Blackwood's Edinburgh Magazine, Vol. 65, No. 400, February, 1849

It is remarked by Mrs Jameson, as a singular fact, that neither Leonardo da Vinci, nor Michael Angelo, nor Raffaelle, have given representations of the Four Evangelists. In very early art they are mostly symbolised, and sometimes oddly and uncouthly; and even so by Angelico da Fiesole. In Greek art, the Tetramorph, or union of the four attributes in one figure, is seen winged. "The Tetramorph, in Western art, in some instances became monstrous, instead of mystic and poetical." The animal symbols of the Evangelists, however familiarised in the eyes of the people, and therefore sanctioned to their feeling, required the greatest judgment to bring within the poetic of art. We must look also to the most mysterious subjects for the elucidation, such as Raffaelle's Vision of Ezekiel. There we view in the symbols a great prophetic, subservient to the creating and redeeming power, set forth and coming out of that blaze of the clouds of heaven that surround the sublime Majesty.

The earlier painters were fond of representing everything symbolically: hence the twelve apostles are so treated. In the descending scale, to the naturalists, the mystic poetry was reduced to its lowest element. The set of the apostles by Agostino Caracci, though, as Mrs Jameson observes, famous as works of art, are condemned as absolutely vulgar. "St John is drinking out of a cup, an idea which might strike some people as picturesque, but it is in vile taste. It is about the eighth century that the keys first appear in the hand of St Peter. In the old churches at Ravenna, it is remarked, St Peter and St Paul do not often appear." Ravenna, in the fifth century, did not look to Rome for her saints.

After his martyrdom, St Paul was, it is said, buried in the spot where was erected the magnificent church known as St Paolo fuorè-le mura. "I saw the church a few months before it was consumed by fire in 1823. I saw it again in 1847, when the restoration was far advanced. Its cold magnificence, compared with the impressions left by the former structure, rich with inestimable remains of ancient art, and venerable from a thousand associations, saddened and chilled me." We well remember visiting this noble church in 1816. A singular coincidence of fact and prophecy has imprinted this visit on our memory. Those who have seen it before it was burnt down, must remember the series of portraits of popes, and that there was room but for one more. We looked to the vacant place, as directed by our cicerone, whilst he told us that there was a prophecy concerning it to this effect, that when that space was filled up there would be no more popes. The prophecy was fulfilled, at least with regard to that church, for it was burnt down after that vacant space had been occupied by the papal portrait.

The subject of the Last Supper is treated of in a separate chapter. There has been a fresco lately discovered at Florence, in the refectory of Saint Onofrio, said to have been painted by Raffaelle in his twenty-third year. Some have thought it to be the work of Neri de Bicci. Mrs Jameson, without hesitation, pronounces it to be by Raffaelle, "full of sentiment and grace, but deficient, it appears to me, in that depth and discrimination of character displayed in his later works. It is evident that he had studied Giotto's fresco in the neighbouring Santa Croce. The arrangement is nearly the same." All the apostles have glories, but that round the head of Judas is smaller than the others. Does the prejudice against thirteen at table arise from this betrayal by Judas, or from the legend of St Gregory, who, when a monk in the monastery of St Andrew, was so charitable, that at length, having nothing else to bestow, he gave to an old beggar a silver porringer which had belonged to his mother? When pope, it was his custom to entertain twelve poor men. On one occasion he observed thirteen, and remonstrated with his steward, who, counting the guests, could see no more than twelve. After removal from the table, St Gregory called the unbidden guest, thus visible, like the ghost of Banquo, to the master of the feast only. The old man, on being questioned, declared himself to be the old beggar to whom the silver porringer had been given, adding, "But my name is Wonderful, and through me thou shalt obtain whatever thou shalt ask of God." There is a famous fresco on this subject by Paul Veronese, in which the stranger is represented to be our Saviour. To entertain even angels unknowingly, and at convivial entertainments, and visible perhaps but to one, as a messenger of good or of evil, would be little congenial with the purport of such meetings.

