inscribed, "_Veni, Electa mea_" &c. "Come, my chosen one, and I will place thee upon my throne." The Virgin holds a tablet, on which are the words "His right hand should be under my head, and his left hand should embrace me." (Cant. viii. 3.) The omnipotent Hand is stretched forth in benediction above. Here the Virgin is the type of the Church triumphant and glorified, having overcome the world; and the solemn significance of the whole representation is to be found in the Book of Revelations: "To him that overcometh will I grant _to sit with me in my throne_, even as I also overcame and am set down with my Father in his throne." (Rev. iii. 21.)

This mosaic, in which, be it observed, the Virgin is enthroned with Christ, and _embraced_, not crowned, by him, is, I believe, unique either as a picture or a church decoration. It is not older than the twelfth century, is very ill executed, but is curious from the peculiarity of the treatment. (Rome. S. Maria in Trastevere.)

In the mosaic in the tribune of S. Maria-Maggiore at Rome, perhaps the earliest example extant of the Coronation, properly so called, the subject is treated with a grand and solemn simplicity. Christ and the Virgin, colossal figures, are seated on the same regal throne within a circular glory. The background is blue studded with golden stars.

He places the crown on her head with his right hand; in the left he holds an open book, with the usual text, "_Veni, Electa mea, et ponam te in thronum meum_," &c. She bends slightly forward, and her hands are lifted in adoration. Above and around the circular glory the emblematical vine twines in arabesque form; among the branches and leaves sit peac.o.c.ks and other birds; the peac.o.c.k being the old emblem of immortality, as birds in general are emblems of spirituality. On each side of the glory are nine adoring angels, representing the nine choirs of the heavenly hierarchy; beyond these on the right stand St.

Peter, St. Paul, St. Francis; on the left, St. John the Baptist, St.

John the Evangelist, and St. Antony of Padua; all these figures being very small in proportion to those of Christ and the Virgin. Smaller still, and quite diminutive in comparison, are the kneeling figures of Pope Nicholas IV. and Cardinal Giacomo Colonna, under whose auspices the mosaic was executed by Jacopo della Turrita, a Franciscan friar, about 1288. In front flows the river Jordan, symbol of baptism and regeneration; on its sh.o.r.e stands the hart, the emblem of religions aspiration. Underneath the central group is the inscription,--

MARIA VIRGO a.s.sUMPTA AD ETHERIUM THALAMUM IN QUO REX REGUM STELLATO SEDET SOLIO.

The whole of this vast and poetical composition is admirably executed, and it is the more curious as being, perhaps, one of the earliest examples of the glorification of St. Francis and St. Antony of Padua (Monastic Orders), who were canonized about thirty or forty years before.

The mosaic, by Gaddo Gaddi (Florence, A.D. 1330), over the great door in the cathedral at Florence, is somewhat different. Christ, while placing the crown on the head of his Mother with his _left_ hand, blesses her with his right hand, and he appears to have laid aside his own crown, which lies near him. The att.i.tude of the Virgin is also peculiar.[1]

[Footnote 1: In the same cathedral (which is dedicated to the Virgin Mary) the circular window of the choir opposite to the mosaic exhibits the Coronation. The design, by Donatello, is eminently fine and cla.s.sical.]

In a small altar-piece by Giotto (Florence, S. Croce), Christ and the Virgin are seated together on a throne. He places the jewelled crown on her head with _both_ hands, while she bends forward with her hands crossed in her lap, and the softest expression in her beautiful face, as if she as meekly resigned herself to this honour, as heretofore to the angelic salutation which p.r.o.nounced her "Blessed:" angels kneel before the throne with censers and offerings. In another, by Giotto, Christ wearing a coronet of gems is seated on a throne: the Virgin _kneels_ before him with hands joined: twenty angels with musical instruments attend around. In a "Coronation," by Piero Laurati, the figures of Christ and the Virgin, seated together, resemble in sentiment and expression those of Giotto. The angels are arranged in a glory around, and the treatment is wholly typical.

One of the most beautiful and celebrated of the pictures of Angelico da Fiesole is the "Coronation" now in the Louvre; formerly it stood over the high altar of the Church of St. Dominick at Fiesole, where Angelico had been nurtured, and made his profession as monk. The composition is conceived as a grand regal ceremony, but the beings who figure in it are touched with a truly celestial grace. The Redeemer, crowned himself, and wearing the ermine mantle of an earthly monarch, is seated on a magnificent throne, under a Gothic canopy, to which there is an ascent of nine steps. He holds the crown, which he is in the act of placing, with both hands, on the head of the Virgin, who kneels before him, with features of the softest and most delicate beauty, and an expression of divine humility. Her face, seen in profile, is partly shaded by a long transparent veil, flowing over her ample robe of a delicate crimson, beneath which is a blue tunic.

On each side a choir of lovely angels, clothed from head to foot in spangled tunics of azure and rose-colour, with shining wings, make celestial music, while they gaze with looks of joy and adoration towards the princ.i.p.al group. Lower down on the right of the throne are eighteen, and on the left twenty-two, of the princ.i.p.al patriarchs, apostles, saints, and martyrs, among whom the worthies of Angelico's own community, St. Dominick and St. Peter Martyr, are of course conspicuous. At the foot of the throne kneel on one side St.

Augustine, St. Benedict, St. Charlemagne, the royal saint; St.

Nicholas; and St. Thomas Aquinas holding a pen (the great literary saint of the Dominican order, and author of the Office of the Virgin); on the left we have a group of virgins, St. Agnes, St. Catherine with her wheel, St. Catherine of Siena, her habit spangled with stars; St. Cecilia crowned with her roses, and Mary Magdalene, with her long golden hair.[1] Beneath this great composition runs a border or predella, in seven compartments, containing in the centre a Pieta, and on each side three small subjects from the history of St. Dominick, to whom the church, whence it was taken, is dedicated. The spiritual beauty of the heads, the delicate tints of the colouring, an ineffable charm of mingled brightness and repose shed over the whole, give to this lovely picture an effect like that of a church hymn, sung at some high festival by voices tuned in harmony--"blest voices, uttering joy!"

[Footnote 1: See "Legends of the Monastic Orders," and "Sacred and Legendary Art," for an account of all these personages.]

In strong contrast with the graceful Italian conception, is the German "Coronation," now in the Wallerstein collection. (Kensington Pal.) It is supposed to have been painted for Philip the Good, Duke of Burgundy, either by Hans Hemling, or a painter not inferior to him.

Here the Virgin is crowned by the Trinity. She kneels, with an air of majestic humility, and hands meekly folded on her bosom, attired in simple blue drapery, before a semicircular throne, on which are seated the Father and the Son, between them, with outspread wings, touching their mouths, the Holy Dove. The Father a venerable figure, wears the triple tiara, and holds the sceptre; Christ, with an expression of suffering, holds in his left hand a crystal cross; and they sustain between them a crown which they are about to place on the head of the Virgin. Their golden throne is adorned with gems, and over it is a glory of seraphim, with hair, faces, and plumage, all of a glowing red. The lower part of this picture and the compartments on each side are filled with a vast a.s.semblage of saints, and martyrs, and holy confessors: conspicuous among them we find the saints most popular in Flanders and Burgundy--St. Adrian, St. George, St. Sebastian, St.

Maurice, clad in coats of mail and crowned with laurel, with other kingly and warlike personages; St. Philip, the patron of Philip the Good; St. Andrew, in whose honour he inst.i.tuted the order of the Golden Fleece: and a figure in a blue mantle with a ducal crown, one of the three kings of Cologne, is supposed to represent Duke Philip himself. It is, impossible by any description to do justice to this wonderful picture, as remarkable for its elaborate workmanship, the mysticism of the conception, the quaint elegance of the details, and portrait-like reality of the faces, as that of Angelico for its spiritual, tender, imaginative grace.

There is a "Coronation" by Vivarini (Acad. Venice), which may be said to comprise in itself a whole system of theology. It is one vast composition, not divided by compartments. In the centre is a magnificent carved throne sustained by six pillars, which stand on a lofty richly ornamented pedestal. On the throne are seated Christ and the Virgin; he is crowned, and places with both hands a crown on her head. Between them hovers the celestial Dove, and above them is seen the Heavenly Father in likeness of "the Ancient of Days," who paternally lays a hand on the shoulder of each. Around his head and over the throne, are the nine choirs of angels, in separate groups.

First and nearest, hover the glowing seraphim and cherubim, winged, but otherwise formless. Above these, the Thrones, holding the globe of sovereignty; to the right, the Dominations, Virtues, and Powers; to the left, the Princedoms, Archangels, and Angels. Below these, on each side of the throne, the prophets and patriarchs of the Old Testament, holding each a scroll. Below these the apostles on twelve thrones, six on each side, each holding the Gospel. Below these, on each side, the saints and martyrs. Below these, again, the virgins and holy women.

Under the throne, in the s.p.a.ce formed by the pillars, is seen a group of beautiful children (not angels), representing, I think, the martyred Innocents. They bear the instruments of Christ's pa.s.sion--the cross, nails, spear, crown of thorns, &c. On the step below the pedestal, and immediately in front, are seated the Evangelists and doctors of the Church; on the right St. Matthew and St. Luke, and behind them St. Ambrose and St. Augustine; on the left St. Mark and St. John, and behind them St. Jerome and St. Gregory. (See "Sacred and Legendary Art") Every part of this curious picture is painted with the utmost care and delicacy: the children are exquisite, and the heads, of which there are at least seventy without counting the angels, are finished like miniatures.

This simple, and altogether typical representation of the Virgin crowned by the Trinity in human form, is in a French carving of the fifteenth century, and though ill drawn, there is considerable navete in the treatment. The Eternal Father wears, as is usual, the triple tiara, the Son has the cross and the crown of thorns, and the Holy Ghost is distinguished by the dove on his hand. All three sustain the crown over the head of the kneeling Virgin, whose train is supported by two angels.

In a bas-relief over a door of the cathedral at Treves, the subject is very simply treated; both Christ and the Virgin are standing, which is unusual, and behind each is an angel, also standing and holding a crown.

Where not more than five or six saints are introduced as attendants and accessories, they are usually the patron saints of the locality or community, which may be readily distinguished. Thus,

1. In a "Coronation" by Sandro Botticelli, we find below, St. John the Evangelist, St. Augustine, St. John Gualberto, St. Bernardo Cardinale.

It was painted for the Vallombrosian monks. (Fl. Gal.)

2. In a very fine example by Ghirlandajo, St. Dominick and St. Peter Martyr are conspicuous: painted, of course, for the Dominicans.

(Paris, Louvre.)

3. In another, by Pinturicchio, St. Francis is a princ.i.p.al figure, with St. Bonaventura and St. Louis of Toulouse; painted for the Franciscans, or at least for a Franciscan pope, Sixtus IV. (Rome, Vatican.)

4. In another, by Guido, the treatment differs from the early style.

The coronation above is small and seen as a vision; the saints below, St. Bernard and St. Catherine, are life-size. It was painted for a community of Bernardines, the monks of Monte Oliveto. (Bologna, Gal.)