Mrs Jameson objects to the introduction of dogs in such a subject as the Last Supper, but remarks that it is supposed to show that the supper is over, and the paschal lamb eaten. It is so common that we should rather refer it to a more evident and more important signification, to show that this institution was not for the Jews only, and alluding to the passage showing that "dogs eat of the crumbs which fell from their masters' table." The large dogs, however, of Paul Veronese, gnawing bones, do not with propriety represent the passage; for there is reason to believe that the word "crumbs" describes the small pet dogs, which its was the fashion for the rich to carry about with them. The early painters introduced Satan in person tempting Judas. When Baroccio, with little taste, adopted the same treatment, the pope, Clement VIII., ordered the figure to be obliterated – "Che non gli piaceva il demonio si dimésticasse tanto con Gesu Christo." We know not where Mrs Jameson has found the anecdote which relates that Andrea del Castagno, called the Infamous, after he had assassinated Dominico his friend, who had intrusted him with Van Eyck's secret, painted his own portrait in the character of Judas, from remorse of conscience. We are not sure of the story at all respecting Andrea del Castagno: there may be other grounds for doubting it, but this anecdote, if true to the fact, would rather indicate insanity than guilt. The farther we advance in the history and practice of art, the more we find it suffering in sentiment from the infusion of the classical. In the Pitti Palace is a picture by Vasari of St Jerome as a penitent, in which he has introduced Venus and cupids, one of whom is taking aim at the saint. It is true that, as we proceed, legends crowd in upon us, and the painters find rather scope for fancy than subjects for faith and resting-places for devotion. Art, ever fond of female forms, readily seized upon the legends of Mary Magdalene. Her penitence has ever been a favourite subject, and has given opportunity for the introduction of grand landscape backgrounds in the lonely solitudes and wildernesses of a rocky desert. The individuality of the characters of Mary and Martha in Scripture history was too striking not to be taken advantage of by painters. There is a legend of an Egyptian penitent Mary, anterior to that of Mary Magdalene, which is curious. Whether this was another Mary or not, she is represented as a female anchoret; and we are reminded thereby of the double story of Helen of Troy, whom a real or fabulous history has deposited in Egypt, while the great poet of the Iliad has introduced her as so visible and palpable an agent in the Trojan war, and not without a touch of penitence, not quite characteristic of that age. Accounts say that it was her double, or eidolon, which figured at Troy.

Mrs Jameson makes a good conjecture with regard to the famous picture by Leonardo da Vinci, known as Modesty and Vanity, and that it is Mary Magdalene rebuked by her sister Martha for vanity and luxury, which exactly corresponds with the legend respecting her. We cannot forbear quoting the following eloquent passage: —

"On reviewing generally the infinite variety which has been given to these favourite subjects, the life and penance of the Magdalene, I must end where I began. In how few instances has the result been satisfactory to mind, or heart, or soul, or sense! Many have well represented the particular situation, the appropriate sentiment, the sorrow, the hope, the devotion; but who has given us the character? A noble creature, with strong sympathies and a strong will, with powerful faculties of every kind, working for good or evil. Such a woman Mary Magdalene must have been, even in her humiliation; and the feeble, girlish, commonplace, and even vulgar women, who appear to have been usually selected as models by the artists, turned into Magdalenes by throwing up their eyes and letting down their hair, ill represent the enthusiastic convert, or the majestic patroness!"

The second volume commences with the patron saints of Christendom. These were delightful fables in the credulous age of first youth, when feeling was a greater truth than fact; and we confess that we read these legends now with some regret at our abated faith, which we would not even "now have shaken in the chivalric characters of the seven champions of Christendom."

The Romish Church (we say not the Catholic, as Mrs Jameson so frequently improperly terms her) readily acted that part, to the people at large, which nurses assume for the amusement of their children; and in both cases, the more improbable the story the greater the fascination; and the people, like children, are more credulous than critical. Had we not known in our own times, and nearly at the present day, stories as absurd as any in these legends, gravely asserted, circulated, and credited, and maintained by men of responsible station and education – to instance only the garment of Treves – we should have pronounced the aurea legenda to have been a creation of the fancy, arising, not without their illumination, from the fogs and fens of the Middle Ages, adapted solely for minds of that period. But the sanction of them by the Church of Rome leads us to view them as ignes fatui of another character, meant to amuse and to bewilder. We must even think it possible now for people to be brought to believe such a story as this: – "It is related that a certain man, who was afflicted with a cancer in his leg, went to perform his devotions in the church of St Cosmo and St Damian at Rome, and he prayed most earnestly that these beneficent saints would be pleased to aid him. When he had prayed, a deep sleep fell upon him. Then he beheld St Cosmo and St Damian, who stood beside him; and one carried a box of ointment, the other a sharp knife. And one said, 'What shall we do to replace this diseased leg, when we have cut it off?' And the other replied, 'There is a Moor who has been buried just now in San Pietro in Vincolo; let us take his leg for the purpose!' Then they brought the leg of the dead man, and with it they replaced the leg of the sick man – anointing it with celestial ointment, so that he remained whole. When he awoke, he almost doubted whether it could be himself; but his neighbours, seeing that he was healed, looked into the tomb of the Moor, and found that there had been an exchange of legs; and thus the truth of this great miracle was proved to all beholders." It is, however, rather a hazardous demand upon credulity to serve up again the feast of Thyestes, cooked in a caldron of even more miraculous efficacy than Medea's. Such is the stupendous power of St Nicholas: – "As he was travelling through his diocese, to visit and comfort his people, he lodged in the house of a certain host, who was a son of Satan. This man, in the scarcity of provisions, was accustomed to steal little children, whom he murdered, and served up their limbs as meat to his guests. On the arrival of the Bishop and his retinue, he had the audacity to serve up the dismembered limbs of these unhappy children before the man of God, who had no sooner cast his eyes on them than he was aware of the fraud. He reproached the host with his abominable crime; and, going to the tub where their remains were salted down, he made over them the sign of the cross, and they rose up whole and well. The people who witnessed this great wonder were struck with astonishment; and the three children, who were the sons of a poor widow, were restored to their weeping mother."

But what shall we say to an entire new saint of a modern day, who has already found his way to Venice, Bologna, and Lombardy, – even to Tuscany and Paris, not only in pictures and statues, but even in chapels dedicated to her? The reader may be curious to know something of a saint of this century. In the year 1802 the skeleton of a young female was discovered in some excavations in the catacomb of Priscilla at Rome; the remains of an inscription were, "Lumena Pax Te Cum Tri." A priest in the train of a Neapolitan prelate, who was sent to congratulate Pius VII. on his return from France, begged some relics. The newly-discovered treasure was given to him, and the inscription thus translated – "Filomena, rest in peace." "Another priest, whose name is suppressed because of his great humility, was favoured by a vision in the broad noonday, in which he beheld the glorious virgin Filomena, who was pleased to reveal to him that she had suffered death for preferring the Christian faith, and her vow of chastity, to the addresses of the emperor, who wished to make her his wife. This vision leaving much of her history obscure, a certain young artist, whose name is also suppressed – perhaps because of his great humility – was informed in a vision that the emperor alluded to was Diocletian; and at the same time the torments and persecutions suffered by the Christian virgin Filomena, as well as her wonderful constancy, were also revealed to him. There were some difficulties in the way of the Emperor Diocletian, which inclines the writer of the historical account to adopt the opinion that the young artist in his vision may have made a mistake, and that the emperor may have been his colleague, Maximian. The facts, however, now admitted of no doubt; and the relics were carried by the priest Francesco da Lucia to Naples; they were inclosed in a case of wood, resembling in form the human body. This figure was habited in a petticoat of white satin, and over it a crimson tunic, after the Greek fashion; the face was painted to represent nature; a garland of flowers was placed on the head, and in the hands a lily and a javelin – with the point reversed, to express her purity and her martyrdom; then she was laid in a half sitting posture in a sarcophagus, of which the sides were glass; and after lying for some time in state, in the chapel of the Torres family in the Church of Saint Angiolo, she was carried in procession to Magnano, a little town about twenty miles from Naples, amid the acclamations of the people, working many and surprising miracles by the way. Such is the legend of St Filomena, and such the authority on which she has become, within the last twenty years, one of the most fashionable saints in Italy. Jewels to the value of many thousand crowns have been offered at her shrine, and solemnly placed round the neck of her image, or suspended to her girdle."

We dare not in candour charge the Romanists with being the only fabricators or receivers of such goods, remembering our own Saint Joanna, and Huntingdon's Autobiography. There are aurea legenda in a certain class of our sectarian literature, presenting a large list of claimants of very high pretensions to saintship, only waiting for power and an established authority to be canonised.

It is not surprising, as the world is – working often in the dark places of ignorance – if a few glossy threads of a coarser material, and deteriorating quality, be taken up by no wilful mistake, and be interwoven into the true golden tissue. Nevertheless the mantle may be still beautiful, and fit a Christian to wear and walk in not unbecomingly. There are worse things than religious superstition, whose badness is of degrees. In the minds of all nations and people there is a vacuum for the craving appetite of credulity to fill. The great interests of life lie in politics and religion. There are bigots in both: but we look upon a little superstition on the one point as far safer than upon the other, especially in modern times; whereas political bigotry, however often duped, is credulous still, and becomes hating and ferocious. We fear even the legends are losing their authority in the Roman States, whose history may yet have to be filled with far worse tales. A generous, though we deem it a mistaken feeling, has induced Mrs Jameson to make what we would almost venture to call the only mistake in her volumes: the following passage is certainly not in good taste, quite out of the intention of her book, and very unfortunately timed – "But Peter is certainly the democratical apostle par excellence, and his representative in our time seems to have awakened to a consciousness of this truth, and to have thrown himself – as St Peter would most certainly have done, were he living – on the side of the people and of freedom." A democratical successor to St Peter! He is, then, the first of that character. With him the "side of freedom" seems to have been the inside of his prison, and his "side of the people" a precipitate flight from contact with them in their liberty – and for his tiara the disguise of a valet. We more than pardon Mrs Jameson – we love the virtue that gives rise to her error; for it is peculiarly the nature of woman to be credulous, and to be deceived. We admire, and more than admire, women equally well, whether they are right or wrong in politics: these are the business of men, for they have to do with the sword, and are out of the tenderer impulses of woman. But we are amused when we find grave strong men in the same predicament of ill conjectures. We smile as we remember a certain dedication "To Pio Nono," which by its simple grandeur and magnificent beauty will live splendide mendax to excuse its prophetic inaccuracy. It is not wise to foretell events to happen whilst we live. Take a "long range," or a studied ambiguity that will fit either way. The example of Dr Primrose may be followed with advantage, who in every case of domestic doubt and difficulty concluded the matter thus – "I wish it may turn out well this day six months;" by which, in his simple family, he attained the character of a true prophet.

We fear we are losing sight of the "Poetry of Sacred and Legendary Art," and gladly turn from the thought of what is to be, to those beautiful personified ideas of the past, whether fabulous or historical, in which we are ready to take Mrs Jameson as our willing and sure guide. The four virgin patronesses and the female martyrs are favourite subjects, which she enters into with more than her usual spirit and feeling. These two have chiefly engaged and fascinated the genius of the painters of the best period, and will ever interest the world of taste by their sentiment, as well as by their grace of form and beauty, and why not say improved them too? The really beautiful is always true. It is not amiss that we should be continually reminded, or, as Mrs Jameson better expresses it – "It is not a thing to be set aside or forgotten, that generous men and meek women, strong in the strength, and elevated by the sacrifice of a Redeemer, did suffer, did endure, did triumph for the truth's sake; did leave us an example which ought to make our hearts glow within us." The memory of Christian heroism should never be lost sight of in a Christian country, and we earnestly recommend this part of Mrs Jameson's volumes to the attention of our painters: they will find not unfrequent instances of fine subjects yet untouched, which may sanctify art, and dignify the profession by making it the teacher of a purer taste – not that true genius will ever lack materials, for materials are but suggestive to an innate inventive power. It is curious that the authoress should not yet have satisfied our expectation with regard to the legends of the Virgin. Whatever the motive of her forbearance, we hope this subject will take the lead in the promised third volume, which is to treat of the legends of the monastic orders, considered, as she cautiously observes, "merely in their connexion with the development of the fine arts in the thirteenth and fourteenth centuries."

The numerous pictures in Italy which represent parts of the legends of the Virgin render this work incomplete without a full development of the subject. If her forbearance arises from a fear that at this particular time, when mariolatry is dreaded by a large portion of the religious world, we would remind her that the Virgin Mother is still "the blessed" of our own church.

It is a question if the list of sainted martyrs in repute has not been left to the arbitrament of the painters; for we find many deposed, and the adopted favourites of art not found in the early list, as represented in their processions. We find a Saint Reparata, after having been the patroness saint of Florence for six hundred years, deposed, and the city placed under the tutelage of the Virgin and St John the Baptist.

Yet these were early times for the influence of art; but, at a period when pictures were thought to have a kind of miraculous power, it is not improbable that some potent work of art representing the Virgin and St John may have caused the new devotional dedication – as was the case in modern times, when the imaged Madonna de los Dolores was appointed general-in-chief of the Carlist army. Painters were what the poets had been —Vates sacri. Events and the memory of saints may have perished, Carent quia vate sacro. We wish our own painters were more fully sensible of the power of art to perpetuate, and that it is its province to teach. With us it has been too long disconnected with our religion. It will be a glorious day for art, and for the people that shall witness the reunion.

In taking leave of these two fascinating volumes, we do so with the less regret, knowing that they will be often in our hands, as most valuable for instant reference. No one who wishes to know the subjects and feel the sentiment of the finest works in the world, will think of going abroad without Mrs Jameson's book. We must again thank her for the beautiful woodcuts and etchings; the latter, in particular, are lightly and gracefully executed, we presume mostly (to speak technically) in dry point. Mrs Jameson writes as an enthusiast, her feeling flows from her pen. Her style is fascinating to a degree, forcible and graceful; but there is no mistaking its character – feminine. We know no other hand that could so happily have set forth the Poetry of Sacred and Legendary Art.